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Jay Weidner & Ryder Lee Discuss A Clockwork Shining · Ryder Lee

• 0:26
  Speaker 1: Hey, everybody, Jay Widener here, thanks for watching and hit
• 0:31
  Speaker 1: like and all that stuff. Well, after what we thought
• 0:36
  Speaker 1: was going to take three months ended up taking them
• 0:38
  Speaker 1: three weeks, so we're really happy. We thanked the universe
• 0:42
  Speaker 1: because A Clockwork Shining is up on Amazon right now
• 0:47
  Speaker 1: and anyone can go watch it. It's a low price,
• 0:50
  Speaker 1: not as low as our last one, but I had
• 0:51
  Speaker 1: no choice on the price. Amazon shows everything for me.
• 0:55
  Speaker 1: But it's up. It's good, and I I remember a
• 1:03
  Speaker 1: quote from Quentin Tarantino where he said that no one's
• 1:06
  Speaker 1: ever made a good film past year their sixtieth year.
• 1:10
  Speaker 1: I think he's sixty two, so gotter be worried. And
• 1:15
  Speaker 1: I know what he means, because directing is so physical
• 1:19
  Speaker 1: that it's you know, it's like a baseball or football,
• 1:22
  Speaker 1: so a young man's sport it really is, or a
• 1:24
  Speaker 1: young woman's sport. It's just physical. There's nothing you do
• 1:26
  Speaker 1: about it. You're exhausted every day, and you can't do
• 1:28
  Speaker 1: it when you get older. So I always thought, oh, Quentin
• 1:32
  Speaker 1: Tarantino's not really giving up making movies. He's just going
• 1:35
  Speaker 1: to write and produce movies and let somebody younger direct
• 1:39
  Speaker 1: and do all the extra I think that's what's about
• 1:41
  Speaker 1: to happen anyway, That's the situation I got myself into.
• 1:44
  Speaker 1: I quit making films, quit production in in twenty eighteen
• 1:50
  Speaker 1: and retired and went to my put my ranch in
• 1:55
  Speaker 1: Colorado and took up the two things I wanted to
• 1:57
  Speaker 1: take up my whole life and never got to, which
• 2:00
  Speaker 1: was being a really good cook or a good chef
• 2:02
  Speaker 1: and gardening. And I did both. And then two years ago,
• 2:09
  Speaker 1: a year and a half ago, Yeah, Rider and I
• 2:11
  Speaker 1: were talking and we decided to make a Clockwork Shining.
• 2:16
  Speaker 1: That was our first decision, and then only later did
• 2:19
  Speaker 1: we change our mind and go first with your Akax.
• 2:23
  Speaker 1: And I think that was the best thing we ever
• 2:25
  Speaker 1: could do because it was a great way to launch
• 2:28
  Speaker 1: our combination of skills and see where we're weak or
• 2:31
  Speaker 1: where we're strong and all that, so that when we
• 2:34
  Speaker 1: did do a Clockwork Shining, it would be amazing. And
• 2:39
  Speaker 1: it is. I think it's actually the best film of
• 2:41
  Speaker 1: twenty twenty four. I know that sounds crazy. Hey Ryder,
• 2:44
  Speaker 1: how you doing.
• 2:45
  Speaker 2: How's it going, Jay? Thanks for having me on? And man,
• 2:47
  Speaker 2: I am so excited. Holy crap. When I woke up
• 2:50
  Speaker 2: this morning, I'm not gonna lie. I actually had a
• 2:52
  Speaker 2: dream last night, right before I woke up. Then I
• 2:57
  Speaker 2: checked Amazon and it was on there. And that's not
• 3:00
  Speaker 2: bulls shedding nothing. I legitimately had a dream that it
• 3:03
  Speaker 2: was on Amazon, and it was right before I woke up,
• 3:06
  Speaker 2: and that was the first thing that I did was
• 3:08
  Speaker 2: roll over, grab my phone, check Amazon, and then it
• 3:12
  Speaker 2: was on there, and it was like, Holly crap. And
• 3:14
  Speaker 2: then I called you and I was like, Jay, it's
• 3:15
  Speaker 2: on Yeah.
• 3:17
  Speaker 1: I had to get up really early this morning, had
• 3:20
  Speaker 1: a cat, had to go to the doctor, and I
• 3:24
  Speaker 1: checked I could do as soon as I get up.
• 3:26
  Speaker 1: So it was seven o'clock my time, and it wasn't up.
• 3:30
  Speaker 1: And then I got back about an hour later, I
• 3:32
  Speaker 1: checked it, it wasn't up. And then you called me about
• 3:35
  Speaker 1: two hours alater and it was up. So it was
• 3:37
  Speaker 1: in that window of time that it went up, and
• 3:41
  Speaker 1: it's on Amazon Prime. Everyone's got to go see it.
