Latest / Ryder Lee / Stanley Kubrick's Secrets, Lookout Mountain Hotel, Catcher In The Rye | Parallel Mike

Transcript

Stanley Kubrick's Secrets, Lookout Mountain Hotel, Catcher In The Rye | Parallel Mike · Ryder Lee

• 0:00
  Speaker 1: Hi, everybody, Welcome to the Parallemic Podcast. We are joined
• 0:26
  Speaker 1: once again by retaining guests rd Elite Ryder. We're here
• 0:30
  Speaker 1: to discuss the second film that you've produced with Joe Widner.
• 0:33
  Speaker 1: This one's called The Clockwork Shining. We did cover before
• 0:37
  Speaker 1: your past film, which was jfk X, and you was
• 0:39
  Speaker 1: also one talking about uithology on the previous episodes, so
• 0:43
  Speaker 1: you're one of my I think you might be one
• 0:46
  Speaker 1: of the most retaining guests. I'm not sure quite how
• 0:48
  Speaker 1: to phrase that, but you've been on the show three times,
• 0:50
  Speaker 1: so really nice to see you again, Ryder. Just a
• 0:53
  Speaker 1: quick update how things going in general before we get
• 0:55
  Speaker 1: stuck into talking about this film.
• 0:57
  Speaker 2: Thanks for having me on, Mike, really appreciate it. You've
• 1:00
  Speaker 2: been with me for a minute and it's an honor
• 1:04
  Speaker 2: and a privilege. You'll be back on your show. And
• 1:06
  Speaker 2: how this movie started. This was the movie that we
• 1:08
  Speaker 2: wanted to originally do first before JFKX, but me and
• 1:11
  Speaker 2: j Wier ended up doing JFKX first and then we
• 1:15
  Speaker 2: did this movie. And this movie's really been a passion
• 1:19
  Speaker 2: project for me. It took me. I've been working on
• 1:22
  Speaker 2: it for over six months and it's up on Amazon
• 1:27
  Speaker 2: Prime now you can buy it or rent it. I'm
• 1:29
  Speaker 2: pretty sure you can get it in the UK and
• 1:32
  Speaker 2: in the United States, and if you're in another countries
• 1:35
  Speaker 2: might not be available on Amazon Prime other than in
• 1:38
  Speaker 2: the UK and in the United States. But if your
• 1:41
  Speaker 2: country gives you the ability to get Apple TV, you
• 1:44
  Speaker 2: can also watch it on Apple TV. So I'm not
• 1:46
  Speaker 2: for sure where in what other countries Apple TV is available,
• 1:51
  Speaker 2: but hopefully we can get a link in the description
• 1:54
  Speaker 2: so people can easily find it and click on it.
• 1:57
  Speaker 2: But if it's not available in your country, try Apple
• 1:59
  Speaker 2: TV and then if Apple if you can't get Apple
• 2:01
  Speaker 2: TV in your country, it'll be uh. We'll soon be
• 2:05
  Speaker 2: able to release it to people everywhere worldwide, but right
• 2:08
  Speaker 2: now Amazon is only letting people in the UK that
• 2:12
  Speaker 2: have Amazon Prime Video subscription to be able to purchase it,
• 2:18
  Speaker 2: and people within the United States. So it's a it
• 2:21
  Speaker 2: was a really big project for me. There's a lot
• 2:24
  Speaker 2: of people that was involved in this. We have Mark
• 2:26
  Speaker 2: Dovlin in the documentary. We have Kaathy O'Brien, we have
• 2:30
  Speaker 2: Joe Atwell, we have a FO s I form our,
• 2:33
  Speaker 2: a f O s I Air Force Special Agent Walter
• 2:36
  Speaker 2: Bosley and myself and Jay Widener. So it was a
• 2:39
  Speaker 2: really big project and I'm super happy with it, and
• 2:43
  Speaker 2: you actually got to see it. What did What did
• 2:46
  Speaker 2: you think of it?
• 2:48
  Speaker 3: Yeah?
• 2:48
  Speaker 1: So I've found it extremely provocative. Actually, it was a
• 2:53
  Speaker 1: really interesting documentary to begin with, because The Shining is
• 2:57
  Speaker 1: one of those films that everyone has seen pretty much
• 3:00
  Speaker 1: and it's etched into our consciousness. I think for people
• 3:03
  Speaker 1: our rage were kind of a similar age. I'm guessing
• 3:06
  Speaker 1: rider we saw it women was pretty young, and a
• 3:08
  Speaker 1: lot of the themes in that went over our head.
• 3:11
  Speaker 1: And now watching it back as an adult, with this
• 3:13
  Speaker 1: new layer added to it, it blew me away, and it
• 3:16
  Speaker 1: linked up to all kinds of places, like I would
• 3:18
  Speaker 1: never have guessed that you was going to start to
• 3:20
  Speaker 1: talk about the Nazi experiments and MK Ultra and Project
• 3:25
  Speaker 1: Monarch and all of that stuff that you brought into it.
• 3:28
  Speaker 1: That just blew me away. And I've been thinking about
• 3:30
  Speaker 1: it ever since. In fact, I was in the sauna
• 3:32
  Speaker 1: just about two hours ago and I was still thinking
• 3:34
  Speaker 1: about it. So I'm hoping to draw as much of
• 3:35
  Speaker 1: that out as we can. But maybe we can begin
• 3:38
  Speaker 1: by you just telling us your story. With The Shining
• 3:42
  Speaker 1: in general before you actually got to making the documentary
• 3:44
  Speaker 1: Rider Why the Shining. Was it something he was a
• 3:47
  Speaker 1: fan of already. Did you have suspicions about it long
• 3:50
  Speaker 1: ago or was this something that came up recently.
• 3:53
  Speaker 2: Well, what it happened was I I was going to
• 3:57
  Speaker 2: bring Jay Wider on my show around two years ago.
• 4:00
  Speaker 2: Now it's been abount a year and a half, coming
• 4:03
  Speaker 2: up on two years, and he had already previously been
• 4:06
  Speaker 2: on the show. But I wanted to talk to him
• 4:07
  Speaker 2: about his previous movies because he's one of the first
• 4:12
  Speaker 2: people to look at The Shining as Stanley Kubrick's confession
• 4:17
  Speaker 2: for faking the moonlandings. That was his hypothesis and his
• 4:20
  Speaker 2: theory on his two previous films that he made about
• 4:23
  Speaker 2: Stanley Kubrick. So I watched those movies in order to
• 4:27
  Speaker 2: prepare to interview him so I can ask him questions
• 4:29
  Speaker 2: in depth, questions that other people might not have asked
• 4:32
  Speaker 2: him before. And then I started watching The Shining and
• 4:34
  Speaker 2: I'm like, I've seen The Shining before, and I didn't
• 4:38
  Speaker 2: really like it. I didn't understand what everyone was raving
• 4:43
  Speaker 2: about with the movie. I thought that it was kind
• 4:45
  Speaker 2: of Bland and because nothing really happens within the shining
• 4:49
  Speaker 2: like it's subliminal. As we discussed in our documentary, it's
• 4:54
  Speaker 2: a subliminal movie. It's not really a horror movie. I
• 4:57
  Speaker 2: feel like if it was released today, it would not
• 5:00
  Speaker 2: be classified as a horror movie. It would be a
• 5:03
  Speaker 2: psychological thriller, is what it would be under. So I'm
• 5:09
  Speaker 2: watching it and I'm like, and I watched this several times,
• 5:13
  Speaker 2: and I'm like, I don't really understand what's going on here,
• 5:17
  Speaker 2: Like some of this stuff doesn't make any sense. There's
• 5:19
  Speaker 2: so many continuity errors in this movie. Then I'm thinking, well,
• 5:23
  Speaker 2: Stanley Cuber is like he's a perfectionist, he's a master filmmaker.
• 5:28
  Speaker 2: He puts everything together exactly the way he wants it.
• 5:30
  Speaker 2: And it doesn't make any sense why there's so many
• 5:33
  Speaker 2: continuity airs in this movie. It's probably has the most
• 5:37
  Speaker 2: continuity airs out of any movie that's ever been made.
• 5:42
  Speaker 2: There's several of them that we show in the movie.
• 5:45
  Speaker 2: The sticker disappearing on Danny's door, the chair disappearing behind Jack,
• 5:49
  Speaker 2: the carpet changing when Danny stands up in the hallway
• 5:52
  Speaker 2: before he goes into the room. Two thirty seven light
• 5:54
  Speaker 2: switches disappear. There's a light switch or plug in outside
• 5:59
  Speaker 2: of Olman's office when Jack first walks in, and then
• 6:01
  Speaker 2: later on when he goes in to destroy the radio
• 6:03
  Speaker 2: to prevent Danny and Wendy from leaving the hotel, it's gone.
• 6:08
  Speaker 2: Then there's a light switch underneath by the storage room
• 6:12
  Speaker 2: where they're getting when they're getting the tour of the hotel,
• 6:17
  Speaker 2: Windy and Danny's getting the tour of the hotel and
• 6:20
  Speaker 2: Holleran says, this is the storage room. Which it's interesting
• 6:26
  Speaker 2: because we show in our movie that it doesn't sound
• 6:28
  Speaker 2: like he says storage room. It sounds like he says
• 6:31
  Speaker 2: story room, which does something we can get into later on.
• 6:34
  Speaker 2: I just wanted to bring it up really quickly. But
• 6:37
  Speaker 2: there's a light switch that's beside the door. Whenever Wendy
• 6:44
  Speaker 2: and Danny are getting in a tour by Hollerin and
• 6:46
  Speaker 2: he's showing him the storage room, there's a light switch there.
• 6:49
  Speaker 2: But then later on whenever Jack, whenever Wendy is taking
• 6:53
  Speaker 2: Jack into the storage room is gone. So there's so
• 6:56
  Speaker 2: many of these types of connuity airs along with one,
• 7:00
  Speaker 2: and it's not actually in the movie that I didn't
• 7:02
  Speaker 2: remember until after the movie had already been done and written,
• 7:06
  Speaker 2: which is in the first establishing shot of the Overlook Hotel,
• 7:10
  Speaker 2: there's no maze in the background. They don't have a
• 7:14
  Speaker 2: maze back there, which those external shots were filmed. Some
• 7:20
  Speaker 2: of them are filmed at Timberline Lodge in Oregon, and
• 7:25
  Speaker 2: the rest of it was filmed on a set in England.
• 7:29
  Speaker 2: So there's but that's a continuity error, like you don't
• 7:34
  Speaker 2: the first establishing shot doesn't have the maze in the background,
• 7:37
  Speaker 2: but then later on the maze is there. So there's
• 7:40
  Speaker 2: so many of these little details that are missing and
• 7:44
  Speaker 2: that are screwed up. And we also talk about within
• 7:46
  Speaker 2: the movie how Kubrick is basically rewriting the entire movie
• 7:50
  Speaker 2: as the movie is being made, which no director would
• 7:53
  Speaker 2: ever do that. That's like, that would be a disaster almost,
• 7:59
  Speaker 2: you know, no one in the right mind would be
• 8:01
  Speaker 2: writing the movie as you're making the movie, especially someone
• 8:05
  Speaker 2: that has such prowess as Stanley Kubrick.
• 8:11
  Speaker 4: So what.
• 8:14
  Speaker 2: I have kind of put together, it's not really explicitly
• 8:17
  Speaker 2: stated in the movie because we like to leave some
• 8:20
  Speaker 2: things open to interpretation within our movie. Just like Stanley
• 8:23
  Speaker 2: Kubrick leaves things open to interpretation in all of his
• 8:26
  Speaker 2: films that it seems like that these continuity errors are
• 8:31
  Speaker 2: placed there on purpose to give the viewer a sense
• 8:35
  Speaker 2: of subliminally questioning their reality as they were watching, somebody
• 8:41
  Speaker 2: within the movie also start to question their reality and
• 8:45
  Speaker 2: go into delusions as Jack seems to spiral down this
• 8:51
  Speaker 2: this rabbit hole of hallucinations and delusions and paranoia. It
• 8:59
  Speaker 2: seems like that is what Kubrick is also trying to
• 9:02
  Speaker 2: do on the audience.
• 9:04
  Speaker 1: So it's not.
• 9:04
  Speaker 2: Only an experiment within the film, and also it's also
• 9:10
  Speaker 2: an experiment on the actors within the film as he's
• 9:13
  Speaker 2: writing the movie as is being shot. I mean this,
• 9:16
  Speaker 2: you know, pissed off Jack Nicholson so bad, and we
• 9:19
  Speaker 2: show clips of it in our movie that he just
• 9:23
  Speaker 2: stopped reading the script. He was like, I'm not going
• 9:25
  Speaker 2: to read it anymore, like because I'm just gonna do
• 9:28
  Speaker 2: the ones that Stanley Kuber types up every day because
• 9:31
  Speaker 2: it's constantly changing. There's no reason for me to memorize
• 9:33
  Speaker 2: all these lines whenever they're going to change tomorrow. So
• 9:38
  Speaker 2: that's where we kind of go with it.
• 9:39
  Speaker 1: But yeah, yeah, it's a strange film, And I guess, yeah,
• 9:46
  Speaker 1: what you were saying that is that all of these
• 9:47
  Speaker 1: different continuitaries, it's not errors because he has messed something up.
• 9:52
  Speaker 1: He's actually trying to create some scizing me in your mind,
• 9:56
  Speaker 1: so that even if you don't consciously recognize that, you're
• 9:59
  Speaker 1: going to recognize that, your subliminal mind might pick up
• 10:03
  Speaker 1: that something's not right here, and it leads you to
• 10:05
  Speaker 1: that tense feeling. And I think that's probably what I
• 10:09
  Speaker 1: remember most from The Shining when I was younger, was
• 10:11
  Speaker 1: just feeling extremely tense and not knowing why because nothing's happening.
• 10:15
  Speaker 1: It's not like The Exorcist, for example. Why you've got
• 10:18
  Speaker 1: something kind of gruesome happening constantly, or it's not like
• 10:22
  Speaker 1: a modern day horror film, which is like a shock
• 10:24
  Speaker 1: first it's meant to make you jump. In the Shining,
• 10:26
  Speaker 1: none of that's happening, and for like you said, for
• 10:28
  Speaker 1: a long time, nothing happens. And yet I would say
• 10:31
  Speaker 1: ninety nine percent of that film just makes me feel
• 10:35
  Speaker 1: an easy I don't know if you got that when
• 10:37
  Speaker 1: you first watched it rider or if it was more
• 10:39
  Speaker 1: of a bodom type feeling.
• 10:41
  Speaker 2: Yeah, it's a really uneasy type of feeling that you're getting.
• 10:46
  Speaker 2: I think some of that comes not only from the imagery,
• 10:48
  Speaker 2: but also from the soundtrack of the movie. The soundtrack
• 10:51
  Speaker 2: has really got that creepy, eerie type of feeling. And
• 10:56
  Speaker 2: some things that some people have reported whenever they first
• 11:00
  Speaker 2: watched hour documentary was that they would have these really
• 11:03
  Speaker 2: strange and weird dreams like slash nightmares. Jay Widener showed
• 11:10
  Speaker 2: this to some of his friends and some of his
• 11:14
  Speaker 2: colleagues and in a private screening, and they all apparently
• 11:19
  Speaker 2: had really strange dreams afterwards, and I didn't have, which
• 11:25
  Speaker 2: I've watched the movie more than probably anyone as ever
• 11:28
  Speaker 2: going to watch it, because I made it. But I
• 11:31
  Speaker 2: had a similar thing happen with watching The Shining and
• 11:34
  Speaker 2: it was, you know, when I watched it really late
• 11:36
  Speaker 2: at night, and I would have like really screwed up dreams.
• 11:41
  Speaker 2: So I stopped watching it late as I'm going to sleep,
• 11:45
  Speaker 2: because we know that that type of programming can get
• 11:48
  Speaker 2: into your subconscious and then manifest in your dream state,
• 11:52
  Speaker 2: in your astral states. So I just stopped watching it
• 11:55
  Speaker 2: at night because I didn't want to have to deal
• 11:57
  Speaker 2: with those really strange and weird dreams. But it is
• 12:01
  Speaker 2: something that's been reported, but it doesn't have anything to
• 12:05
  Speaker 2: do with our movie. We didn't put any weird subliminal
• 12:08
  Speaker 2: things in there. There's no yell left tones, there's no
• 12:13
  Speaker 2: music to make you feel a certain way. It's just
• 12:16
  Speaker 2: it's all done with regular organic music and sound effects.
• 12:22
  Speaker 2: So if you do experience something strange after you watch it,
• 12:27
  Speaker 2: then it has to do with the Shining, because there's
• 12:29
  Speaker 2: a lot of clips from The Shining that we put
• 12:32
  Speaker 2: inside of our movie.
• 12:33
  Speaker 1: Okay, do you want to tell them? I don't mean
• 12:35
  Speaker 1: to tell you the extremely viscivil and strange dream I
• 12:39
  Speaker 1: had the night I watched it because it happened.
• 12:41
  Speaker 2: Oh you had one too. Oh man, you're the second
• 12:44
  Speaker 2: person that I've had done a show with that said this. Yes,
• 12:46
  Speaker 2: tell me I want to know.
• 12:47
  Speaker 1: Yeah. So the night I watched it was two nights ago,
• 12:50
  Speaker 1: and that evening I had a dream that I was
• 12:54
  Speaker 1: on a plane that was crashing, and then it spiraled
• 12:58
  Speaker 1: into a dream why on multiple plane crashes. Now, I
• 13:02
  Speaker 1: hate flying, so it's kind of like a nightmare for me. Anyways,
• 13:06
  Speaker 1: to be on a plane. I've been on a plane
• 13:07
  Speaker 1: many times because I met a wife who lived in
• 13:09
  Speaker 1: a different country, so I had to, but really can't
• 13:12
  Speaker 1: stand it. But it was very strange. I've never had
• 13:14
  Speaker 1: great dreams like this where I genuinely felt I was
• 13:17
  Speaker 1: inside this thing and it was crashing, and I knew
• 13:21
  Speaker 1: it was crashing, and it was just that helplessness, feeling
• 13:24
  Speaker 1: like there's nothing I can do about this. And I
• 13:27
  Speaker 1: think I went through about seven or eight plane crashes
• 13:29
  Speaker 1: that night in these separate kind of dreams, and each
• 13:32
  Speaker 1: one was from a slightly different perspective. I was in
• 13:34
  Speaker 1: like a different seat, or one time I was outside
• 13:37
  Speaker 1: watching it crash, the other time I was inside. So yeah,
• 13:40
  Speaker 1: it was just really bizarre. And it woke up and
• 13:42
  Speaker 1: was like, Wow, that was quite a night.
• 13:45
  Speaker 2: You didn't know anything about that. You didn't know that
• 13:48
  Speaker 2: the people have reported the having weird dreams after watching
• 13:52
  Speaker 2: this movie at all. That was nice something that we
• 13:54
  Speaker 2: talked about before this show or nothing that's wild. That's wild.
• 13:57
  Speaker 2: You're well, you're actually the third per because Ryan Gable
• 14:01
  Speaker 2: I had the same thing happened to him after I
• 14:04
  Speaker 2: sent him a screener of the movie. Another person that
• 14:08
  Speaker 2: I was just on the other day is named Tim.
• 14:10
  Speaker 2: He had a strange dream after he watched the movie
• 14:13
  Speaker 2: Now you You're.
• 14:13
  Speaker 1: The You're the third You're the third.
• 14:15
  Speaker 2: Person so far that has a show that I've sent
• 14:19
  Speaker 2: the screener of the movie to the tide these strange dreams.
• 14:23
  Speaker 1: So that's very strange. Yeah, that's absolutely bizarre. And uh yeah,
• 14:27
  Speaker 1: I'll have to go away and think about that one
• 14:28
  Speaker 1: because I never expected you to mention it. So that
• 14:31
  Speaker 1: is weird.
• 14:32
  Speaker 2: You know.
• 14:32
  Speaker 1: It was even weirder the day after I listened to
• 14:35
  Speaker 1: my friends show Monica Perez, and in that show, she
• 14:38
  Speaker 1: actually played a a cockpit transcript of the You remember when
• 14:42
  Speaker 1: that plane went down and it landed on the Hudston River. Vaguely, Yeah,
• 14:48
  Speaker 1: it was a plane it had it had a double
• 14:50
  Speaker 1: bed strike and both engines were down and it couldn't
• 14:54
  Speaker 1: make it back to the airport, so they literally landed
• 14:57
  Speaker 1: it on the Hudson River. It was called the Miracle
• 14:58
  Speaker 1: on the Huston because no im, if a plane lands
• 15:01
  Speaker 1: on water, it cartwheels and everyone dies. But they landed
• 15:04
  Speaker 1: this perfect, picture perfect landing on this river and everyone
• 15:09
  Speaker 1: got out safely. But I never knew she was going
• 15:12
  Speaker 1: to play that, So I had this weird dream. And
• 15:14
  Speaker 1: then I was driving in the car and then hair
• 15:16
  Speaker 1: show is not about anything to do with aviation, but
• 15:18
  Speaker 1: for whatever reason, she stuck that on Hairshew and I
• 15:21
  Speaker 1: was like, God, this is a really strange day after
• 15:23
  Speaker 1: that night, and then now I'm listening to this cockpit recording.
• 15:26
  Speaker 1: So anyways, okay, so let's go back to the film.
• 15:29
  Speaker 1: So nothing really paranormal is happening in this film, so,
• 15:33
  Speaker 1: like you said, it's not exactly a horror fun per se,
• 15:36
  Speaker 1: and yet there are these strange interactions that Jack is having,
• 15:41
  Speaker 1: and I just want to kind of let the cat
• 15:42
  Speaker 1: out of the bag for listeners that what we're or
• 15:45
  Speaker 1: what you're suggesting in the film, and what we're going
• 15:47
  Speaker 1: to talk about is that in this film, Kubrick is
• 15:50
  Speaker 1: telling us something about let's say, intelligence services and something
• 15:55
  Speaker 1: that they're doing in the background. So shall we start
• 15:58
  Speaker 1: talking about that now, rider or do you want to
• 16:00
  Speaker 1: kind of build up to I'll hand it over to you.
• 16:01
  Speaker 1: You can take as what you want.
• 16:03
  Speaker 2: Yeah, there's several things that I've seen as I was
• 16:07
  Speaker 2: repeatedly watching this movie, which is another really strange aspect
• 16:12
  Speaker 2: of this because I really didn't think that I was
• 16:15
  Speaker 2: going to find anything new. Things that people really hadn't
• 16:19
  Speaker 2: seen before because the movie has been picked apart by
• 16:24
  Speaker 2: a lot of different people. There's hundreds of theories of
• 16:29
  Speaker 2: people what they think that the Shining is really about.
• 16:33
  Speaker 2: And I think that our theory makes the most sense.
• 16:37
  Speaker 2: It really ties everything up, and once you see it,
• 16:43
  Speaker 2: you're not going to be able to unsee it. You're
• 16:45
  Speaker 2: not going to be able to see this shining in
• 16:47
  Speaker 2: the same way that you've seen it before. And as
• 16:50
  Speaker 2: I'm watching it, I'm seeing things that really bring this
• 16:56
  Speaker 2: whole thing to the to make it make sense. And
• 17:02
  Speaker 2: one of those was a handprint on a lady's dress
• 17:09
  Speaker 2: whenever Jack is in the Gold Room. The second time
• 17:12
  Speaker 2: he's in the Gold Room and he drinks the alcohol
• 17:14
  Speaker 2: given to him by Lloyd, which is another thing that
• 17:18
  Speaker 2: we bring up within the movie that the CIA has
• 17:22
  Speaker 2: been known for doing. There's an entire Netflix documentary about
• 17:27
  Speaker 2: it about Frank Olson and how Sidney Gottlieb, which was
• 17:30
  Speaker 2: ahead of the CIA MK Ultra programs, spiked his alcoholic
• 17:35
  Speaker 2: drink and later Frank Olsen jumped out of the window
• 17:38
  Speaker 2: of a really big hotel and died. There's been several
• 17:44
  Speaker 2: instances of that where people have kind of gone insane
• 17:51
  Speaker 2: and died in strange ways, or died under some suspicious circumstances,
• 17:57
  Speaker 2: or you know, off themselves. And that was the case
• 18:04
  Speaker 2: with a lot of the army personnel and some of
• 18:06
  Speaker 2: the very first mk ultra experiments. They were kind of
• 18:09
  Speaker 2: taken to this military research center and they weren't really
• 18:13
  Speaker 2: told what they were going to be experimented on. They
• 18:16
  Speaker 2: were just like, hey, and hail this substance. And it
• 18:20
  Speaker 2: was like a large dose of LSDI. It was even
• 18:24
  Speaker 2: stronger than LSD. It was a drug called BZ. It's
• 18:27
  Speaker 2: like a hundred times more potent, one hundred times more
• 18:30
  Speaker 2: powerful than LSD, and they would make these army personnel
• 18:34
  Speaker 2: go out of their mind for long periods of time,
• 18:37
  Speaker 2: like into a a paranoid schizophrenic type state for multiple days.
• 18:44
  Speaker 2: And several of those people ended up offering themselves after
• 18:50
  Speaker 2: those experiments were done, and a lot of them still
• 18:55
  Speaker 2: haven't really recovered because this one thing taking a hallucinin
• 19:00
  Speaker 2: genic drug, and you know that you're taking a hallucinogenic drug,
• 19:05
  Speaker 2: you know, because you can expect to feel some kind
• 19:08
  Speaker 2: of change, some kind of headspace change, some sort of
• 19:11
  Speaker 2: outward appearance change in your vision, you know your body's
• 19:16
  Speaker 2: going to feel loose and things are going to be
• 19:19
  Speaker 2: different because you're expecting it to be different. But unknowingly
• 19:25
  Speaker 2: getting dosed with some form of hallucinogenic drug is a
• 19:29
  Speaker 2: different story. That's going to do something completely different, and
• 19:35
  Speaker 2: if you're not prepared for it, you can easily go
• 19:37
  Speaker 2: into some kind of psychotic psychosis delusional state. And that's
• 19:44
  Speaker 2: kind of like what we see that's happening with Jack
• 19:47
  Speaker 2: within the movie is he gets the alcoholic drink from
• 19:51
  Speaker 2: Lloyd Whendy, comes into the Gold Room and when he
• 19:54
  Speaker 2: is like Danny was attacked by a lady upstairs in
• 20:01
  Speaker 2: one of the empty bedrooms. And then Jack goes up
• 20:03
  Speaker 2: to Room two thirty seven, opens the door and that's
• 20:07
  Speaker 2: when he encounters the very attractive woman which turns into
• 20:11
  Speaker 2: an elderly lady. But when you walk in the Room
• 20:13
  Speaker 2: to thirty seven, it's unlike anything that else that we
• 20:19
  Speaker 2: have seen exteriorly in the shining. The carpet is very vivid,
• 20:25
  Speaker 2: the carpet pops is purple and green, the couches, it's
• 20:29
  Speaker 2: very psychedelic type of scene. And later on, after Jack
• 20:35
  Speaker 2: leaves Room to thirty seven, he goes back up to
• 20:37
  Speaker 2: his room with Wendy comes in the door and Wendy
• 20:41
  Speaker 2: asked him, have you did you see anything? Did you
• 20:43
  Speaker 2: find anything? And he says, no, I didn't see one
• 20:47
  Speaker 2: one goddamn thing. I didn't see anything. So we kind
• 20:53
  Speaker 2: of theorize that it's a possibility that isn't a ghost.
• 21:03
  Speaker 2: None of the people within the Shining are ghosts. They
• 21:06
  Speaker 2: are actors playing a role within the Shining as an
• 21:11
  Speaker 2: experiment to see if they can get Jack to kill
• 21:15
  Speaker 2: his family, And it's kind of like a larp. Have
• 21:19
  Speaker 2: you seen the movie Shutter Island with Leonardo DiCaprio, Happy, Yeah,
• 21:26
  Speaker 2: I've seen it. It's almost identical to that, right, Like
• 21:29
  Speaker 2: how in Shutter Island it's this police detective that's going
• 21:34
  Speaker 2: to solve this murder at this insane asylum on this island.
• 21:40
  Speaker 2: Then a spoiler alert for Shutter Island. At the end
• 21:43
  Speaker 2: of the movie, it turns out that all these people
• 21:45
  Speaker 2: are just there. They're actors. They're they're doing this live
• 21:48
  Speaker 2: action role play for Leonardo DiCaprio's character, and he's actually
• 21:52
  Speaker 2: an inmate on the island. He's an inmate of the
• 21:55
  Speaker 2: insane asylum. And that's sort of what's going on within
• 22:00
  Speaker 2: the shining. None of these people are ghosts, they're actors,
• 22:07
  Speaker 2: they're LARPers. They're there to run this experiment to see
• 22:13
  Speaker 2: if they can get Jack to commit heinous crimes. I
• 22:17
  Speaker 2: mean whenever. Oh, back to the handprint thing. So when
• 22:22
  Speaker 2: Jacket the second time Jack is in the gold room,
• 22:24
  Speaker 2: he stands up and before he bumps in the Grady
• 22:27
  Speaker 2: and Grady spills the alcoholic drink on Jack. There's a
• 22:30
  Speaker 2: lady that walks right behind Jack and Grady and she's
• 22:34
  Speaker 2: actually the one that bumps into Grady to get him
• 22:37
  Speaker 2: to trip to spill the alcohol on Jack. And she
• 22:41
  Speaker 2: has this handprint on her ass. Now people have argued
• 22:47
  Speaker 2: with that and said that it's not really a handprint.
• 22:50
  Speaker 2: It's put into the dress, which regardless whether it's you know,
• 22:56
  Speaker 2: a part of the dress or not, it's still in
• 22:59
  Speaker 2: the form of a hamprint, which it has four fingers,
• 23:02
  Speaker 2: which is really interesting because that's what a lot of
• 23:04
  Speaker 2: people say that our you know, demonic entities have for
• 23:08
  Speaker 2: like four fingers. So regardless if it's an actual someone
• 23:14
  Speaker 2: put their handprint on her ass, or if it's made
• 23:17
  Speaker 2: into the dress to look like a hamprint, is still
• 23:19
  Speaker 2: there and no one has ever seen it until I
• 23:21
  Speaker 2: pointed it out. Then another one is also in the
• 23:27
  Speaker 2: Gold room when Alman is giving them a tour of
• 23:33
  Speaker 2: the hotel. Uh, there's a swastika in the background of
• 23:40
  Speaker 2: the gold room that's kind of faded into the wall
• 23:44
  Speaker 2: that no one has ever seen before, and I seen
• 23:47
  Speaker 2: it for the first time. And the way that I
• 23:50
  Speaker 2: seen that is I got to see the Shining on
• 23:52
  Speaker 2: the big screen. They were doing a replay of the
• 23:55
  Speaker 2: Shining in the town that I lived in a year
• 23:59
  Speaker 2: ago for Halloween, so we got to go see it
• 24:01
  Speaker 2: on the big screen. And that's how I saw the
• 24:04
  Speaker 2: swastika in the background of the gold room, and no
• 24:07
  Speaker 2: one has ever seen that before. I'm the first person
• 24:09
  Speaker 2: to ever see that, just like I was the first
• 24:11
  Speaker 2: person to see the handprint on the lady's ass as well.
• 24:15
  Speaker 2: So there are things that people can still find within
• 24:22
  Speaker 2: the Shining, just like I didn't think that I was
• 24:25
  Speaker 2: going to find anything new, but then I found two
• 24:27
  Speaker 2: things that no one has ever seen before or ever
• 24:29
  Speaker 2: commented on before.