• 3:45
  Speaker 1: You're really gonna like it. It's the even if you
• 3:51
  Speaker 1: remove the shining from the film, let's see you just
• 3:54
  Speaker 1: go in and remove the shining. It's the best history,
• 4:00
  Speaker 1: I believe, of the MK Ultra programs ever. But when
• 4:07
  Speaker 1: you wrap it in a pop culture icon like Stanley
• 4:12
  Speaker 1: Kubrick's The Shining and then you see because it does
• 4:15
  Speaker 1: shake you, you know, you do wonder if he wasn't
• 4:19
  Speaker 1: making a movie about this, right.
• 4:23
  Speaker 2: Yes, it's very difficult to argue with our analysis, I believe,
• 4:29
  Speaker 2: and I've shown it to a few people so far.
• 4:32
  Speaker 2: They got to see the screen or copy of it,
• 4:35
  Speaker 2: and they are just completely blown away. They're literally like,
• 4:38
  Speaker 2: there's so much information in here. I got to rewatch
• 4:41
  Speaker 2: it again, and that's really what's There's it's really fast
• 4:46
  Speaker 2: paced and moves really quickly, but there are some breaks
• 4:49
  Speaker 2: in there where you can kind of catch your breath,
• 4:51
  Speaker 2: but you don't catch your breath for very long, and
• 4:53
  Speaker 2: then it's like right back into it. It's a pretty
• 4:57
  Speaker 2: long movie. It's almost two hours. It's I think o'
• 5:02
  Speaker 2: clocks in it around an hour and fifty minutes.
• 5:05
  Speaker 1: But doesn't feel like it though.
• 5:08
  Speaker 2: That's what other people have said as well. They've said
• 5:10
  Speaker 2: that it's once you start watching it, you can't stop
• 5:14
  Speaker 2: watching it, is what people have told me, like my
• 5:17
  Speaker 2: friends that have seen it so far, And of course
• 5:19
  Speaker 2: it just got released today, so the majority of people
• 5:23
  Speaker 2: have not gotten the scene see it I've only sent
• 5:25
  Speaker 2: it to a handful of my really close friends, and
• 5:29
  Speaker 2: they're like, yeah, this is a very fast pace. It
• 5:31
  Speaker 2: moves quick, you want to rewatch it again. And it
• 5:35
  Speaker 2: encompasses so much in there that that they're pretty much like,
• 5:43
  Speaker 2: there's so much going on that it that I really
• 5:48
  Speaker 2: recommend people to just buy it. And that's really what's
• 5:51
  Speaker 2: going on, because you're gonna, I think you can when
• 5:53
  Speaker 2: you rent it, you can watch it for like twenty
• 5:56
  Speaker 2: four hours over and over again. But you're gonna it's
• 5:59
  Speaker 2: kind of like with jfk said. The same thing with
• 6:01
  Speaker 2: jfk X when we made it, was that you're gonna
• 6:05
  Speaker 2: want to buy it because you're gonna want to watch
• 6:06
  Speaker 2: it several times over and over and over again. And
• 6:10
  Speaker 2: I think that we did a really good job with
• 6:14
  Speaker 2: encompassing everything that we wanted. I mean, I could have
• 6:16
  Speaker 2: made this movie like three hours long. This could easily
• 6:18
  Speaker 2: have been a three or four hour long.
• 6:21
  Speaker 1: Movie, but.
• 6:23
  Speaker 2: Because there's so much stuff that we could have said
• 6:27
  Speaker 2: in there. But we might do end up doing a
• 6:29
  Speaker 2: director's cut or something later on with the movie as well.
• 6:32
  Speaker 2: But yeah, that's kind of where where we're at right now.
• 6:36
  Speaker 2: And I'm really excited about it.
• 6:38
  Speaker 1: And yeah, we brought We brought out a whole bunch
• 6:40
  Speaker 1: of information in the film that's really never been presented before,
• 6:43
  Speaker 1: including this idea that perhaps perhaps because of the failure
• 6:48
  Speaker 1: of Barry Linton, which is Stanley Kubrick's greatest failure of
• 6:51
  Speaker 1: all his films, he was he had just signed a contract,
• 6:56
  Speaker 1: excuse me, a fight, no line infection, he just signed
• 7:00
  Speaker 1: contract with Warner Brothers, and he's delivered with clockwork Orange.