• 24:32
  Speaker 1: Oh that's crazy. I never realized she was the first
• 24:34
  Speaker 1: person to find that handprint, because yeah, I saw it
• 24:38
  Speaker 1: in the film, but I assumed that you would have
• 24:40
  Speaker 1: found that from somebody else's And then I'll say, so,
• 24:42
  Speaker 1: that's crazy that after all these years people asked all
• 24:45
  Speaker 1: finding new stuff now, the swastika one I found really
• 24:48
  Speaker 1: interesting because when we start to talk about m kil
• 24:51
  Speaker 1: Tratt and the Monarch experiments, and then we look at
• 24:54
  Speaker 1: Operation paper Clip, which is, well, the Nazis came across
• 24:57
  Speaker 1: and a lot of them were doing experiment and we
• 25:00
  Speaker 1: know that Mengelely was really interested in doing experiments on twins.
• 25:05
  Speaker 1: It's really well documented that he would purposally seek out
• 25:08
  Speaker 1: twins to do experiments. Then we don't know exactly what
• 25:11
  Speaker 1: all of those experiments was, but I would imagine there
• 25:13
  Speaker 1: was lots of experiments to do with telekinesis and mind control,
• 25:20
  Speaker 1: and even today I don't know. I actually, I actually
• 25:23
  Speaker 1: was in a relationship with a twin for a long time,
• 25:26
  Speaker 1: and that whole psychic connection between twins is totally like true.
• 25:31
  Speaker 1: They used to buy each other the same birthday card
• 25:34
  Speaker 1: or the same Christmas card nearly every single year. It
• 25:37
  Speaker 1: was like a running joke. Out of the tens of
• 25:39
  Speaker 1: thousands of cards, they would pick the same card for
• 25:42
  Speaker 1: each other. So I've seen that myself. And when you
• 25:46
  Speaker 1: pointed out the swastika in the gold Room, and I thought, well,
• 25:52
  Speaker 1: the twins in this, and then there's the experiments that
• 25:55
  Speaker 1: Mengli did, and now you're telling me about him culture,
• 25:57
  Speaker 1: and it all started to kind of fit together a bit.
• 25:59
  Speaker 1: Is that what it was like for you?
• 26:01
  Speaker 2: That was what it was like. And we decided not
• 26:06
  Speaker 2: to go the route with the twins just for the
• 26:11
  Speaker 2: simple fact that they may not actually be twins. Because
• 26:14
  Speaker 2: in the beginning of the movie, Almen, when Almand's talking
• 26:18
  Speaker 2: to Jack, which is another really interesting part of this
• 26:21
  Speaker 2: entire movie because it's really the only Stanley Kubrick movie
• 26:24
  Speaker 2: that gives away the entire plot in the first ten
• 26:27
  Speaker 2: minutes of the movie between Almond and Jack, like Almond
• 26:30
  Speaker 2: tells Jack everything that's basically going to happen to him
• 26:35
  Speaker 2: for the rest of the movie, but it's not directly said.
• 26:39
  Speaker 2: He just says, you know, Jack, this isn't a physically
• 26:44
  Speaker 2: demanding job. This is more of a you know, a
• 26:47
  Speaker 2: psychological job because of the extreme isolation and the cavern
• 26:52
  Speaker 2: fever that some people experience when they're working up here
• 26:55
  Speaker 2: during the winter and not being around a lot of people,
• 26:57
  Speaker 2: and then he goes on to tell him about Grady
• 27:00
  Speaker 2: and how great he went through the psychological process and
• 27:02
  Speaker 2: then ended up killing his two daughters and his wife,
• 27:07
  Speaker 2: which is a really interesting aspect. But there we did
• 27:12
  Speaker 2: have some twins stuff that we were going to put
• 27:15
  Speaker 2: in there, but we thought that people would come after
• 27:20
  Speaker 2: it too much because allmend says that the two girls
• 27:24
  Speaker 2: were eight and ten years old, so that doesn't make
• 27:28
  Speaker 2: them twins, but Qbriic dresses them up around the exact
• 27:33
  Speaker 2: same age, wearing the exact same thing, so we're getting
• 27:36
  Speaker 2: the visual representation that they are twins within the movie,
• 27:41
  Speaker 2: but then it's Almonds saying that they're eight and eight
• 27:46
  Speaker 2: and ten years old, So we didn't want to have
• 27:48
  Speaker 2: any discrepancies there. But you're one hundred percent right and
• 27:51
  Speaker 2: saying that a lot of the experiments in Germany were
• 27:56
  Speaker 2: done on twins with Joseph Mangela and they were trying
• 27:59
  Speaker 2: to figure out out, you know, psychic abilities between twins
• 28:04
  Speaker 2: and that stuff, and we had some things that we
• 28:07
  Speaker 2: wanted to put in there, but just for the sake
• 28:09
  Speaker 2: of you know, people calling us out for you know,
• 28:14
  Speaker 2: putting things together that don't fit, we we took it out,
• 28:18
  Speaker 2: but it is a very interesting aspect, especially when you
• 28:21
  Speaker 2: look at which I wasn't the first person to see this.
• 28:24
  Speaker 2: This has been talked about before. Was the at the
• 28:28
  Speaker 2: very end of the movie when the when you see
• 28:34
  Speaker 2: Jack dead and then he's frozen outside when he's chasing
• 28:39
  Speaker 2: Danny through the maze and Danny retraces the steps, which
• 28:42
  Speaker 2: is exactly what an MK ultra victim would do, would
• 28:45
  Speaker 2: retrace their steps back through the program to figure out
• 28:48
  Speaker 2: what had happened to them, you know, what went down,
• 28:51
  Speaker 2: who did this to them? Where they are They have
• 28:53
  Speaker 2: to retrace their steps in their minds. So Kubrick is
• 28:55
  Speaker 2: showing that symbolically with Danny having to retrace the steps
• 28:59
  Speaker 2: in the snow in order to hide from Jack in
• 29:03
  Speaker 2: order to escape. And then at the end of the movie,
• 29:06
  Speaker 2: when the shot pans into the Overlook Hotel and then
• 29:11
  Speaker 2: you see the picture on the wall, this is July fourth,
• 29:13
  Speaker 2: nineteen twenty one, and it shows a picture of Jack
• 29:16
  Speaker 2: and Jack is then it fades to a larger picture
• 29:20
  Speaker 2: of Jack for a splitic and you can see a
• 29:23
  Speaker 2: tiny little Hitler mustache beginning to form on Jack's face,
• 29:29
  Speaker 2: so that correlates with the Nazi swastika that I also
• 29:34
  Speaker 2: seen in the background that I'm the first person to
• 29:36
  Speaker 2: ever see, and it really makes the entire thing makes
• 29:41
  Speaker 2: sense because we have Kathy O'Brien in there as well.
• 29:44
  Speaker 2: We talk about Project paper Clip and how the mk
• 29:47
  Speaker 2: ultra programs were brought over from Nazi Germany and those
• 29:50
  Speaker 2: experiments were just continued from Germany after World War Two
• 29:55
  Speaker 2: with all the aerospace people in the NASA, a rocket
• 30:01
  Speaker 2: scientist and all the other scientists that were brought over
• 30:04
  Speaker 2: on Project paper Clips. So it kind of brings the
• 30:09
  Speaker 2: whole thing full circle. And we know that that Kubrick
• 30:14
  Speaker 2: had to have been aware of the mk Ultra programs,
• 30:18
  Speaker 2: just surely based on the fact that he made a
• 30:21
  Speaker 2: Clockwork Orange, because that entire movie is about mind control,
• 30:28
  Speaker 2: that you know, beating drugs to Alex, the main character,
• 30:33
  Speaker 2: and making them watch these movies which then control his behavior.
• 30:39
  Speaker 2: And that's another thing that we get into in our
• 30:41
  Speaker 2: documentary of Clockwork Shining is we we talk about the
• 30:44
  Speaker 2: psychic driving aspect and how that plays a major role
• 30:48
  Speaker 2: because psychic driving is a real MK ultra technique that
• 30:52
  Speaker 2: was developed by human human camera in Canada. And it's
• 31:00
  Speaker 2: basically to implant a thought and an idea in somebody's
• 31:04
  Speaker 2: head in order to influence their thought patterns and ultimately
• 31:09
  Speaker 2: influence their behavior. So whenever Jack is supposedly writing this
• 31:14
  Speaker 2: book all day long and Wendy comes in and sees
• 31:18
  Speaker 2: that he is not actually writing a book, he's not
• 31:22
  Speaker 2: actually writing a novel. He's just writing the same sentence
• 31:26
  Speaker 2: over and over again, and she discovers it and he
• 31:33
  Speaker 2: becomes triggered. And there's several instances of that in real life.
• 31:39
  Speaker 2: And that's another really interesting thing about Cubreaic. It seems
• 31:44
  Speaker 2: like a lot of his movies really echo real life
• 31:52
  Speaker 2: in a lot of ways.
• 31:53
  Speaker 4: Like with The.
• 31:53
  Speaker 2: Clockwork Orange, there were crime roads like heavily after the
• 31:59
  Speaker 2: movie came out as murders, they were called the Clockwork
• 32:02
  Speaker 2: Murders and it ended up getting banned in several countries,
• 32:06
  Speaker 2: and he and Kubrick actually banded in the UK himself
• 32:11
  Speaker 2: and then with Sue Lyon that we talked about in
• 32:14
  Speaker 2: the documentary which was the star of the movie Lolita,
• 32:17
  Speaker 2: which is about pedophilia and a young girl being basically
• 32:24
  Speaker 2: taken advantage of at a really young age. That played
• 32:27
  Speaker 2: out in real life. That was the exact same what
• 32:30
  Speaker 2: the movie is about was what happened to her in
• 32:33
  Speaker 2: real life with Kubrick's producer for Lolita, which was thirty
• 32:37
  Speaker 2: five and she was thirteen at the time, which that
• 32:42
  Speaker 2: completely erecked and destroyed her career, and the same with
• 32:47
  Speaker 2: Shelley Duval within The Shining. It's almost verbatim. The exact
• 32:53
  Speaker 2: same thing was Sue Lyon and Lolita, which was a
• 32:56
  Speaker 2: Stanley Kubrick movie, and then with The Shining with Shelley Duvall,
• 33:00
  Speaker 2: which is another Stanley Kubrick movie that almost the exact
• 33:02
  Speaker 2: same thing happened. Besides, you know, Shelley Duvall, she wasn't
• 33:08
  Speaker 2: under age and she didn't I don't think that she
• 33:11
  Speaker 2: suffered any sexual abuse during the filming of The Shining,
• 33:14
  Speaker 2: but in the way that the abuse from Stanley Kubrick
• 33:18
  Speaker 2: basically ruined her entire career. It brought her down to
• 33:22
  Speaker 2: a level. And then it's like, oh, well, you know
• 33:25
  Speaker 2: what is Cubrick doing there, because some of the things
• 33:28
  Speaker 2: that he was saying and doing to Shelley Duval is
• 33:33
  Speaker 2: some of the way that you would want to break
• 33:36
  Speaker 2: somebody down in an MK ultra experiment, you know, he
• 33:40
  Speaker 2: was telling the staff not to pay attention to her,
• 33:45
  Speaker 2: don't you know, cater to her needes, don't empathize with Shelley.
• 33:48
  Speaker 2: He was giving her a really, really hard time, and
• 33:49
  Speaker 2: his excuse for that was, well, he wanted to get
• 33:52
  Speaker 2: a really good performance out of her, while you know,
• 33:54
  Speaker 2: it wrecked and ruined her career. If you look at
• 33:56
  Speaker 2: Shelley Duval's career, she wasn't really in anything after that movie,
• 34:00
  Speaker 2: and she ended up on Doctor Phil and she looked like,
• 34:06
  Speaker 2: you know, not good. Her life was not going good
• 34:10
  Speaker 2: in a trajectory, and she actually passed away this year.
• 34:14
  Speaker 2: But it's just interesting how the movie is an experiment.
• 34:21
  Speaker 2: Stanley Kubrick was running an experiment within the movie while
• 34:24
  Speaker 2: he's rewriting the movie. As the movie is being filmed,
• 34:27
  Speaker 2: he's also running an experiment on the actors, and then
• 34:30
  Speaker 2: it's an experiment on the audience too that is watching it.
• 34:35
  Speaker 2: It's like it's a triple quadruple whammy of a movie.
• 34:40
  Speaker 2: And I don't think that there's ever been anything that
• 34:45
  Speaker 2: comes close to it.
• 34:48
  Speaker 1: Yeah, that's extremely distabbing to think about, and list as
• 34:52
  Speaker 1: will probably be a way that there's many other films
• 34:55
  Speaker 1: by Kubrick, like you mentioned that, I've implicated in other things.
• 34:58
  Speaker 1: So besides his actual Hollywood films, people believe, as I
• 35:03
  Speaker 1: do as well, that the moon landing videos were actually
• 35:07
  Speaker 1: created by Kubic and he was the guy who faked
• 35:10
  Speaker 1: the moonlanding, helped them to fake it. But then also
• 35:12
  Speaker 1: you've got Space Odyssey and the Monolith, and there's lots
• 35:19
  Speaker 1: of civil ink ups to nine to eleven in that.
• 35:21
  Speaker 1: And if you look at the ground zero site, there's
• 35:24
  Speaker 1: a big black Hilton Hotel that looks a lot like
• 35:26
  Speaker 1: the Monolith now that looks over that site, so there's
• 35:31
  Speaker 1: a lot of people who have done work on that.
• 35:32
  Speaker 1: Then there's also Eyes Wide Shut, which some people today
• 35:35
  Speaker 1: speculate got Stanley Kubrick killed. I don't think it did personally.
• 35:39
  Speaker 1: I think all of his movies a revelation of method,
• 35:43
  Speaker 1: revelation of the occult and what's going on behind the scenes.
• 35:47
  Speaker 1: So I don't think it got him killed, but it
• 35:49
  Speaker 1: certainly gave his insights into maybe what could be happening
• 35:53
  Speaker 1: behind the scenes. Then, of course the Clockwise Orange, like
• 35:56
  Speaker 1: you said, Lolita, which literally child groomming was happening on
• 36:02
  Speaker 1: the set of the actress, as you said, which is wild.
• 36:05
  Speaker 1: And then you've got this film that we're talking about,
• 36:08
  Speaker 1: which is The Shining And it's your assession and your
• 36:12
  Speaker 1: theory that actually this film is revealing to us how
• 36:15
  Speaker 1: they not only mind control people in terms of like
• 36:19
  Speaker 1: a Manicurian candidate to kill somebody or to make them
• 36:22
  Speaker 1: go crazy, but also how they enact that on the masses.
• 36:25
  Speaker 1: And you talk about the book by Dave McGowan Gowing
• 36:29
  Speaker 1: about Laurel Canyon, which we've discussed a lot on this
• 36:31
  Speaker 1: shab Had Matt said you on three times where we
• 36:33
  Speaker 1: spoke about the county culture, the Fabian society, and how
• 36:37
  Speaker 1: all that stuff was engineered with the Beatles, And there's
• 36:41
  Speaker 1: a lot there, righter, So let's maybe try and kind
• 36:44
  Speaker 1: of dissect it a bit. Let's begin maybe with the
• 36:47
  Speaker 1: Alien the film. You mentioned about the book Capturing the Rye,
• 36:51
  Speaker 1: which is a book some listeners may be aware, but
• 36:53
  Speaker 1: can you just talk about the significance of that and
• 36:56
  Speaker 1: why it's so important that that's in the film as well.
• 37:00
  Speaker 2: That's a fantastic question, and thank you for bringing it up,
• 37:04
  Speaker 2: because not a lot of people realize that that's what
• 37:08
  Speaker 2: Wendy is reading. The first time that we meet Wendy
• 37:10
  Speaker 2: and Danny in the movie, she's reading a book by
• 37:13
  Speaker 2: an intelligence officer J. D. Salinger called Catcher and the Rye,
• 37:19
  Speaker 2: and many scholars and researchers have linked this book to
• 37:23
  Speaker 2: being a mind control MK Ultramanchurian style candidate trigger for assassinations.
• 37:34
  Speaker 2: And there's real life examples of that with two assassinations,
• 37:42
  Speaker 2: two really famous assassinations that happened within a year of
• 37:46
  Speaker 2: the release of The Shining, which was the the Mark
• 37:52
  Speaker 2: David Chapman murder and the John Hinckley attempted assassination of
• 37:56
  Speaker 2: Ronald Reagan. Was so John Lennon and Ronald Reagan and
• 38:03
  Speaker 2: they were found on the scene of both of those assassinations,
• 38:07
  Speaker 2: and which is so interesting because I never really understood,
• 38:13
  Speaker 2: which we really get into in the movie with Joe Atwell,
• 38:17
  Speaker 2: he has a really good, I think, interpretation of what
• 38:22
  Speaker 2: Catcher in the Rye really means. He thinks he's decoded
• 38:28
  Speaker 2: it and believes that it's more along the lines of
• 38:32
  Speaker 2: a the free Masonic trajectory that a member would go
• 38:36
  Speaker 2: through on their way up through the ranks and within Freemasonry,
• 38:41
  Speaker 2: and that the book being there at the John Lennon
• 38:45
  Speaker 2: murder assassination and the Ronald Reagan attempted assassination was like
• 38:53
  Speaker 2: a warning to Freemasons to like, you know, keep their
• 38:56
  Speaker 2: mouth shut, which kind of goes in line with Eyes
• 39:01
  Speaker 2: Wide Shut, I believe, because that whole entire movie is,
• 39:06
  Speaker 2: you know, nothing but free Masonic symbolism within there. I mean,
• 39:11
  Speaker 2: in the first you know, ten minutes of the movie,
• 39:15
  Speaker 2: you have Nicole Kidman's character dancing with this with this gentleman,
• 39:20
  Speaker 2: and there's seven pointed stars all around them. A seven
• 39:23
  Speaker 2: pointed star is you know, the the symbol for Venus,
• 39:28
  Speaker 2: and Venus is the morning star, which is Lucifer. So
• 39:33
  Speaker 2: you have all these strange occult to meetings that are
• 39:35
  Speaker 2: hidden within Eyes Wide Shot that we mentioned in our
• 39:41
  Speaker 2: movie at Clockwork Shiny. But I never really understood why
• 39:44
  Speaker 2: Catcher in the Rye was such like it was a
• 39:48
  Speaker 2: recommended reading. I don't think that it wasn't necessarily where
• 39:52
  Speaker 2: you were, but like in the United States, it was
• 39:55
  Speaker 2: like a it was a must have reading. Like all
• 39:58
  Speaker 2: the public schools in America like basically forced all the
• 40:03
  Speaker 2: students to read this book. And I never really understood
• 40:09
  Speaker 2: that because Ketcher in the Rye is such abysmal, bad nonsensical,
• 40:15
  Speaker 2: doesn't really do anything for the reader. It's like this,
• 40:20
  Speaker 2: It's just like a strange, weird book that doesn't really
• 40:23
  Speaker 2: make a lot of sense, but whenever you decode it,
• 40:26
  Speaker 2: you get these hidden, hidden meanings. And Joe Atwell has
• 40:31
  Speaker 2: done an amazing job with decoding it. And I don't
• 40:35
  Speaker 2: want to give too much away within this conversation because
• 40:38
  Speaker 2: I want people to, you know, watch the movie and
• 40:40
  Speaker 2: get his interpretation of what the what Catcher in the
• 40:44
  Speaker 2: Rye really means. But the Catcher in the Rye fits
• 40:48
  Speaker 2: in with our hypothesis of the Shining because it is
• 40:53
  Speaker 2: a It's been labeled as a Manchurian style man Manchurian
• 40:58
  Speaker 2: candidate MK ultra assassin trigger. And what is Jack doing
• 41:06
  Speaker 2: throughout the movie. He's trying to kill his family. He's
• 41:10
  Speaker 2: trying to kill Wendy and Danny. So it's uh, in
• 41:15
  Speaker 2: I don't think the very many people have put two
• 41:18
  Speaker 2: and two together that what Catcher in the Rye actually
• 41:24
  Speaker 2: represents and why Windy is reading Catcher in the Rye
• 41:28
  Speaker 2: in the beginning of the movie and Jack within the
• 41:30
  Speaker 2: movie is a writer, so it's uh, it's stands to
• 41:35
  Speaker 2: reason that it was probably his copy of Catcher in
• 41:39
  Speaker 2: the Rye that Wendy is reading in Boulder while Jack
• 41:43
  Speaker 2: is at the overlook doing the interview with Omen.
• 41:50
  Speaker 1: Yeah. No, I thought that was an extremely important thing
• 41:54
  Speaker 1: that you picked up on. And you know, actually, I
• 41:56
  Speaker 1: think you could just do a whole film just on that,
• 42:00
  Speaker 1: just on the Catcher in the Right and the linkups
• 42:02
  Speaker 1: to it, because it is symbolic of a Manchurian candidate,
• 42:05
  Speaker 1: isn't it. It's been found at different scenes of assassinations
• 42:09
  Speaker 1: and it's linked to the assassin. But what was really
• 42:12
  Speaker 1: mind blowing for me was that two of those attempts.
• 42:14
  Speaker 1: One of them was John Lennon, which was successful as
• 42:18
  Speaker 1: far as were told. The other one was Ronald Reagan,
• 42:20
  Speaker 1: which we was told wasn't success. Well, it wasn't successful
• 42:23
  Speaker 1: because he continued to live. But we was told the
• 42:26
  Speaker 1: book was being carried by Hinckley at the time he
• 42:30
  Speaker 1: tried to do it, but they didn't happen till after
• 42:33
  Speaker 1: the film. So if this was revelation of method, and
• 42:37
  Speaker 1: Stanley Kubrick was trying to tell us, listen, if you understand,
• 42:43
  Speaker 1: if you can decode my film, I'm telling you about
• 42:46
  Speaker 1: m Cultra, the Monarch Project and how we do mind control.
• 42:50
  Speaker 1: I'm doing it on you whilst you watch it, and
• 42:52
  Speaker 1: also I'm going to tell you that we're doing it
• 42:54
  Speaker 1: to other people. And he puts that book in the film.
• 42:57
  Speaker 1: He's literally telling you. And then a year later there's
• 42:59
  Speaker 1: two side nation attempts linked to people that were carrying
• 43:02
  Speaker 1: this book, and that just is pretty unsetly actually to
• 43:06
  Speaker 1: think about that he was wanting people. Well, I don't know,
• 43:09
  Speaker 1: how do you interpret he wasn't wanting people. Would you
• 43:12
  Speaker 1: almost say that it's kind of mocking people, you know,
• 43:14
  Speaker 1: that is the showing us these things.
• 43:17
  Speaker 3: Yeah.
• 43:17
  Speaker 2: I actually have a book right here on the one
• 43:20
  Speaker 2: hundred most Famous Criminals that I thrifted, and I read
• 43:25
  Speaker 2: through it and there's a section on Mark David Chapman
• 43:30
  Speaker 2: and it says at the end of the chapter that
• 43:35
  Speaker 2: what he did in which we also show in our
• 43:37
  Speaker 2: movie with the Sixth Sense with Will Smith, where Will
• 43:40
  Speaker 2: Smith is talking about Catcher in the Rye. He's given
• 43:42
  Speaker 2: an explanation of Catcher in the Ryan He goes through
• 43:45
  Speaker 2: the Mark David Chapman and John Hinckley assassination and at
• 43:52
  Speaker 2: the end of this chapter on Mark David Chapman. He
• 43:55
  Speaker 2: says that he stood up in his in court and
• 43:59
  Speaker 2: said that if you if the jury wants his defense
• 44:02
  Speaker 2: on why he assassinated John Lennon, all they have to
• 44:08
  Speaker 2: do is recatch her in the Rye. And then at
• 44:10
  Speaker 2: the end of the chapter it says that a psychologist
• 44:15
  Speaker 2: went to visit Chapman in prison a couple of years
• 44:21
  Speaker 2: after he had shot John Lennon that he was still
• 44:26
  Speaker 2: reading Catcher in the Rye. It's wild, dude, Like, I mean,
• 44:37
  Speaker 2: there's no.
• 44:37
  Speaker 1: Other thing with J. D. Sellinge's wife as well, No,
• 44:43
  Speaker 1: I do not, do you have any information on it? Yeah?
• 44:46
  Speaker 1: So JD. Salinger when in fact there's a lot in
• 44:50
  Speaker 1: common between him and Cubick and that they were both
• 44:53
  Speaker 1: considered reclusively on in life. But J D. Salinger he
• 44:58
  Speaker 1: moved to a place called Colnish and he was known
• 45:01
  Speaker 1: for cotting high school students there, so they were like
• 45:04
  Speaker 1: coming to his house and he was supposedly mentoring them,
• 45:07
  Speaker 1: but knowing what we know about the mind control projects,
• 45:11
  Speaker 1: And I think JD. Salinger was probably in on this too,
• 45:14
  Speaker 1: because he was said to have been a disciple of
• 45:19
  Speaker 1: a New Age prophet who was a disciple himself of Yogananda,
• 45:23
  Speaker 1: which we know was linked to the New Age and
• 45:25
  Speaker 1: that SiGe of Then he was part of this group
• 45:30
  Speaker 1: called the Dionetics, which was scientology. It's like the fair scientology,
• 45:35
  Speaker 1: but here's the really crazy bit so which.
• 45:37
  Speaker 2: Is also linked to the Process Church as well.
• 45:41
  Speaker 1: We've done a load of work on this. But also
• 45:43
  Speaker 1: his wife, Claire Salinger. When JD. Salander and Claire had
• 45:47
  Speaker 1: their daughter, Margaret, she believed that JD. Salander was obsessed
• 45:52
  Speaker 1: with the daughter and no longer gave her attention, and
• 45:57
  Speaker 1: later on in life, Margaret said that her mother, clar Signer,
• 46:00
  Speaker 1: plotted to murder her. Her mother admitted this to her
• 46:03
  Speaker 1: that when you was a baby, I plotted to murder
• 46:05
  Speaker 1: you and then kill myself. Now, knowing what we know
• 46:09
  Speaker 1: about J. D. Seiginger and all of the link ups
• 46:12
  Speaker 1: to these projects, could it be that his wife, who
• 46:16
  Speaker 1: was a young woman like a teenager pretty much when
• 46:18
  Speaker 1: they met, that he was applying these techniques to hair.
• 46:22
  Speaker 1: And it links kind of through to what you're saying
• 46:26
  Speaker 1: about Kubrick. So it feels like all of these people
• 46:29
  Speaker 1: that were around this book capturing the right and then
• 46:32
  Speaker 1: Cubrick around these films that they were in on something
• 46:35
  Speaker 1: much bigger than maybe history has ever figured out. I
• 46:39
  Speaker 1: think you are the first people to really start breaking
• 46:42
  Speaker 1: through on this. So it's yeah, that's just something that
• 46:45
  Speaker 1: I that I figured out about JD. Singer. And when
• 46:48
  Speaker 1: I head about that and then thought about your documentary
• 46:51
  Speaker 1: lighted it, I thought, wow, so maybe this was going
• 46:53
  Speaker 1: on in his family too with his wife.
• 46:56
  Speaker 2: That is really interesting. Thank you for thank you for
• 46:59
  Speaker 2: bringing that up. I will definitely make a note of
• 47:01
  Speaker 2: that because we may actually be making an extended version
• 47:06
  Speaker 2: of this movie and adding a bunch of other things
• 47:10
  Speaker 2: into it. Because I could have usually have made this
• 47:12
  Speaker 2: movie three or four hours long, you know, but it
• 47:19
  Speaker 2: was hard enough on me making an almost two hour
• 47:22
  Speaker 2: long movie that I didn't want to I didn't want
• 47:26
  Speaker 2: to make it any longer than I.
• 47:29
  Speaker 1: I think you guys nailed in that film, because, like
• 47:31
  Speaker 1: I said, when you watch it, you go away, and
• 47:34
  Speaker 1: it's it's a bit of a Pandora's box, like I'm
• 47:37
  Speaker 1: not sure I'm gonna be able to know what I
• 47:39
  Speaker 1: truly feel about it. Besides, I enjoyed it for a
• 47:42
  Speaker 1: long time because it links to to so many other
• 47:45
  Speaker 1: things that we've leant about in the past, and yeah,
• 47:49
  Speaker 1: it's kind of disturbing. I think that's the problem is
• 47:51
  Speaker 1: you're so disturbed by the thought of it all that
• 47:53
  Speaker 1: you think, well, what else is hidden? You know, what
• 47:55
  Speaker 1: else is hidden in his other movies? And maybe we
• 47:58
  Speaker 1: could talk a little bit about Hubrick. How did how
• 48:02
  Speaker 1: because all of the things you're talking about with these
• 48:04
  Speaker 1: projects that came killed Tramonich, they were only these the
• 48:08
  Speaker 1: classified like decades after. So how was he so involved
• 48:11
  Speaker 1: in these intelligence communities? What was what do you think
• 48:14
  Speaker 1: his role was? Why did they choose him?
• 48:17
  Speaker 2: Well, we have a document that we show in the
• 48:19
  Speaker 2: movie that is from the US Information Agency that basically
• 48:24
  Speaker 2: cites that they're looking at Stanley Kubrick for some unknown
• 48:29
  Speaker 2: government project along with Phil with other along with four
• 48:33
  Speaker 2: other film famous film directors. Uh and it stated in
• 48:38
  Speaker 2: the document that Qubriic is being is most promising for
• 48:43
  Speaker 2: this role within the government. And we also know that
• 48:47
  Speaker 2: the government was making a lot of films at Lookout
• 48:54
  Speaker 2: Mountain Air Force Base on top of Laurel Canyon in California,
• 48:57
  Speaker 2: right outside of la Lookout Mountain Air Force Base was
• 49:01
  Speaker 2: a top secret basically a movie studio ran by the
• 49:06
  Speaker 2: Air Force. Thousands and thousands of films were made up there.
• 49:12
  Speaker 2: We don't really know exactly what was happening up there
• 49:15
  Speaker 2: because a lot of it is still classified to this
• 49:18
  Speaker 2: very day, but several people had top security clearance for it.
• 49:22
  Speaker 2: A lot of top actors had security clearance for it.
• 49:26
  Speaker 2: Ronald Reagan had top security clearance to be there. Marilyn Monroe,
• 49:31
  Speaker 2: James Stewart, carry Grant all had top secret security clearance
• 49:37
  Speaker 2: up there at Lookout Mountain Air Force Base. And that's
• 49:40
  Speaker 2: where which I'm sure a lot of people are already familiar,
• 49:44
  Speaker 2: that a lot of the atomic test footage was shot
• 49:51
  Speaker 2: up there at Lookout Mountain Air Force Base on miniature sets.
• 49:56
  Speaker 2: So these weren't being filmed by like they weren't a
• 50:00
  Speaker 2: real atomic bomb and like filming it, it was done
• 50:04
  Speaker 2: on a tiny miniature set to emulate the effects of
• 50:09
  Speaker 2: what a nuclear bomb drop would be.
• 50:13
  Speaker 1: Wow. And do you think that they were faking the
• 50:16
  Speaker 1: nuclear tests and art? Do you believe that nuclear bombs
• 50:20
  Speaker 1: a rail and this was just something else they were
• 50:23
  Speaker 1: doing to try and not have to film the rail ones.
• 50:26
  Speaker 2: I think that that's more like the scenario that they
• 50:30
  Speaker 2: did it because they didn't, because how's the camera going
• 50:33
  Speaker 2: to survive a nuclear bomb exploding? It's not like everything
• 50:39
  Speaker 2: around You're telling me everything around it, like an entire
• 50:41
  Speaker 2: house is like obliterated, and like everything is destroyed in
• 50:46
  Speaker 2: a very large radius around this bomb dropping and the
• 50:50
  Speaker 2: camera survives. It doesn't make any sense. It makes logical
• 50:54
  Speaker 2: no logical sense. So I can't really I don't really
• 51:02
  Speaker 2: know what to say about the atomic bomb atomic bomb
• 51:05
  Speaker 2: situation because I'll be yelled out either way that that
• 51:08
  Speaker 2: I go with it.