• 7:03
  Speaker 1: But he failed massively. And what happened is, and I
• 7:07
  Speaker 1: find this really fascinating, is in around nineteen seventy three
• 7:13
  Speaker 1: or four, he was offered to do The Exorcist, and
• 7:20
  Speaker 1: Warner Brothers had this incredibly great idea that what we
• 7:24
  Speaker 1: will do is we'll take a horror novel that's a
• 7:26
  Speaker 1: bestseller and we'll marry it to a type a top
• 7:30
  Speaker 1: director and an A list director. And so they got
• 7:35
  Speaker 1: William Friedkin, who was hot off of the French connection,
• 7:39
  Speaker 1: who's a great director. He doesn't nobody can argue with that.
• 7:42
  Speaker 1: He is a great director. And they married him together
• 7:46
  Speaker 1: and they had one of the biggest hits of all time,
• 7:48
  Speaker 1: The Exorcist, and Cuba could turn that down. So it's
• 7:51
  Speaker 1: really important to understand that he chose to do Barry Linden,
• 7:56
  Speaker 1: which was a very expensive movie, and it lost a
• 7:59
  Speaker 1: lot of money. And I believe I can't prove this
• 8:03
  Speaker 1: by speculating the film. I believe that around nineteen seventy five,
• 8:11
  Speaker 1: when The Shining had not yet come out as a novel,
• 8:15
  Speaker 1: Stephen King's The Shining, he was given I know he
• 8:18
  Speaker 1: was given a pre sale copy of the book. I
• 8:22
  Speaker 1: believe he was told by Warner Brothers that you kind
• 8:27
  Speaker 1: of have to make this, this kind of has to
• 8:29
  Speaker 1: be your next project. Why, because they're trying to get
• 8:32
  Speaker 1: you know, Double Lightning. They wanted a top A list
• 8:35
  Speaker 1: director married to a top best selling horror novel, which
• 8:39
  Speaker 1: The Shining was. And I think because he had turned
• 8:44
  Speaker 1: down The Exorcist before, Hubert kind of read the writing
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  Speaker 1: on the wall. I don't think anybody forced him to
• 8:51
  Speaker 1: do it or anything, but he took the book and
• 8:54
  Speaker 1: decided to make it. And it's you know, as we
• 8:57
  Speaker 1: point out in the film, Kubrick didn't believe in the supernatural,
• 9:01
  Speaker 1: and that's all that book is, this ghosts and trying
• 9:04
  Speaker 1: to influence his family and everything. And Cubert just just
• 9:09
  Speaker 1: wasn't his cup of tea. And you know, everybody has
• 9:12
  Speaker 1: their belief systems, that was his. He was a firm
• 9:14
  Speaker 1: believer in grit reality. So he had a lot of
• 9:20
  Speaker 1: problems with the book, is what we speculate, right.
• 9:24
  Speaker 2: Yeah, it's really interesting because we bring it up in
• 9:26
  Speaker 2: the film too. It's like, is this really a horror film?
• 9:31
  Speaker 2: Because it's really not. There's not really anything that happens
• 9:35
  Speaker 2: in the movie that is considered to be horror us
• 9:40
  Speaker 2: besides the last like thirty minutes of the movie is
• 9:44
  Speaker 2: the only parts of that are like horror. And I
• 9:46
  Speaker 2: gotta be honest with you, Jay, like the first time
• 9:48
  Speaker 2: that I seen it, and I gotta be honest with
• 9:50
  Speaker 2: the audience too. I did not like the shining. I
• 9:54
  Speaker 2: thought that it was boring. There was nothing going on,
• 9:59
  Speaker 2: and I was like, what is this? Why? Why have
• 10:01
  Speaker 2: people so fascinated with this? It makes zero sense? And
• 10:05
  Speaker 2: then it wasn't until I was sort of forced to
• 10:09
  Speaker 2: watch it several times over and over and over again.
• 10:13
  Speaker 2: And then I watched it when I was bringing you
• 10:15
  Speaker 2: on my show around two years ago. Yeah, and I
• 10:20
  Speaker 2: was like, huh, there's a lot of really strange things
• 10:23
  Speaker 2: in here. And it started to click with me, and
• 10:25
  Speaker 2: I'm like, holy crap, this is over here. This is
• 10:27
  Speaker 2: super symbolic. This is going on. There's a poster over here,
• 10:30
  Speaker 2: there's a there's something on in the background of the
• 10:33
  Speaker 2: gold Room. There's a freaking swastika in the background of
• 10:36
  Speaker 2: the gold room, you know, like all this different stuff.
• 10:39
  Speaker 2: There's a handprint on the lady's asses walking by after
• 10:42
  Speaker 2: Jack gets up from the bar, before he bumps into Grady.