• 51:10
  Speaker 5: I'd be like, oh, yeah, what do you mean you
• 51:12
  Speaker 5: don't but you you believe that atomic bombs are real.
• 51:14
  Speaker 5: You're stupid, you're a you're an agent, you're working for
• 51:17
  Speaker 5: the government. And then I'd be like, oh, well they
• 51:20
  Speaker 5: aren't real, and then they'll be like, what are you
• 51:22
  Speaker 5: talking about.
• 51:22
  Speaker 2: They're definitely real, look at Hiroshima and Nagasaki and all
• 51:25
  Speaker 2: this stuff. So I just don't want to comment.
• 51:27
  Speaker 1: On no no people dream time. You know. I I
• 51:32
  Speaker 1: was wearing one of I was wearing jumper the other
• 51:35
  Speaker 1: night on the live stream, and one of the first
• 51:38
  Speaker 1: comments I got was, Mike's jump has got freemasonic symbols
• 51:42
  Speaker 1: on it. It was a zig zag pattern. It's from
• 51:44
  Speaker 1: a you call it a fifth Star. Over in the US,
• 51:47
  Speaker 1: we call it a charity store. And you know, it's,
• 51:51
  Speaker 1: like you said in Today's Wild, while you've got people
• 51:54
  Speaker 1: who are so lacking in dessentment, and also online where
• 51:58
  Speaker 1: people feel they can literally be the West version of themselves,
• 52:02
  Speaker 1: then yeah, it's hard, particularly in the roles that we've got,
• 52:06
  Speaker 1: and you've got while you're actually trying to put something
• 52:09
  Speaker 1: good out and people then will just take a swipe
• 52:11
  Speaker 1: at it making some stupid remarks. So no, I think
• 52:14
  Speaker 1: you're right not to make a comment on that. But
• 52:16
  Speaker 1: essentially there's a studio on an air Force base and
• 52:22
  Speaker 1: it's the Laurel Canyon Studio. So this is where you
• 52:24
  Speaker 1: had all of these different bands and John Morrison the
• 52:28
  Speaker 1: Doors and all of these hippies that were gone to
• 52:30
  Speaker 1: form a counterculture. This is where it took place, right,
• 52:33
  Speaker 1: it's the same region in Laurel Canyon.
• 52:36
  Speaker 2: Yes, that is on the top of Laurel Canyon where
• 52:39
  Speaker 2: all the bands came out of the Monkeys, Frank Zappa
• 52:44
  Speaker 2: the Doors, which is another really interesting part of our documentary.
• 52:49
  Speaker 2: And then I think it kind of catches a lot
• 52:51
  Speaker 2: of people off guard because it's not only about you know,
• 52:54
  Speaker 2: Stanley Kubrick and the shining and the clockwork orange. It's
• 52:56
  Speaker 2: also about the music industry, it's about the film industry,
• 52:59
  Speaker 2: it's about these intelligence communities, is about the military. It's
• 53:02
  Speaker 2: a multi layered documentary. And that's one of the things
• 53:07
  Speaker 2: that I think, I mean even kind of shocked me.
• 53:09
  Speaker 2: I even had a realization. And that's no joke. I
• 53:12
  Speaker 2: had a realization as I was making the movie and
• 53:15
  Speaker 2: putting all this stuff together, I'm like, holy shit, this
• 53:18
  Speaker 2: is why people can never really make it like you can.
• 53:22
  Speaker 2: You can be the best at whatever it is that
• 53:25
  Speaker 2: you do. You can be the best freaking podcaster in
• 53:29
  Speaker 2: the world. You can be the best singer in the world.
• 53:32
  Speaker 2: You can be the best movie maker in the world.
• 53:35
  Speaker 2: But if you don't have the right connections, if you
• 53:38
  Speaker 2: don't have the right people behind you, then you're never
• 53:41
  Speaker 2: going to get anywhere. You be the best guitar player
• 53:46
  Speaker 2: in the world, and it's not going to matter because
• 53:50
  Speaker 2: you don't have the backing of a certain group of people.
• 53:56
  Speaker 2: Your family isn't a part of this group. You come
• 54:00
  Speaker 2: from a background that doesn't have the famous gene as
• 54:07
  Speaker 2: they say, you know it's it's not and you're not
• 54:11
  Speaker 2: going to make it. And that's a sad reality.
• 54:15
  Speaker 1: And in this instance, it's not actually even that you're
• 54:18
  Speaker 1: coming from, like, let's say, an elite family. This is
• 54:22
  Speaker 1: actually more a case of your family is tied in
• 54:25
  Speaker 1: with elites or is part of the military industrial complex
• 54:29
  Speaker 1: or intelligence or worked for presidents. So it's more like
• 54:33
  Speaker 1: they're choosing people who are going to go on to
• 54:36
  Speaker 1: shape culture, who have connections to the people who are
• 54:41
  Speaker 1: going to try and do sye ops on our minds,
• 54:45
  Speaker 1: and they want to have those people selected because they're
• 54:49
  Speaker 1: going to be willing to go along with it. So
• 54:51
  Speaker 1: it's actually more about mind control, isn't it. Then? You know,
• 54:54
  Speaker 1: it's not like it's not like, oh, I'm the son
• 54:56
  Speaker 1: of a famous guitarist, now I'm going to be a
• 54:58
  Speaker 1: famous guitarist. It's like, no, I'm the of a military
• 55:01
  Speaker 1: general who works in intelligence, and I'm going to now
• 55:04
  Speaker 1: take people to a more debauched culture and society for
• 55:08
  Speaker 1: drugs and hedonism.
• 55:09
  Speaker 2: That's right, That's exactly right. And that's what we find
• 55:13
  Speaker 2: throughout the sixties is all of these musicians, all of
• 55:18
  Speaker 2: the real famous people through the sixties. All had military fathers.
• 55:24
  Speaker 2: They had family that was high ranking military generals. Jim
• 55:29
  Speaker 2: Morrison's dad was responsible for the Gulf of Tonkin incident,
• 55:32
  Speaker 2: which was a false flag that god US into the
• 55:35
  Speaker 2: Vietnam War that killed thousands and thousands of people. Bob
• 55:39
  Speaker 2: Marley's dad was a British naval commander. Sharon Tate's dad
• 55:45
  Speaker 2: was a military officer. So when you look at all
• 55:49
  Speaker 2: these people and you see that, I mean, it would
• 55:51
  Speaker 2: be a coincidence if it was just one or two
• 55:53
  Speaker 2: of them, but it's all of them, every single one
• 55:56
  Speaker 2: of them all have military family, like high ranking military
• 56:00
  Speaker 2: I'm not just talking to some entry level military guy.
• 56:04
  Speaker 2: And that that really explains why Jim Morrison was the
• 56:08
  Speaker 2: way that he was and why he could do whatever
• 56:11
  Speaker 2: he wanted to do because he knew that in the
• 56:14
  Speaker 2: end it wouldn't matter because his dad is this high
• 56:17
  Speaker 2: up military general that's going to get him out of
• 56:19
  Speaker 2: any of this trouble. It was a it was a
• 56:22
  Speaker 2: concoction by the military, basically the same as you know
• 56:27
  Speaker 2: what people have researched and studied and have put together
• 56:31
  Speaker 2: on the Beatles that the Beatles is a CIA led
• 56:37
  Speaker 2: group to put out this this music. And it's the
• 56:41
  Speaker 2: same way with Jim Morrison. It's the same thing with
• 56:45
  Speaker 2: all of these people. And it's so interesting too, is
• 56:48
  Speaker 2: like when you look at the sixties in the counterculture,
• 56:51
  Speaker 2: because you know, we know that the CIA basically started
• 56:54
  Speaker 2: the counterculture to ruin the anti war movement, to stomp
• 56:57
  Speaker 2: out the anti war movement, and then once they got this,
• 57:02
  Speaker 2: once they created this monster, they're thinking, oh, well, how
• 57:06
  Speaker 2: do we now get rid of this culture that we
• 57:09
  Speaker 2: have created, which is pretty much the hippie movement. How
• 57:13
  Speaker 2: do we get rid of these Well, I know what
• 57:14
  Speaker 2: we'll do. We'll we'll try and influence this Charles Manson
• 57:19
  Speaker 2: guy to do the things that we want him to do.
• 57:23
  Speaker 2: And then he ends up his crew ends up murdering
• 57:27
  Speaker 2: Charon Tate and two others, and then it's over. Because
• 57:32
  Speaker 2: now it's been associated with serial killers, murders and crime,
• 57:41
  Speaker 2: no one will want to be a part of it.
• 57:42
  Speaker 2: And that's pretty much exactly what happened after the Manson
• 57:45
  Speaker 2: Tate murders happened. The sixties was over, it was done,
• 57:50
  Speaker 2: and they just pretty much, you know, wash their hands
• 57:54
  Speaker 2: of the whole thing. It was a way to get
• 57:57
  Speaker 2: rid of something that they created. And that's so interesting
• 58:02
  Speaker 2: that they were the ones that fed the LSD to
• 58:06
  Speaker 2: all these people, They're the ones that distributed it, put
• 58:10
  Speaker 2: it out to the public, and then people are having
• 58:14
  Speaker 2: you know, that basically ruined the anti war movement, and
• 58:19
  Speaker 2: they're like, okay, well, what do we do now, how
• 58:21
  Speaker 2: do we, you know, take care of this other problem
• 58:23
  Speaker 2: that we actually did create. And then they just started
• 58:28
  Speaker 2: inserting serial killers into the mix, and then the Charles
• 58:31
  Speaker 2: Manson and just got rid of the entire hippie movement.
• 58:34
  Speaker 2: It was over, it was done with, So it wasn't
• 58:37
  Speaker 2: necessarily like a staged event. I know Mark Devlin feels
• 58:42
  Speaker 2: differently about this. He believes that it was that the
• 58:49
  Speaker 2: the Manson Tate murders was like completely staged, which is
• 58:56
  Speaker 2: not out of the realm of possibility. But we know
• 59:00
  Speaker 2: that people throw around the words staged like that it's
• 59:06
  Speaker 2: that every detail is like planned out, and that it
• 59:09
  Speaker 2: that because it's stage. That means that it's that everything
• 59:12
  Speaker 2: was fake. But that's not the case. Like, what I
• 59:17
  Speaker 2: think that these people do is that they just take
• 59:19
  Speaker 2: advantage of a situation. They take advantage of a group
• 59:24
  Speaker 2: of people or an individual and they try and influence
• 59:28
  Speaker 2: them to do what they want them to do, and
• 59:32
  Speaker 2: sometimes they do and sometimes they don't. That's why they
• 59:35
  Speaker 2: work on multiple people all at the same time, because
• 59:40
  Speaker 2: they know that one of them are going to go
• 59:42
  Speaker 2: in the direction that they want them to go. That's
• 59:46
  Speaker 2: how agents work. Agents don't come out and outright deny
• 59:52
  Speaker 2: something or confirm something. They just kind of push you
• 59:59
  Speaker 2: this kind of nudge you in the direction that they
• 1:00:03
  Speaker 2: want you to go. You know, they'll just kind of
• 1:00:05
  Speaker 2: play a little seed and then they'll see if that
• 1:00:09
  Speaker 2: seed sprouts into a flower or not if a flower
• 1:00:15
  Speaker 2: might be too pretty, you know. But it's just an
• 1:00:20
  Speaker 2: example of the way that it works.
• 1:00:25
  Speaker 1: Yeah, I think so too. I think they seem to
• 1:00:29
  Speaker 1: have a very sophisticated tool box. I think a lot
• 1:00:31
  Speaker 1: of the things we're talking about were probably they're first
• 1:00:36
  Speaker 1: steps into this mass mind control. Like they figured out
• 1:00:39
  Speaker 1: they could start to wap people on an individual level
• 1:00:42
  Speaker 1: with all of the experiments they did on people in
• 1:00:45
  Speaker 1: mental hospitals back in like the fifties and sixties, and
• 1:00:49
  Speaker 1: then you got to these massive cultural movements and it
• 1:00:51
  Speaker 1: was like, right now, can we shape an entire culture
• 1:00:55
  Speaker 1: and a scene of like a group of young people.
• 1:00:58
  Speaker 1: And then if you look at where we are today, right,
• 1:01:00
  Speaker 1: it's like an entire civilization through Netflix and Hollywood and TV,
• 1:01:06
  Speaker 1: and they're very successful at it. I mean, we've got
• 1:01:10
  Speaker 1: basically in the society, we've got two groups. We've got
• 1:01:13
  Speaker 1: the left and the right, and both of them are
• 1:01:15
  Speaker 1: mass mind controlled by their specific party and group. And
• 1:01:20
  Speaker 1: there's very few people now that are not influenced on
• 1:01:23
  Speaker 1: some level. I'd say the majority of what people think
• 1:01:27
  Speaker 1: has been handed to them through narratives and therefore will
• 1:01:30
  Speaker 1: be filled with lies and deceptions. And it's become so normalized.
• 1:01:33
  Speaker 1: And a big part of that is Hollywood, because we
• 1:01:35
  Speaker 1: grew up absorbed in TV and Hollywood that when they
• 1:01:39
  Speaker 1: create deceptions. Now in the real world, it's normalized because
• 1:01:43
  Speaker 1: we've been watching these films, so we actually believe they're
• 1:01:46
  Speaker 1: fake narratives in the real world, like this happened to
• 1:01:49
  Speaker 1: this person, this sigh up over here, this politician over there.
• 1:01:52
  Speaker 1: We actually believe that stuff because it feels like the film,
• 1:01:56
  Speaker 1: and the film feels like reality. We've bled them. We
• 1:01:58
  Speaker 1: don't know what's real anymore.
• 1:02:00
  Speaker 2: That is completely right, And a big cause of that
• 1:02:05
  Speaker 2: is confusion, right. They want the public confused, and they
• 1:02:08
  Speaker 2: want the public questioning their entire reality and to soak
• 1:02:13
  Speaker 2: in this nihilistic view of humanity that you will accept
• 1:02:21
  Speaker 2: whatever it is because you don't think that any of
• 1:02:24
  Speaker 2: it can change, like that nothing is that is too
• 1:02:29
  Speaker 2: big for you to do anything about it. So therefore
• 1:02:33
  Speaker 2: you do nothing, and you think everything is false and
• 1:02:38
  Speaker 2: fake and staged. So you've basically just washed your hands
• 1:02:43
  Speaker 2: of it. You've like dissolved any interest in it, and
• 1:02:48
  Speaker 2: then you attack. You're able to flip between both sides,
• 1:02:55
  Speaker 2: like you know, straddling a fence. You can just go
• 1:02:59
  Speaker 2: back and forth all you want. And and those types
• 1:03:03
  Speaker 2: of people they can't stand for anything because they don't
• 1:03:08
  Speaker 2: believe anything is real. And you're one right in saying
• 1:03:14
  Speaker 2: that the movies and TV shows have had that effect
• 1:03:18
  Speaker 2: on us, because I knew from a very young age
• 1:03:22
  Speaker 2: that everything that any TV show or any movie that
• 1:03:24
  Speaker 2: I ever watched wasn't real. I knew that those people
• 1:03:28
  Speaker 2: were all actors and they were putting on entertainment. But
• 1:03:32
  Speaker 2: movies to a certain degree has desensitized the population in
• 1:03:40
  Speaker 2: order to accept certain realities that you otherwise wouldn't accept.