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  Speaker 2: You know, there's all this stuff that's that's going on
• 10:49
  Speaker 2: that I really don't think that a lot of people
• 10:52
  Speaker 2: have seen, which is really wild that you can watch
• 10:57
  Speaker 2: it still and find things that people still haven't seen,
• 11:03
  Speaker 2: you know. And that's what my kind of problem was
• 11:06
  Speaker 2: with it was whenever I was, you know, watching it
• 11:09
  Speaker 2: and running my analysis through it, I was like, I'm
• 11:13
  Speaker 2: not going to find anything that people haven't seen in
• 11:15
  Speaker 2: this movie yet. But it turns out that I did,
• 11:18
  Speaker 2: and and there were several things that the swastika in
• 11:22
  Speaker 2: the in the gold Room, I don't I believe that
• 11:25
  Speaker 2: no one has ever seen that. Ever. It was probably
• 11:28
  Speaker 2: because I seen it on a big screen. I saw
• 11:30
  Speaker 2: that in the theater. They did a replay of it
• 11:37
  Speaker 2: for Halloween last year, so I went to the theater
• 11:39
  Speaker 2: and I got to see it on the big screen.
• 11:42
  Speaker 2: And that's the only way that I would have even
• 11:44
  Speaker 2: noticed that that was even there, because I've seen it
• 11:48
  Speaker 2: on the big screen.
• 11:49
  Speaker 1: But it's interesting because you were.
• 11:50
  Speaker 2: Talking about William Freaking earlier and I had I listened
• 11:54
  Speaker 2: to a lot of well, you know how it is
• 11:57
  Speaker 2: when you're making a documentary and you're trying to find footage.
• 12:00
  Speaker 2: You listen to a lot of interviews, a lot of
• 12:03
  Speaker 2: b roll, a lot of information and stuff. And I
• 12:05
  Speaker 2: listened to an entire thing with William Freaking. I listened
• 12:10
  Speaker 2: to probably two or three hours of interviews with him
• 12:12
  Speaker 2: that I actually wanted to put in the movie but
• 12:15
  Speaker 2: I had to be cut for time. And he was
• 12:18
  Speaker 2: talking about how he hates filmmaking. He said, I hate it.
• 12:23
  Speaker 2: It's the worst thing that I've ever done. It's annoying,
• 12:27
  Speaker 2: it's frustrating, it takes up too much time. But then
• 12:30
  Speaker 2: he said, the thing that I love about filmmaking is
• 12:34
  Speaker 2: the editing process. The editing process is the most fun.
• 12:39
  Speaker 2: It's the most enjoyable. And I think that that's really
• 12:41
  Speaker 2: what hearing him say that actually got me through completing
• 12:48
  Speaker 2: the film and I'll care.
• 12:50
  Speaker 1: Yeah, well, if you think about it, as people have
• 12:54
  Speaker 1: played out in the past, film was a bastard are
• 12:58
  Speaker 1: The music comes from you know, classical music. Mostly the
• 13:02
  Speaker 1: acting comes from stage. The writing comes I mean, the
• 13:06
  Speaker 1: screenplays come from novels. So there's always a precursor art
• 13:11
  Speaker 1: form for all the things that make up movies. Costumes
• 13:14
  Speaker 1: come from theater. But there's only one thing that makes
• 13:19
  Speaker 1: movies making stand out from all other art forms, and
• 13:24
  Speaker 1: that is editing. You when you're the editor, you are
• 13:28
  Speaker 1: you are God. You are in control of it. You
• 13:32
  Speaker 1: are the master of your own universe. And I've always
• 13:37
  Speaker 1: thought that you really can't call yourself a filmmaker if
• 13:41
  Speaker 1: you don't edit. So you can say you can call
• 13:44
  Speaker 1: yourself whatever you want, but you can't call yourself a
• 13:46
  Speaker 1: filmmaker unless you're the person sweating bullets in the booth editing.
• 13:54
  Speaker 1: That's that, That is what filmmaking is. Filmmaking is not
• 13:58
  Speaker 1: pointing cameras. Filmmaking is not writing screenplays. The real essence
• 14:04
  Speaker 1: of filmmaking is what happens in the editing, and what
• 14:08
  Speaker 1: happens it is that a person who edits becomes a
• 14:13
  Speaker 1: better filmmaker because they see all the mistakes that get
• 14:19
  Speaker 1: made and I'm never gonna do that one, right. And
• 14:23
  Speaker 1: so by the time the guy's done like four or
• 14:25
  Speaker 1: five films editing, he's now pretty much ready to direct
• 14:30
  Speaker 1: because now he knows all the mistakes that everybody makes
• 14:33
  Speaker 1: and he doesn't want to do it. And frequently they're
• 14:35
  Speaker 1: the best editors.
• 14:37
  Speaker 2: Yeah, during this movie, I wanted to bang my freaking
• 14:40
  Speaker 2: head against the wall several times making this thing, just
• 14:44
  Speaker 2: because it was you know, it's a long movie, and
• 14:48
  Speaker 2: when you're editing a long movie like that, the amount
• 14:51
  Speaker 2: of times that you have to watch it is unbelievable.
• 14:54
  Speaker 2: And I've probably seen The Shining more than anybody on
• 15:00
  Speaker 2: the planet. I've probably watched it more times than anybody
• 15:05
  Speaker 2: has ever seen it. And I've definitely watched our movie
• 15:08
  Speaker 2: more times than anybody is probably ever going to watch
• 15:11
  Speaker 2: it too. But the editing process is a lot of
• 15:15
  Speaker 2: fun in you know, putting everything together and telling a
• 15:19
  Speaker 2: cohesive story because yeah.
• 15:22
  Speaker 1: It's like a jigsaw puzzle, right, but you know what,
• 15:26
  Speaker 1: you had a jagsaw puzzle that was like twenty five
• 15:28
  Speaker 1: feet by twenty five feet. That was your problem. Yeah, well,
• 15:34
  Speaker 1: find the first piece, right where do you start?
• 15:38
  Speaker 3: You know?
• 15:39
  Speaker 2: But I think it's important to have a vision with it.
• 15:41
  Speaker 2: And I kept my vision through the entire editing process.
• 15:45
  Speaker 2: Like I knew where everything needed to be, and I
• 15:47
  Speaker 2: knew how everything needed to hit because I had already,
• 15:51
  Speaker 2: you know, raked it over in my mind several times.
• 15:54
  Speaker 2: I mean, from the time that we decided to start
• 15:57
  Speaker 2: shooting this movie. Every single night, all I did was
• 16:00
  Speaker 2: think about how I wanted this movie to flow, and
• 16:03
  Speaker 2: the ideas and where I wanted everything in my head.
• 16:07
  Speaker 2: That's what I did, and that's what I had to
• 16:09
  Speaker 2: do because I knew when it came down down time
• 16:11
  Speaker 2: to actually do it, I couldn't waste my time trying
• 16:14
  Speaker 2: to figure out where everything needed to go. I already
• 16:16
  Speaker 2: knew where everything needed to go.
• 16:19
  Speaker 1: Yeah. Yeah, And then we got a lot of We've
• 16:22
  Speaker 1: got a lot of surprising information in the interviews we did.
• 16:25
  Speaker 1: We interviewed Walter Bosley, we interviewed Kathy O'Brien, the victim
• 16:30
  Speaker 1: of the Monarch MK Ultra programs. Walter Bosi, of course,
• 16:33
  Speaker 1: was in the Air Force OSI the Special Investigation Arm
• 16:39
  Speaker 1: of the Air Force. Plus he was in the FBI
• 16:42
  Speaker 1: Mark Devlin, isn't it. He's a specialist in the entertainment world,
• 16:47
  Speaker 1: and he brings in a whole bunch of incredible information
• 16:50
  Speaker 1: Joe Attwill who's an expert on Catcher in Their Eye,
• 16:54
  Speaker 1: And most people have never really caught the fact that
• 16:57
  Speaker 1: at the beginning of the movie, the first time we
• 17:00
  Speaker 1: see Shelley Devall, she's reading Catcher in Their Eye and
• 17:03
  Speaker 1: there's this whole background behind that. Over and over we
• 17:09
  Speaker 1: discover through the Shining pointers to m k Ultra programs,
• 17:18
  Speaker 1: and they're all through the movie. I don't want to
• 17:20
  Speaker 1: give away too much, so that's one of the most
• 17:23
  Speaker 1: important ones. So and then when we look into Kubrick,
• 17:31
  Speaker 1: and we were very nice to stan Lee in this movie,
• 17:34
  Speaker 1: I think, oh, I know what I want to bring
• 17:37
  Speaker 1: up before I go into that. So in our movie
• 17:43
  Speaker 1: we present, you know, Stanley Kubrick's lesser, less known ending
• 17:50
  Speaker 1: to The Shining. There was another ending to The Shining
• 17:54
  Speaker 1: that cubric lopped off at the last second because well,
• 17:59
  Speaker 1: we don't know. Maybe I think he had one excuse,
• 18:02
  Speaker 1: but I think the real excuse is because the alternate ending,
• 18:07
  Speaker 1: the ending that was at the first time first cut
• 18:10
  Speaker 1: of The Shining reveals that it actually is an MK
• 18:13
  Speaker 1: Ultra operation and we show a AI generated We showed
• 18:23
  Speaker 1: the ending in our movie an AI generated ending, and
• 18:27
  Speaker 1: that's really interesting what happens in it, and we explained
• 18:29
  Speaker 1: all of it in the film, But it gave away
• 18:32
  Speaker 1: too much, don't you think?