• 1:03:48
  Speaker 2: Under normal circumstances. This is a confusion part of this,
• 1:03:51
  Speaker 2: and that's what has been the goal since the very
• 1:03:54
  Speaker 2: very beginning. You had your Abuzmenov, which I showed a
• 1:03:58
  Speaker 2: clip of your abezment Off. Remember the uribuzman Off clip
• 1:04:02
  Speaker 2: in a clockwork Shining after Kathy O'Brien is talking about
• 1:04:06
  Speaker 2: the infiltration into the school system, That's what Uri Buzmanov
• 1:04:11
  Speaker 2: was talking about in the early eighties. He's like, if
• 1:04:15
  Speaker 2: we can just pump enough garbage. This isn't a quote,
• 1:04:20
  Speaker 2: it's just giving you a summary of kind of what
• 1:04:22
  Speaker 2: he was saying. If we can pump enough garbage into
• 1:04:25
  Speaker 2: the heads of these people in this generation, then in
• 1:04:30
  Speaker 2: two or three generations, they are going to be the
• 1:04:31
  Speaker 2: ones that's creating the policy. They're going to be the
• 1:04:34
  Speaker 2: ones that is creating these laws. They're going to be
• 1:04:37
  Speaker 2: the ones that's in charge. If we put Marxist Leninism
• 1:04:42
  Speaker 2: ideology into the soft heads of these people, and it's
• 1:04:48
  Speaker 2: not counterbalanced by basic human values, by patriotism of that country,
• 1:04:56
  Speaker 2: which it's not. It's just let to go. Oh, they
• 1:05:01
  Speaker 2: just just let it keep going, then we effectively have
• 1:05:07
  Speaker 2: control of the minds of everybody and that's exactly like
• 1:05:11
  Speaker 2: what Barack Obama was talking about when he was given
• 1:05:14
  Speaker 2: his speech to a college. I think in twenty twenty two,
• 1:05:19
  Speaker 2: it's either twenty twenty two or twenty twenty three where
• 1:05:21
  Speaker 2: he's like, listen, if we just pump enough conspiracy theorizing
• 1:05:26
  Speaker 2: into the public, we can effectively make it to where
• 1:05:29
  Speaker 2: people no longer know what to believe. And when they
• 1:05:34
  Speaker 2: no longer know what to believe, then we have them
• 1:05:36
  Speaker 2: exactly where we want them, because then they can't stand
• 1:05:41
  Speaker 2: or anything, and they'll just go along with whatever it
• 1:05:44
  Speaker 2: is that we tell them. And when people lose confidence
• 1:05:50
  Speaker 2: in their institutions, and when they lose confidence in government
• 1:05:55
  Speaker 2: and democratic institutions, then the plan it's over. It's done.
• 1:06:06
  Speaker 2: We effectively have them exactly where we want them. And
• 1:06:09
  Speaker 2: that is what's happened with the United States and in
• 1:06:16
  Speaker 2: some parts of other countries in the world.
• 1:06:20
  Speaker 1: Yeah, that's what's happening. That's where we are now. It
• 1:06:22
  Speaker 1: feels like we're at the end of a really long project.
• 1:06:25
  Speaker 1: And the shining was a part of that. It was
• 1:06:29
  Speaker 1: revealing something, it was having that effect upon us. But
• 1:06:32
  Speaker 1: today everything is out in the open, like you said,
• 1:06:35
  Speaker 1: and I think that's maybe like the success party for them.
• 1:06:38
  Speaker 1: It's like, yeah, we're just going to do it openly.
• 1:06:40
  Speaker 1: It doesn't have to be subtle. There's nothing subliminal here.
• 1:06:43
  Speaker 1: His Rihanna and Sam Smith dancing around in Devil's costumes
• 1:06:50
  Speaker 1: simulating sex acts with a big demon behind them, like, yeah,
• 1:06:53
  Speaker 1: we don't have to hide it from you guys. But
• 1:06:55
  Speaker 1: I think the West part of it is that people
• 1:06:59
  Speaker 1: are most it's almost like the everyday pass and it's
• 1:07:06
  Speaker 1: embracing the kind of sinister stuff rather than rejecting it.
• 1:07:09
  Speaker 1: And I think that's dangerous too, because everything that's a
• 1:07:13
  Speaker 1: cult is being normalized and absorbed by people. And yeah,
• 1:07:17
  Speaker 1: that's one of the reasons why I don't watch films,
• 1:07:19
  Speaker 1: Like I don't watch Hollywood films. I won't watch it,
• 1:07:21
  Speaker 1: don't watch any Netflix. The only thing I watch is
• 1:07:24
  Speaker 1: a documentary. And I think that's probably why yours had
• 1:07:26
  Speaker 1: such a powerful effect as Well's like, that's the first
• 1:07:29
  Speaker 1: time in years I've seen something that came from Hollywood.
• 1:07:32
  Speaker 1: It was watching some clips from the Shining in your documentary.
• 1:07:35
  Speaker 1: So I'm guessing that's why it had that effect on me.
• 1:07:38
  Speaker 2: Yeah, I could as well. Yeah, I'm not really like that.
• 1:07:42
  Speaker 2: I enjoy movies and I enjoy film because I can
• 1:07:46
  Speaker 2: see them. I can see it for what it is,
• 1:07:47
  Speaker 2: you know, I know what it is, and it gives
• 1:07:50
  Speaker 2: me the time and the ability to just kind of,
• 1:07:54
  Speaker 2: you know, shut my mind off because I've always I'm
• 1:07:56
  Speaker 2: like a thinker, and I'm like my mind's constantly thinking
• 1:07:59
  Speaker 2: about all kinds of stuff, you know, So whenever I
• 1:08:02
  Speaker 2: put on a movie or a TV show, I'm able
• 1:08:06
  Speaker 2: to just relax. And I've done that since I was
• 1:08:09
  Speaker 2: a kid. And that's not the you know, say that
• 1:08:13
  Speaker 2: you should do that or you shouldn't do that.
• 1:08:15
  Speaker 6: It's just.
• 1:08:17
  Speaker 2: I know exactly what's going on, and I've accepted what's
• 1:08:22
  Speaker 2: going on, and I can just kind of, you know,
• 1:08:25
  Speaker 2: tune out any kind of you know, programming effect that
• 1:08:29
  Speaker 2: it may or may not have on my subconscious. I
• 1:08:33
  Speaker 2: just enjoy it for what it is because I think
• 1:08:35
  Speaker 2: that it's an art. You know, Filmmaking is an art,
• 1:08:39
  Speaker 2: and those people are making a hour and a half,
• 1:08:43
  Speaker 2: two hours and sometimes three hour work of art, and
• 1:08:50
  Speaker 2: I appreciate that because I know how difficult it is
• 1:08:54
  Speaker 2: to create something like that and how much time and energy.
• 1:09:00
  Speaker 1: Unique you didn't watch films, right, this is kind of
• 1:09:02
  Speaker 1: your your thing, right, you produce films, and it's a
• 1:09:05
  Speaker 1: passion of yours. So we're in a bit of a
• 1:09:07
  Speaker 1: different spot. It's kind of like me with farming. I
• 1:09:10
  Speaker 1: wouldn't do very well as a farmer if I didn't
• 1:09:11
  Speaker 1: engage in farm an involves and planting, So you kind
• 1:09:15
  Speaker 1: of got to do what you do. This is your
• 1:09:17
  Speaker 1: this is your deal. So I totally get that. And yeah,
• 1:09:20
  Speaker 1: and you know there is I'm sure there's a ton
• 1:09:22
  Speaker 1: of good films out there that I would absolutely love.
• 1:09:24
  Speaker 1: But yeah, it's something that I made a decision to
• 1:09:27
  Speaker 1: do a while back, and it's for me. It works,
• 1:09:29
  Speaker 1: not too but it does make me hyper sensitive to
• 1:09:32
  Speaker 1: stuff like it makes me hyper sensitive to those things
• 1:09:35
  Speaker 1: now if I if I get clips of films or
• 1:09:38
  Speaker 1: you know, even music, Like I don't listen to really
• 1:09:40
  Speaker 1: much music besides classical anymore, because even the music I
• 1:09:44
  Speaker 1: listened to when I was younger, it's just like, I
• 1:09:46
  Speaker 1: feel like too apped up, it's too too much. My
• 1:09:48
  Speaker 1: senses are hyper sensitive to all that stuff these days.
• 1:09:52
  Speaker 2: Absolutely, But there's something within the shining day what a
• 1:09:56
  Speaker 2: lot of people don't know. What we present in our
• 1:09:58
  Speaker 2: film is that the it used to be a hotel
• 1:10:01
  Speaker 2: that set right where Lookout Mountain Air Force Base is now,
• 1:10:06
  Speaker 2: which is owned by Jared Leto from thirty Seconds to Mars,
• 1:10:12
  Speaker 2: which is really interesting. I would love to interview that gentlemen.
• 1:10:16
  Speaker 2: He seems like a very eccentric guy. But there used
• 1:10:22
  Speaker 2: to be a hotel that's set there, and the name
• 1:10:24
  Speaker 2: of the hotel was Lookout Mountain Hotel and it looked
• 1:10:30
  Speaker 2: very similar to the Overlook Hotel within The Shining. And
• 1:10:35
  Speaker 2: what's really interesting was that we didn't put it in
• 1:10:40
  Speaker 2: the film, so it's just kind of like a little
• 1:10:42
  Speaker 2: bonus thing that your viewers are getting right now. Is
• 1:10:47
  Speaker 2: that Lookout Mountain Hotel burnt to the ground in Butcher
• 1:10:53
  Speaker 2: looked very similar to the exterior of the Overlook the
• 1:11:00
  Speaker 2: Shining in Stephen King's sequel to The Shining, Doctor Sleep,
• 1:11:08
  Speaker 2: which there was also a movie made about Doctor Sleep
• 1:11:11
  Speaker 2: as well. They came out a few years back with
• 1:11:14
  Speaker 2: Ewan McGregor in it. The Overlook burns to the ground.
• 1:11:23
  Speaker 2: Was this when happened a long time ago in the
• 1:11:25
  Speaker 2: early nineteen hundreds, was when the Lookout Mountain Hotel burned
• 1:11:29
  Speaker 2: to the ground. But it's like another version of art
• 1:11:35
  Speaker 2: imitating reality and reality imitating art. It's like this back
• 1:11:40
  Speaker 2: and forth thing. And I didn't think about that until
• 1:11:46
  Speaker 2: the film had already been out and I've been doing
• 1:11:48
  Speaker 2: interviews about it and promoting it. But yeah, I thought
• 1:11:52
  Speaker 2: that that was really interesting. Lookout Mountain hotel burned to
• 1:11:54
  Speaker 2: the ground in the early nineteen hundreds looked almost identical
• 1:11:58
  Speaker 2: to the Overlook Hotel in The Shining Then in Stephen
• 1:12:04
  Speaker 2: King's second book and in the movie Doctor Sleeve, the
• 1:12:07
  Speaker 2: Overlook burns of the ground.
• 1:12:10
  Speaker 1: What do you think that means? Like, what do you
• 1:12:12
  Speaker 1: think was going on at the hotel that then to ground?
• 1:12:16
  Speaker 1: Do you think that was being used as well by
• 1:12:18
  Speaker 1: intelligence potentially?
• 1:12:20
  Speaker 2: Well, that was in the early nineteen hundreds. I don't
• 1:12:23
  Speaker 2: think that the CIA was informed. Then the CIA came
• 1:12:30
  Speaker 2: after World War Two, along with the Air Force and
• 1:12:33
  Speaker 2: that Memorandum of nineteen the National Security Act of nineteen
• 1:12:37
  Speaker 2: forty seven. A lot of the military was then created
• 1:12:40
  Speaker 2: in a lot of the intelligence communities was created based
• 1:12:44
  Speaker 2: off of that Act. So there could have been some
• 1:12:48
  Speaker 2: It's very difficult to find out anything about it. There's
• 1:12:51
  Speaker 2: very few pictures. The two pictures that we show in
• 1:12:56
  Speaker 2: the movie of the look Mountain Hotel are really the
• 1:13:03
  Speaker 2: only ones available, So it's very difficult to figure out
• 1:13:07
  Speaker 2: any information on the Lookout Mountain Hotel. But it is
• 1:13:13
  Speaker 2: a possibility that some sort of something was going down
• 1:13:20
  Speaker 2: up there. But also during those times in the early
• 1:13:24
  Speaker 2: nineteen hundreds, like things like would been burned down like
• 1:13:27
  Speaker 2: all the time, and it could have been arson. It
• 1:13:29
  Speaker 2: could have been someone coming in and deciding to, you know,
• 1:13:33
  Speaker 2: burn it down they didn't like what was good. But
• 1:13:35
  Speaker 2: it's just so interesting that right where that hotel sat,
• 1:13:39
  Speaker 2: the military built there. They're a Lookout Mountain Air Force Base.
• 1:13:47
  Speaker 1: That is strange ry to. I think that's probably more
• 1:13:50
  Speaker 1: to it because when you shed the photo in the documentary,
• 1:13:53
  Speaker 1: it does look the same, like it's too similar for
• 1:13:56
  Speaker 1: it not to have been intentional. Like I don't think
• 1:14:00
  Speaker 1: it was a coincidence.
• 1:14:02
  Speaker 2: Yeah, I don't think so either. It's uh In Stanley
• 1:14:07
  Speaker 2: Kubrick he lived in uh in Laurel Canyon in la
• 1:14:13
  Speaker 2: for quite some time. He lived with his uncle Martin
• 1:14:16
  Speaker 2: Pevlaire for a long time, so he probably was aware
• 1:14:22
  Speaker 2: of the Lookout Mountain Air Force Base on top of
• 1:14:26
  Speaker 2: Laurel Canyon. I don't know why he wouldn't be. I'm
• 1:14:28
  Speaker 2: sure a lot of people were. They knew what was
• 1:14:33
  Speaker 2: going on up there, especially if he lived in Laurel
• 1:14:37
  Speaker 2: Canyon at the time, So it's uh, he had to.
• 1:14:41
  Speaker 2: He probably did some research and like looked into it more.
• 1:14:44
  Speaker 2: Because Stanley Kubrick was a really big researcher. He had
• 1:14:49
  Speaker 2: a whole team of people that would go out and
• 1:14:51
  Speaker 2: do a bunch of research for him. For they went
• 1:14:54
  Speaker 2: to the Stanley Hotel before, and Stanley Hotel thought that
• 1:14:57
  Speaker 2: maybe he was going to film The Shining there. He
• 1:14:59
  Speaker 2: didn't end up filming there, and that might have been
• 1:15:00
  Speaker 2: a big reason why Stephen King was kind of, you know,
• 1:15:05
  Speaker 2: pissed off at him, because Stephen King really didn't like
• 1:15:08
  Speaker 2: The Shining at all. The only good thing that Stephen
• 1:15:12
  Speaker 2: King would say about Stanley Kubrick's The Shining was Jack
• 1:15:15
  Speaker 2: Nicholson's performance, and he he did not like the movie,
• 1:15:22
  Speaker 2: and that might have been a reason. And another reason
• 1:15:25
  Speaker 2: was is apparently Stanley Kubrick would call Stephen King in
• 1:15:30
  Speaker 2: the middle of the night and start asking him a
• 1:15:32
  Speaker 2: bunch of random, wild questions, like you know, do you
• 1:15:37
  Speaker 2: believe in God? And like all this stuff. And it's
• 1:15:40
  Speaker 2: really interesting too because the people that were around him
• 1:15:43
  Speaker 2: and knew him would say that he he didn't believe
• 1:15:51
  Speaker 2: in He was kind of like a pseudo atheist, like well,
• 1:15:54
  Speaker 2: probably a straight up atheist, and he didn't really believe
• 1:15:58
  Speaker 2: in paranormal or like the supernatural into things, which could
• 1:16:02
  Speaker 2: have been a reason that he was completely rewriting the
• 1:16:06
  Speaker 2: script for The Shining. He wanted to take out the
• 1:16:11
  Speaker 2: paranormal and supernatural elements and add realistic people into them.
• 1:16:20
  Speaker 2: And we've seen how shitty Stephen King's version of The
• 1:16:26
  Speaker 2: Shining was and that mini series that he put together
• 1:16:29
  Speaker 2: which was shot at the Stanley Hotel in Colorado. But
• 1:16:36
  Speaker 2: Stanley Kubrick was a realistic type of guy. He wanted
• 1:16:40
  Speaker 2: everything to look very real. He wanted his sets to
• 1:16:43
  Speaker 2: actually have real items, not props, and that could have
• 1:16:48
  Speaker 2: been a big reason why Stephen King didn't like the movie.