• 18:34
  Speaker 2: Absolutely? And I think that that was a big reason
• 18:36
  Speaker 2: because the excuse was is that q Break ran test
• 18:41
  Speaker 2: screenings of his movies to the test screenings of the
• 18:44
  Speaker 2: movie the shining to people and uh, people were just
• 18:49
  Speaker 2: getting up and leaving before the credits has had rolled,
• 18:53
  Speaker 2: and they were just not talking to each other. They
• 18:55
  Speaker 2: weren't you know, they weren't conversing with each other, and
• 18:59
  Speaker 2: they would just get up, and so he decided to
• 19:02
  Speaker 2: have his.
• 19:04
  Speaker 1: Editor go to the.
• 19:05
  Speaker 2: Movie theaters to where it was showing and splice the
• 19:09
  Speaker 2: ending of the film. And that's how we get the
• 19:12
  Speaker 2: you know, the famous ending of the film with Jack,
• 19:16
  Speaker 2: you know, being frozen outside basically and dying and then
• 19:20
  Speaker 2: a zooms into the picture on the wall, and but
• 19:24
  Speaker 2: there was a whole other ending that completely got cut out,
• 19:29
  Speaker 2: and that ending that really does reveal the entire movie.
• 19:33
  Speaker 2: It tells you exactly what it is and That's the
• 19:35
  Speaker 2: thing about Stanley Kubrick is he's his movies are very ambiguous.
• 19:41
  Speaker 2: He wants the audience to put two and two together
• 19:43
  Speaker 2: on their own and come up with their own interpretation.
• 19:46
  Speaker 2: And that's one of my favorite things about Stanley Kubrick
• 19:50
  Speaker 2: and the way that he makes films. It's not even
• 19:53
  Speaker 2: so much as filming style. It's it's the way that
• 19:57
  Speaker 2: he puts together a movie and doesn't give everything away
• 20:00
  Speaker 2: in exposition, because that's a really big problem with movies nowadays.
• 20:04
  Speaker 2: In the past two to three decades, everything is given
• 20:07
  Speaker 2: away an exposition. It's all given away between the dialogue
• 20:11
  Speaker 2: between the characters, you know, and instead of letting the
• 20:15
  Speaker 2: audience put everything together themselves. And that's another thing that
• 20:20
  Speaker 2: I've heard about our movie at Clockwork Shiny is that
• 20:22
  Speaker 2: it's a it's an intelligent movie that gives you payoffs
• 20:30
  Speaker 2: longer longer that you wait in the movie, it gives
• 20:34
  Speaker 2: you payoffs. So it's like a it's an intelligent movie
• 20:37
  Speaker 2: that you have to stick with. And that's what Stanley
• 20:40
  Speaker 2: Kubrick was trying to do with pretty much all of
• 20:43
  Speaker 2: his movies. He wanted the audience. That's why he also
• 20:46
  Speaker 2: didn't do interviews. He hated doing interviews because if he
• 20:49
  Speaker 2: told the audience what he thought that the film was
• 20:52
  Speaker 2: really about, then that squashes anything that they thought that
• 20:55
  Speaker 2: it was about. So when a filmmaker tells you, this
• 20:57
  Speaker 2: is what my foot movie's about, completely res all theories
• 21:02
  Speaker 2: and speculation that they could come up with their on
• 21:05
  Speaker 2: their own. And that's one of the great things about
• 21:08
  Speaker 2: Stanley Kubrick, not only him, you know, being a great
• 21:11
  Speaker 2: filmmaker and you know, leaving the camera on the subject
• 21:16
  Speaker 2: for a long period of time before cutting. That's another
• 21:20
  Speaker 2: thing that filmmakers nowadays really need to get away from
• 21:24
  Speaker 2: is all these you know, these jump cuts. But in
• 21:26
  Speaker 2: a documentary it's different. You have to do a lot
• 21:29
  Speaker 2: of cuts and edits and stuff in a documentary. But
• 21:31
  Speaker 2: when you're making an actual film, like There's Yeah, they
• 21:35
  Speaker 2: call him what is it called not action scenes, but
• 21:39
  Speaker 2: like shaky cam. They do the shaky cam and the
• 21:42
  Speaker 2: all the jump cuts in there, and they don't leave
• 21:44
  Speaker 2: the camera on a subject. There's been very few films
• 21:48
  Speaker 2: that's been made recently that has that style of filmmaking.
• 21:53
  Speaker 2: But that coupled with not giving away everything within the
• 21:56
  Speaker 2: exposition and the dialogue between the characters and the way
• 21:59
  Speaker 2: that he filmed films was really made Stanley cuperit great.
• 22:03
  Speaker 1: Yeah. The first rule to me of filmmaking is show them,
• 22:09
  Speaker 1: don't tell them. That's really what you have to do.