• 1:16:55
  Speaker 2: And there's we weren't the first people to see the
• 1:17:00
  Speaker 2: but in The Shining, Stanley Kubrick changed the Volkswagen beetle
• 1:17:09
  Speaker 2: that Jack drives from a red beetle to a yellow beetle.
• 1:17:14
  Speaker 2: But then later on, when Hollerin is trying to make
• 1:17:19
  Speaker 2: his way back up to the Overlook Hotel when he
• 1:17:22
  Speaker 2: flies in from Florida because he received the visions from
• 1:17:26
  Speaker 2: Danny that something wasn't right that was going on onto Overlook,
• 1:17:29
  Speaker 2: and he's driving up to the Overlook and he sees
• 1:17:32
  Speaker 2: a red Volkswagen Beatle crushed underneath the semi truck. So
• 1:17:36
  Speaker 2: that was kind of, you know, Stanley Kubrick's way of saying, like, listen,
• 1:17:39
  Speaker 2: like you may be a good or novelist, Stephen King,
• 1:17:44
  Speaker 2: but you're you're not a movie maker, and your story
• 1:17:48
  Speaker 2: does not transfer good to make a movie with, and
• 1:17:54
  Speaker 2: I'm going to change it. And he did, and I
• 1:17:58
  Speaker 2: think that he incorporated he did a lot of things
• 1:18:01
  Speaker 2: in there. He put a lot of symbolic things that
• 1:18:03
  Speaker 2: we've already talked about in there. He's trying to tell
• 1:18:07
  Speaker 2: people that this is a really this is a real
• 1:18:12
  Speaker 2: experiment that's been ran up here at the Overlook by
• 1:18:19
  Speaker 2: the CIA. And it's just a coincidence that Olman, the
• 1:18:24
  Speaker 2: director of the hotel, looks a lot like JFK. And
• 1:18:27
  Speaker 2: Bill Watson, which is his assistant, looked strikingly similar to
• 1:18:31
  Speaker 2: Sidney Goatlie, which was the head of the MK Ultra programs.
• 1:18:39
  Speaker 1: You know, one thing that I found really strange having
• 1:18:42
  Speaker 1: watched the documentary and I was just having a quick
• 1:18:45
  Speaker 1: look at what happened to the different actors and actresses afterwards,
• 1:18:50
  Speaker 1: was that the children in the film. So you've got,
• 1:18:53
  Speaker 1: of course, Danny Tarrant's and then you've got the Grady twins,
• 1:18:57
  Speaker 1: all three of them, I would say, probably three of
• 1:18:59
  Speaker 1: the most iconic child actors over the last one hundred years,
• 1:19:03
  Speaker 1: because they're in this megafilm. And I think I'm writing
• 1:19:08
  Speaker 1: saying that it was one of the highest grossing films
• 1:19:10
  Speaker 1: of all time at that time. I think it was
• 1:19:13
  Speaker 1: like in the top five highest grossing for the first
• 1:19:16
  Speaker 1: week or something like this. It was a megafilm. But
• 1:19:18
  Speaker 1: what really shocked me, and I really wanted to get
• 1:19:20
  Speaker 1: your take on it, is that all three of those people,
• 1:19:24
  Speaker 1: so the two twins and Danny Torrance, never acted in
• 1:19:28
  Speaker 1: any of the film. Now. I found that out about
• 1:19:30
  Speaker 1: the twin girls, and I thought, well, that's weird because
• 1:19:32
  Speaker 1: they were so iconic. Surely they must have at least
• 1:19:35
  Speaker 1: been in some of the movies, or they must have
• 1:19:37
  Speaker 1: got some offers and then some money from this, and
• 1:19:40
  Speaker 1: it was never in another film. And I was like, well,
• 1:19:43
  Speaker 1: that's bizarre. But maybe I don't know, maybe the parents
• 1:19:46
  Speaker 1: just didn't like the response. I don't know, it could
• 1:19:49
  Speaker 1: be a million reasons. But then when I found out
• 1:19:51
  Speaker 1: that Danny Torrance hadn't been in any of the film either,
• 1:19:54
  Speaker 1: and he just went dark, and I'm like, that kid
• 1:19:57
  Speaker 1: was so iconic. He must have been getting off his
• 1:20:00
  Speaker 1: left right and center right. This just makes no sense
• 1:20:03
  Speaker 1: to me, right. And I don't know if you knew
• 1:20:05
  Speaker 1: about that or if you thought about it, but that
• 1:20:07
  Speaker 1: is really weird that none of them ever went untwagged again,
• 1:20:12
  Speaker 1: and it feels like that must be for a reason.
• 1:20:15
  Speaker 1: What do you think about it?
• 1:20:16
  Speaker 2: In the same with Shelogy of all, she did act
• 1:20:19
  Speaker 2: in this a few other movies after The Shining, but
• 1:20:23
  Speaker 2: none of them were a success like The Shining was.
• 1:20:29
  Speaker 2: And with Danny, the actor that played Danny, I'm pretty
• 1:20:33
  Speaker 2: sure he got into a lot of trouble with I
• 1:20:36
  Speaker 2: think he became an alcoholic and got a bunch of
• 1:20:39
  Speaker 2: DUI's and served sometime in jail. But don't quote me
• 1:20:44
  Speaker 2: on that, because I'm just it's just from memory from
• 1:20:48
  Speaker 2: researching it and looking into it. It's sort of like
• 1:20:52
  Speaker 2: qubreak either makes or breaks people. He either turned him
• 1:21:00
  Speaker 2: into a like a superstar sort of to where that
• 1:21:06
  Speaker 2: they can keep on going and acting, or he completely
• 1:21:09
  Speaker 2: squashes and crushes their entire career. Jack Nicholson went on
• 1:21:14
  Speaker 2: to still make movies after that, but his last movie
• 1:21:21
  Speaker 2: Wasn't in twenty ten, and then he retired from acting
• 1:21:26
  Speaker 2: after that. I think that it was due to memory
• 1:21:31
  Speaker 2: loss or something with his brain. He's been out of
• 1:21:35
  Speaker 2: the spotlight for a really long time now, fourteen years.
• 1:21:40
  Speaker 2: No one's heard from Jack Nicholson and what he's doing.
• 1:21:43
  Speaker 2: And we also bring that up in our movie that
• 1:21:47
  Speaker 2: Jack Nicholson doesn't know who his father is. Jack Nicholson's
• 1:21:52
  Speaker 2: mother doesn't even know who his father is. And he
• 1:21:58
  Speaker 2: was also instrumental in the Laurel Canyon scene. He was
• 1:22:01
  Speaker 2: in several movies that came out of Laurel Canyon that
• 1:22:05
  Speaker 2: promoted LSD and promoted this hippie movement, and he was
• 1:22:13
  Speaker 2: friends with Roman Polanski, and Roman Polanski raped a thirteen
• 1:22:19
  Speaker 2: year old girl at Jack Nicholson's house. Then he fled
• 1:22:26
  Speaker 2: the country so he wouldn't be prosecuted for that. And
• 1:22:32
  Speaker 2: then at the same time, Jack Nicholson also left the
• 1:22:38
  Speaker 2: country to go shoot the Shining for a year. So
• 1:22:41
  Speaker 2: after that event happened, they just they just fled.
• 1:22:46
  Speaker 1: And anyone discussed why that that teeny old was that
• 1:22:49
  Speaker 1: like Jack Nicholson's house, that teen year old doesn't sound good,
• 1:22:53
  Speaker 1: does it.
• 1:22:54
  Speaker 2: Well, it's kind of theorized that maybe some things were
• 1:23:00
  Speaker 2: kind of going. I don't really want to get too
• 1:23:04
  Speaker 2: much into it because there's not like there's not.
• 1:23:08
  Speaker 1: Yeah, but evidence was his wife who was killed by
• 1:23:12
  Speaker 1: the Manson family, Right, So there's so many weird link
• 1:23:17
  Speaker 1: ups here, like between all of these different stories, and
• 1:23:21
  Speaker 1: they all kind of link up at some point to
• 1:23:23
  Speaker 1: this mind control and this m kiltra, you know, because
• 1:23:28
  Speaker 1: we know that childs Manson he was involved in quite
• 1:23:31
  Speaker 1: a few experiments involving LSD. I think it was a
• 1:23:35
  Speaker 1: US university where they took him and they were doing
• 1:23:38
  Speaker 1: Maybe you can add to it there was he was
• 1:23:41
  Speaker 1: involved in some of those lam killed for projects.
• 1:23:43
  Speaker 2: Right, Yes, there's evidence that pretty much Charles Manson was
• 1:23:50
  Speaker 2: basically given the LSD that you would.
• 1:23:54
  Speaker 6: Use to.
• 1:23:57
  Speaker 2: Kind of mind control and use on the the people
• 1:24:00
  Speaker 2: of his cult and the people that he calls his family.
• 1:24:04
  Speaker 2: He was basically given that LSD directly by the CIA,
• 1:24:10
  Speaker 2: because every time that Manson would be incarcerated before, he
• 1:24:15
  Speaker 2: would always be let out. Every time they would always
• 1:24:20
  Speaker 2: just almost immediately let him out. So it's like it
• 1:24:25
  Speaker 2: kind of stands to reason that he was kind of
• 1:24:27
  Speaker 2: like this experiment like what I was mentioning earlier, like
• 1:24:31
  Speaker 2: they'll get their hooks in on like one person, they'll
• 1:24:35
  Speaker 2: try and push them in this direction to do something,
• 1:24:39
  Speaker 2: and they kind of let them go out there and
• 1:24:42
  Speaker 2: do whatever they want for however long they want, until
• 1:24:45
  Speaker 2: it serves their agenda of the process that they how
• 1:24:50
  Speaker 2: they wanted it to play out.
• 1:24:53
  Speaker 1: And what do you think about Kubrick in general righter
• 1:24:56
  Speaker 1: having made this film and also we should probably touch
• 1:25:00
  Speaker 1: on his Free Masonic connections as well. Do you think
• 1:25:03
  Speaker 1: he was a high ranking Freemason? Given you pine out
• 1:25:06
  Speaker 1: in the film, there's all this symbolism to do with
• 1:25:07
  Speaker 1: Free Mason, there's lots of references to pillars or the
• 1:25:12
  Speaker 1: number eleven, you've got the twins. Do you feel like
• 1:25:16
  Speaker 1: there's a definite link up between him and Freemasonry? Is
• 1:25:19
  Speaker 1: that proven or is it's just speculation.
• 1:25:22
  Speaker 2: Well, the fact that Catcher in the Rye is there
• 1:25:24
  Speaker 2: Joe al Well thinks The Catcher in the Rye is
• 1:25:26
  Speaker 2: about the free Masonic trajectory of a member through the
• 1:25:31
  Speaker 2: ranks of Freemasonry. And you have so many of the
• 1:25:35
  Speaker 2: third Eye symbolism throughout the lot of Kubrick's movies. You
• 1:25:39
  Speaker 2: basically have izwide shot that is some form of like
• 1:25:44
  Speaker 2: it's filled with Masonic symbolism in I wide shot. And
• 1:25:53
  Speaker 2: it seems that if he wasn't a free Mason, then
• 1:25:59
  Speaker 2: you definitely had knowledge of the inner workings of the
• 1:26:05
  Speaker 2: Freemason belief structure and the initiations and some of the
• 1:26:09
  Speaker 2: rituals of Freemasonry. If he wasn't a member himself, he
• 1:26:15
  Speaker 2: definitely had knowledge of what they do and how they
• 1:26:22
  Speaker 2: participate in their rights and their rituals were. If we
• 1:26:29
  Speaker 2: do end up doing the extended version or the director's
• 1:26:33
  Speaker 2: cut of this movie, we're going to get a little
• 1:26:35
  Speaker 2: bit more deeper into Freemasonry. Because one of my really
• 1:26:41
  Speaker 2: close friends I just found out the other day after
• 1:26:45
  Speaker 2: he had watched our movie that he was a He
• 1:26:49
  Speaker 2: was a master Freemason of his lodge, and he was
• 1:26:54
  Speaker 2: telling me how because we talk about psychic drive a
• 1:27:00
  Speaker 2: lot in the movie, and how Jack is being psychically
• 1:27:02
  Speaker 2: driven to you know, murder his family, and how Sir
• 1:27:06
  Speaker 2: Hans Sirhan was psychically driven to murder RFK. It's the
• 1:27:12
  Speaker 2: same thing. Jack is just doing his own version of
• 1:27:15
  Speaker 2: psychic driving within the shining.
• 1:27:17
  Speaker 1: I think what I was thinking about also is the
• 1:27:20
  Speaker 1: faked moon landings, that if Stanley Kubrick did shoot that,
• 1:27:24
  Speaker 1: we know that the Apollo astronauts left a free Masonic
• 1:27:29
  Speaker 1: flag I think on the moon. Apparently that's what they
• 1:27:32
  Speaker 1: were all Freemasons, right, buzz all doing Neil Amstrong. They
• 1:27:37
  Speaker 1: were all high ranking Freemasons, and they took free Masonic
• 1:27:40
  Speaker 1: items to the Moon. Apparently fourteen times the speed of
• 1:27:44
  Speaker 1: a bullet they flip up, that left it up. There
• 1:27:46
  Speaker 1: was a camera filming them as they left. No one
• 1:27:48
  Speaker 1: knows what happened to the Kraman. What we do it
• 1:27:50
  Speaker 1: with Stanley Kubrick. And Yeah, so if he was a Freemason,
• 1:27:54
  Speaker 1: then he would have been privy to all of that.
• 1:27:57
  Speaker 1: And we know that in freemasony there is a blood
• 1:28:00
  Speaker 1: out to secrecy. You have to keep it and it's
• 1:28:03
  Speaker 1: mentioned in your film. If you betray that, you're out
• 1:28:06
  Speaker 1: of there in a literal sense.
• 1:28:08
  Speaker 2: Yeah, the moonlanding thing is a really interesting aspect, and
• 1:28:11
  Speaker 2: I've been telling people that I think it's definitely plausible
• 1:28:14
  Speaker 2: because two thousand and one of Space odysty was being
• 1:28:16
  Speaker 2: filmed at the exact same time as the moon landings
• 1:28:20
  Speaker 2: was going on. So it's perfectly feasible that something like
• 1:28:24
  Speaker 2: that went down to where Kubrick was like, hey, let's
• 1:28:26
  Speaker 2: film the scene. The actors didn't know that it was
• 1:28:29
  Speaker 2: a part of that it was going to eventually turn
• 1:28:31
  Speaker 2: into the moon landing footage. It wasn't put in the
• 1:28:33
  Speaker 2: two thousand and one Space Odyssey, and that's how everyone's
• 1:28:36
  Speaker 2: seen it because that's the thing within the moonlanding stuff
• 1:28:40
  Speaker 2: is like people are like, well, I don't know how
• 1:28:41
  Speaker 2: they would have done that. How would they have faked
• 1:28:43
  Speaker 2: something that? So how did they keep everyone's mouth shut
• 1:28:47
  Speaker 2: and their lips shut on this thing? Well, that would
• 1:28:50
  Speaker 2: be the easiest way to do it, because literally nobody
• 1:28:53
  Speaker 2: would know. They just feed that footage that they think
• 1:28:58
  Speaker 2: is live footage. They just like restream it, you know
• 1:29:02
  Speaker 2: how like some people there's a program out there that
• 1:29:07
  Speaker 2: you can put pre recorded shows into a program and
• 1:29:13
  Speaker 2: then restream them to all these platforms as if they're live.