• 22:13
  Speaker 1: And we accomplished that in this movie. We don't tell them,
• 22:17
  Speaker 1: We show them. And by that and you know, I
• 22:20
  Speaker 1: did a I showed it here locally to six or
• 22:26
  Speaker 1: seven people that weren't friends the people I know, but
• 22:30
  Speaker 1: I made sure I didn't show to anybody that was
• 22:32
  Speaker 1: a tight friend of mine, because you know, they'll massage
• 22:36
  Speaker 1: the data, if you know what I mean. So there
• 22:38
  Speaker 1: are just people I know, I work with or whatever,
• 22:40
  Speaker 1: and they came over and we had it. We showed it.
• 22:43
  Speaker 1: This is whenever we finished it, So it must have
• 22:46
  Speaker 1: been in August, and and I stayed out of the room.
• 22:52
  Speaker 1: I stay out of the ruinary of viewing. I listened, though,
• 22:55
  Speaker 1: because I hear people talking and I know they're not
• 22:57
  Speaker 1: watching the film, so I so I went outside. It
• 23:01
  Speaker 1: was the summer day, and I looked up, sat out
• 23:04
  Speaker 1: in my front porch and I listened to them watching.
• 23:06
  Speaker 1: Nobody said a word, by the way, for the whole
• 23:09
  Speaker 1: hour and fifty minutes and then they all came out
• 23:12
  Speaker 1: and they said, they said, oh, it was really good.
• 23:15
  Speaker 1: Everybody complimented me. But they're they're all acting kind of
• 23:18
  Speaker 1: odd and there looked like they'd been hit by a truck,
• 23:24
  Speaker 1: and uh, including my wife, and and so they all
• 23:28
  Speaker 1: left and then I said, so, what'd you think? And
• 23:30
  Speaker 1: she's just kind of staring at the wall, actually didn't
• 23:34
  Speaker 1: really talk to me or anything. I thought, what's going
• 23:36
  Speaker 1: on here? And then the next day I was I
• 23:40
  Speaker 1: get up a lot earlier than my wife, and I
• 23:43
  Speaker 1: was up doing work around the house or something, and
• 23:45
  Speaker 1: she comes in, she staggers in, and she goes all
• 23:50
  Speaker 1: I did last night was dream about that movie. All
• 23:54
  Speaker 1: I can. I cannot get over that movie. And you
• 23:58
  Speaker 1: really shook me up. You shook me up even about
• 24:01
  Speaker 1: my own life. And well that's a really weird reaction.
• 24:06
  Speaker 1: So then I waited just a couple more days than
• 24:08
  Speaker 1: I call the other five people on the phone and
• 24:12
  Speaker 1: asked them, you know, give me a review, right. I
• 24:15
  Speaker 1: wanted to make sure they had enough time to cognate
• 24:19
  Speaker 1: the whole thing. And I got all six people said
• 24:24
  Speaker 1: that the movie shook them up, made them wonder about reality,
• 24:29
  Speaker 1: made them wonder if these programs aren't exactly what's going
• 24:33
  Speaker 1: on everywhere right now. And they all had personal things
• 24:37
  Speaker 1: like did I get influenced by this on when I
• 24:39
  Speaker 1: was young? Right? Everybody had these kind of same reactions.
• 24:44
  Speaker 1: And then I knew that we had a hit. And
• 24:46
  Speaker 1: I don't know if we have a hit because we
• 24:47
  Speaker 1: just put it up today, but I can tell I
• 24:51
  Speaker 1: always do screenings after I do a movie, and I
• 24:55
  Speaker 1: can tell from the screening if it's going to be
• 24:57
  Speaker 1: a hit or not. And I knew you have X
• 25:00
  Speaker 1: is going to be a hit because of the screening here,
• 25:02
  Speaker 1: and I got the reaction I was looking for, and
• 25:04
  Speaker 1: this one got a reaction I've never gotten from any
• 25:07
  Speaker 1: film I've been involved in. I never I never thought
• 25:11
  Speaker 1: that people were gonna say they were affected viscerally by
• 25:15
  Speaker 1: a movie. Right I've been affected viscerally by films, and
• 25:20
  Speaker 1: it's not always a pleasant feeling. But man, you never
• 25:23
  Speaker 1: forget that film, the one that tore your guts out,
• 25:27
  Speaker 1: And I think that's the fact that it's going to happen.
• 25:30
  Speaker 1: I think what I really like is for people to
• 25:33
  Speaker 1: get the film and to show it to your normy friends,
• 25:37
  Speaker 1: because that's really the goal of the film is to
• 25:40
  Speaker 1: convert Normies's that's the goal. Let a Normy come in
• 25:45
  Speaker 1: all they're a big Shining fan. Yeah, I love the Shining, dude,
• 25:49
  Speaker 1: and then they watch our film and we have another
• 25:53
  Speaker 1: conversion from the normies over to our side. And I
• 25:56
  Speaker 1: think that's really what's gonna happen. I really do.