• 1:29:18
  Speaker 2: I know some people that do that. I've never done
• 1:29:22
  Speaker 2: that before because I actually like being live and I
• 1:29:25
  Speaker 2: like it being done when it's done. But that would
• 1:29:29
  Speaker 2: be the exact same thing that they would have done
• 1:29:32
  Speaker 2: back in nineteen sixty nine, is they would have just
• 1:29:34
  Speaker 2: taken the pre recorded footage, put it through the software,
• 1:29:37
  Speaker 2: and broadcasted it as if it was live to the
• 1:29:41
  Speaker 2: entire world.
• 1:29:43
  Speaker 1: Yeah. I don't know many people today that believe the
• 1:29:46
  Speaker 1: moon landing, so I think that one has become a mainstream.
• 1:29:50
  Speaker 1: I think it's something like sixty percent of Americans no
• 1:29:52
  Speaker 1: longer believe. I'm not saying this statistics the correct, but
• 1:29:55
  Speaker 1: I'm pretty shy. That was the last figure I had.
• 1:29:58
  Speaker 1: But another way to do it, of cosse, if you
• 1:30:00
  Speaker 1: do have Freemasonic brothers involved in all of this and
• 1:30:03
  Speaker 1: the swan of secrecy, and they understand that that is
• 1:30:06
  Speaker 1: a life and death oath, then they're going to keep
• 1:30:09
  Speaker 1: the secret. And if all of the astronauts were Freemasons,
• 1:30:11
  Speaker 1: as we know they were, then yeah, that's one way
• 1:30:14
  Speaker 1: to keep the secret. Also, Stanley Kubrick, if he was
• 1:30:17
  Speaker 1: a high ranking Freemason, he was sworn to secrecy too,
• 1:30:20
  Speaker 1: so it makes sense to me, And you mentioned in
• 1:30:23
  Speaker 1: the documentary this woman who was a part of this
• 1:30:28
  Speaker 1: incest cult and that she was put through trauma based
• 1:30:31
  Speaker 1: mind control. I think it was Kathy O'Brien, is it, Yes, Yeah,
• 1:30:35
  Speaker 1: Kathy O'Brien, and that she says in that that she
• 1:30:39
  Speaker 1: was trafficked to Freemasons as part of her abuse when
• 1:30:42
  Speaker 1: she was a child. So that was another interesting part
• 1:30:45
  Speaker 1: of the film. Do you want to just mention a
• 1:30:46
  Speaker 1: bit about Kathy O'Brien and how she links to the
• 1:30:49
  Speaker 1: film itself about the Shining Sorry.
• 1:30:52
  Speaker 2: Yes, Kathy O'Brien is a Monarch MK ultra survivor and
• 1:30:59
  Speaker 2: in the background whenever Danny sees the twins for the
• 1:31:02
  Speaker 2: first time at the Overlook Hotel, there's a poster in
• 1:31:05
  Speaker 2: the background and the bottom of the poster says Monarch
• 1:31:09
  Speaker 2: and we have put together that, you know, it's Monarch
• 1:31:17
  Speaker 2: MK ultra mind control. Unlike many people that have seen
• 1:31:21
  Speaker 2: this poster before, they relate it to something different, But
• 1:31:25
  Speaker 2: no one has ever mentioned monarch mind control before they've
• 1:31:31
  Speaker 2: seen the poster, but they just don't put two and
• 1:31:35
  Speaker 2: two together that it's pertaining to Monarch MK ultra mind
• 1:31:40
  Speaker 2: control and Kathy Obrian was put through the program. She
• 1:31:45
  Speaker 2: had a congressional testimony that was banned under national security
• 1:31:52
  Speaker 2: in nineteen ninety five. She has a book out called
• 1:31:55
  Speaker 2: Trance Formation of America, and she also has a document
• 1:32:00
  Speaker 2: where she talks about her experiences within the MK Ultra
• 1:32:05
  Speaker 2: mind control programs at a White House Pentagon level, and
• 1:32:10
  Speaker 2: she lays out her history and how she got put
• 1:32:13
  Speaker 2: into these programs through you know, her her father basically
• 1:32:21
  Speaker 2: sexually abusing her and then to avoid prosecution, he was
• 1:32:27
  Speaker 2: she he sold her into these governmental programs. She was
• 1:32:34
  Speaker 2: also trafficked through her grandfather's Masonic lodge. Like you were mentioning,
• 1:32:42
  Speaker 2: she was taking the various NASA and DHARPA installations for
• 1:32:48
  Speaker 2: sophisticated mind control programming. And she is a very integral
• 1:32:54
  Speaker 2: part of the documentary. Without her, I don't think that
• 1:33:02
  Speaker 2: it would hit us hard, because that's what we relate
• 1:33:05
  Speaker 2: in the movie is you know that monarch poster in
• 1:33:09
  Speaker 2: the background, and her being being a victim probably in
• 1:33:14
  Speaker 2: my opinion, the most credible victim of MK Ultra mind
• 1:33:21
  Speaker 2: control that is still living and is a public figure.
• 1:33:26
  Speaker 2: So I know all the love and gratitude for her
• 1:33:31
  Speaker 2: being strong enough to come in and be in our
• 1:33:34
  Speaker 2: movie and continuously speak out against the injustices and the
• 1:33:39
  Speaker 2: things that I've gone on for many years regarding MK
• 1:33:43
  Speaker 2: ultra and mind control.
• 1:33:46
  Speaker 1: Yeah, it's kind of shocking to hear somebody with a
• 1:33:48
  Speaker 1: testimony like that, and she's not the only passon that
• 1:33:52
  Speaker 1: I've had with testimonies like that. But like you said,
• 1:33:55
  Speaker 1: the fact that she was on congressional having that, that's wild,
• 1:33:59
  Speaker 1: isn't it. That is actually absolutely shocking, and that's been sealed,
• 1:34:03
  Speaker 1: So that wouldn't happen with somebody who wasn't credible.
• 1:34:07
  Speaker 2: Yeah, Yeah, that's right. I believe her testimony and what
• 1:34:15
  Speaker 2: she went through, and I'm very happy that she was
• 1:34:18
  Speaker 2: a part of our movie and that she continues to
• 1:34:23
  Speaker 2: speak out on these topics. She's been on my show,
• 1:34:26
  Speaker 2: me talking to her and interviewing her several times on
• 1:34:30
  Speaker 2: my show as well. So I'm very thankful that she
• 1:34:34
  Speaker 2: was a part of our documentary Clockwork Training.
• 1:34:38
  Speaker 1: Let's tie all together than Brida, because I think we
• 1:34:41
  Speaker 1: kind of skipped across all of the different elements of
• 1:34:45
  Speaker 1: this because there's a lot and I think the people
• 1:34:48
  Speaker 1: who listen back to this, they'll see how it links together.
• 1:34:51
  Speaker 1: To so many other things that they're probably already aware of.
• 1:34:54
  Speaker 1: They might have had some episodes in the past on
• 1:34:57
  Speaker 1: specific parts of what we've discussed, but within this one film,
• 1:35:02
  Speaker 1: the shining all of these elements are a part of it.
• 1:35:05
  Speaker 1: Secret society is symbolism, mind control, engineering at us as
• 1:35:12
  Speaker 1: the viewer, and assassinations. It's kind of wild and pretty disturbing.
• 1:35:17
  Speaker 1: So your final thoughts on this, what do you feel
• 1:35:20
  Speaker 1: now you've made this documentary? How does it reflect on
• 1:35:24
  Speaker 1: where we are as a civilization? Do you feel do
• 1:35:29
  Speaker 1: you feel kind of I don't know where I'm looking
• 1:35:32
  Speaker 1: for consent having made this documentary?
• 1:35:35
  Speaker 6: Does it make you.
• 1:35:35
  Speaker 1: Feel uneasy that this is where we are as a culture,
• 1:35:39
  Speaker 1: that this is something that we created and it reflects
• 1:35:42
  Speaker 1: I guess on our society and where it's gone to.
• 1:35:47
  Speaker 2: Yeah, as I was mentioning it is, it was even
• 1:35:52
  Speaker 2: a big shock for me, as I'm even constantly mind
• 1:35:57
  Speaker 2: blown by just watching it and really putting together all
• 1:36:04
  Speaker 2: of the pieces because it's an intelligent film that you
• 1:36:10
  Speaker 2: also have to put two and two together for yourself
• 1:36:14
  Speaker 2: and relate things to other things that are talked about
• 1:36:18
  Speaker 2: within the movie. There's so much in there it's almost
• 1:36:21
  Speaker 2: a two hour movie. It's about as long as we've
• 1:36:25
  Speaker 2: been doing this show. So I really hope people go
• 1:36:30
  Speaker 2: and check it out and support independent filmmakers because we
• 1:36:33
  Speaker 2: did this all ourselves. You know, I filmed it, I
• 1:36:37
  Speaker 2: put it together, I edited it. I put all of
• 1:36:40
  Speaker 2: my time, work and energy and effort into making this
• 1:36:43
  Speaker 2: movie and it's probably well, it's definitely the best thing
• 1:36:46
  Speaker 2: that I've ever put together. And I hope people go
• 1:36:51
  Speaker 2: out and support it because Hollywood is dead, this independent
• 1:36:56
  Speaker 2: wave of filmmaking, this is the time to do it,
• 1:37:00
  Speaker 2: and I hope people will you go out there and
• 1:37:04
  Speaker 2: watch it and buy it and rent it however you
• 1:37:07
  Speaker 2: want to. I mean, you can rent it for a
• 1:37:09
  Speaker 2: cheaper amount of money for two ninety nine. You can
• 1:37:11
  Speaker 2: rent it on Amazon Prime. You just type in a
• 1:37:13
  Speaker 2: clockwork shining. But I just highly recommend buying it. It's
• 1:37:17
  Speaker 2: not too much more expensive to buy it than it
• 1:37:20
  Speaker 2: is to rent it, and that's really going to help
• 1:37:23
  Speaker 2: me out as a filmmaker and help me continue making
• 1:37:28
  Speaker 2: more projects in the future. And hopefully we'll get a
• 1:37:32
  Speaker 2: link in the description. I'll get the link is in
• 1:37:35
  Speaker 2: the description on my end for this video, So anyone
• 1:37:39
  Speaker 2: is watching it on my end, click the link in
• 1:37:42
  Speaker 2: the description to watch the movie at clockwork Shining on
• 1:37:46
  Speaker 2: Amazon Prime Video and Apple TV Plus. If you're in
• 1:37:50
  Speaker 2: a country that you can't get it on Amazon, if
• 1:37:54
  Speaker 2: you download Apple TV Plus, you'll be able to watch
• 1:37:56
  Speaker 2: it on there if Apple TV is available in your country.
• 1:38:01
  Speaker 2: Thanks so much, Mike for having me on. Really appreciate it. Brother,
• 1:38:03
  Speaker 2: it was a wonderful conversation, and thank you for watching
• 1:38:08
  Speaker 2: my movie, my friend. I really appreciate it. It was really
• 1:38:12
  Speaker 2: in depth and you asked a really great questions, So
• 1:38:15
  Speaker 2: really appreciate it.
• 1:38:16
  Speaker 1: Brother. Yeah, I appreciate you coming back on Ryder, especially
• 1:38:21
  Speaker 1: right after the movie it's just been released. I think
• 1:38:23
  Speaker 1: hopefully this will draw some more views across I really
• 1:38:26
  Speaker 1: enjoyed it when settling gave me definitely pause to reflect
• 1:38:31
  Speaker 1: tom everything that we discussed tonight. And yeah, I think
• 1:38:34
  Speaker 1: listeners who want to understand how maybe we got to
• 1:38:37
  Speaker 1: where we are, this is the perfect documentary to explore
• 1:38:41
  Speaker 1: that with. So thank you so much for Ryder. It's
• 1:38:43
  Speaker 1: been a pleasure speaking with you.
• 1:38:45
  Speaker 7: Lucinogenic drugs, hypnosis, electric shocks to the brain some of
• 1:38:52
  Speaker 7: the methods used in secret CIA mind control experiments.
• 1:38:56
  Speaker 2: There are many theories as to what the shining is
• 1:38:59
  Speaker 2: really about, from the faking of the moon landing to
• 1:39:02
  Speaker 2: Native American genocide and the Holocaust.
• 1:39:04
  Speaker 4: Now, if he did fake the Apollosan landing, he probably
• 1:39:07
  Speaker 4: has really deep connections into the intelligence world. Why are
• 1:39:13
  Speaker 4: there these gigantic continuity airs in this movie?
• 1:39:17
  Speaker 3: The occulted meeting has to be comprehensible. It's just hidden,
• 1:39:21
  Speaker 3: usually in a very systematic way, so that it could
• 1:39:25
  Speaker 3: be understood by someone coming along later on. Who knows
• 1:39:28
  Speaker 3: what the real meaning is supposed to be.
• 1:39:30
  Speaker 2: We believe that there's something even more sinister lurking beneath
• 1:39:34
  Speaker 2: the surface of this masterful film.
• 1:39:37
  Speaker 4: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
• 1:39:42
  Speaker 6: You realize there's no such thing as coincident sas.
• 1:39:45
  Speaker 2: Like that as Lookout Mountain studios ran by the Air
• 1:39:49
  Speaker 2: Force and told the story of nuclear weapons testing by
• 1:39:53
  Speaker 2: the United States of.
• 1:39:55
  Speaker 6: The Army Navan Air Force.
• 1:39:57
  Speaker 7: The Air Force was known to be the most excited,
• 1:40:00
  Speaker 7: the most turned on by mk Ultra and its prospects.
• 1:40:03
  Speaker 6: Reportedly, there were more films made at Lookout Mounting than
• 1:40:09
  Speaker 6: at all the other film studios in Hollywood.
• 1:40:13
  Speaker 4: We really don't know what these famous film directors were
• 1:40:15
  Speaker 4: being recruited for. What project or whatever was it? The
• 1:40:19
  Speaker 4: moon Landing.
• 1:40:23
  Speaker 2: The CIA's MK Ultra programs were admitted to the public
• 1:40:27
  Speaker 2: in nineteen seventy, five, years before the release of The Shining.
• 1:40:33
  Speaker 8: These experiments were done without the informed consent of the patients.
• 1:40:37
  Speaker 7: Look at some UFO cases and the things that are
• 1:40:41
  Speaker 7: reported tells me that MK ultra is likely being applied.
• 1:40:46
  Speaker 8: My MK ultra mind control experience, I was taken to
• 1:40:50
  Speaker 8: various military, NASA and DARPA installations for sophisticated mind control programming.
• 1:41:00
  Speaker 6: Walk Disney, Marilyn Monroe, James Stewart, Carry Grant, Ronald Reagan.
• 1:41:08
  Speaker 6: Nobody really knows what they were doing.
• 1:41:10
  Speaker 1: Up there, as well as high ranking military and Department
• 1:41:13
  Speaker 1: of Defense personnel.
• 1:41:14
  Speaker 4: But people don't realize is that many of the people
• 1:41:17
  Speaker 4: that worked with Kubrick also worked with Kennedy. This is
• 1:41:20
  Speaker 4: actually the smoking gun proving that Kubrick was working with
• 1:41:24
  Speaker 4: the government.
• 1:41:25
  Speaker 6: These were all CIA sponsored experiments.
• 1:41:29
  Speaker 2: I said, I'm not gonna hurt you, I'm just gonna
• 1:41:32
  Speaker 2: bash your brains.
• 1:41:34
  Speaker 6: And putting little symbolic cryptic clues and Easter eggs pertaining
• 1:41:40
  Speaker 6: to the fact that they're still doing it.
• 1:41:42
  Speaker 2: These clues include a hidden swastika in the background, hypersom.
• 1:41:49
  Speaker 8: What was the set up, what it was being told
• 1:41:52
  Speaker 8: and realized that it was a lie all along, But.
• 1:41:56
  Speaker 6: Right there in the narrative, in the dialogue, they're telling you,
• 1:42:00
  Speaker 6: but this was a very real program coming out of
• 1:42:03
  Speaker 6: those nice folks, the c I a.
• 1:42:07
  Speaker 4: M.
• 1:42:15
  Speaker 3: Stumping down California.
• 1:42:21
  Speaker 5: Here's Johnny
• 1:42:29
  Speaker 1: M.