• 25:59
  Speaker 2: I think so too, because there's a lot of uncomfortable
• 26:03
  Speaker 2: things that are talked about within the movie that really
• 26:07
  Speaker 2: make you question Hollywood, the music industry, the film industry,
• 26:17
  Speaker 2: the counterculture, the sixties, like Charles Manson, like all these
• 26:24
  Speaker 2: different things that are all wrapped up into this documentary.
• 26:29
  Speaker 1: And I think that.
• 26:33
  Speaker 2: From the first three or four interviews that we shot
• 26:36
  Speaker 2: for this documentary, before we even did our parts of
• 26:41
  Speaker 2: the documentary, I knew that it was going to be
• 26:45
  Speaker 2: something really special, Like I felt it in my bones.
• 26:48
  Speaker 2: And that was exactly my reaction to it as well,
• 26:53
  Speaker 2: because I was like, this is going to be It's
• 26:56
  Speaker 2: not only a film about the Shining and Stanley, but
• 27:00
  Speaker 2: it's also an it's an exposing film. It exposes a
• 27:06
  Speaker 2: lot of different things. And one of those things that
• 27:09
  Speaker 2: we folks heavily focus on is the music industry of
• 27:13
  Speaker 2: the sixties, and once you realize really what's going on there,
• 27:20
  Speaker 2: they're going to be like, holy crap. What Because that's
• 27:23
  Speaker 2: how I felt as well. I was like I had
• 27:26
  Speaker 2: that realization as I was making the movie. I was like,
• 27:30
  Speaker 2: this is why people can try the hardest that they
• 27:35
  Speaker 2: can ever try and never get anywhere with anything.
• 27:40
  Speaker 1: I can't tell you how many times in my life
• 27:43
  Speaker 1: I was Okay, I could tell my story because I
• 27:46
  Speaker 1: got lucky when I went to Hollywood, all right, but
• 27:49
  Speaker 1: luck ran out after just three years. But for three
• 27:52
  Speaker 1: years I was lucky. I got actually got work and everything.
• 27:55
  Speaker 1: But I was willing to work hard. But I can
• 27:57
  Speaker 1: tell you I know people who some aren't even around anymore,
• 28:04
  Speaker 1: who were the best musicians I've ever known in my life.
• 28:10
  Speaker 1: I mean absolutely stunning songwriting skills, studying musicians, study piano playing,
• 28:16
  Speaker 1: guitar playing.
• 28:17
  Speaker 4: And.
• 28:19
  Speaker 1: Got to their fifties and never made it and could
• 28:23
  Speaker 1: not understand why they never made it. Well, you watch
• 28:25
  Speaker 1: our film, you'll find it out. Why all these people
• 28:28
  Speaker 1: that try to make it never make it because they
• 28:30
  Speaker 1: don't have the connections. It's all about it.
• 28:34
  Speaker 2: They don't have the backing, they don't know the people
• 28:36
  Speaker 2: that knows the people, And dare I say they're not
• 28:40
  Speaker 2: a part of a specific family of that has connections.
• 28:48
  Speaker 1: Yeah, it's kind of like a cadre of families where
• 28:52
  Speaker 1: they kind of they've been around and ruling our country
• 28:56
  Speaker 1: for a long time and they and these are their chill,
• 29:00
  Speaker 1: you might say. And and the actors too, So forget
• 29:05
  Speaker 1: Jack Dickolson is the number one actor of the Laurel
• 29:09
  Speaker 1: Canyon film scene of the nineteen sixties. We start an
• 29:13
  Speaker 1: easy rider and Psycho not Psycho psyched out and the
• 29:19
  Speaker 1: Monkeys film had the monkeys lived in Laurel Canyon. People
• 29:22
  Speaker 1: don't know that either. The monkeys were completely made up bad. Yeah,
• 29:26
  Speaker 1: they were completely accepted in Laurel Canyon as peers, proving
• 29:31
  Speaker 1: that there was more in the Laurel Canyon scene than
• 29:35
  Speaker 1: we've been led to believe.
• 29:38
  Speaker 2: That's right, And we actually went out to Laurel Canyon
• 29:41
  Speaker 2: and checked all that out. That was a really interesting,
• 29:45
  Speaker 2: right it was. It turned it's not a nice area
• 29:48
  Speaker 2: up there anymore. It's really strange.
• 29:50
  Speaker 1: Like it's strange. I lived in Laurel Canyon in the
• 29:54
  Speaker 1: eighties and it was like really nice upscale. All the movie,
• 30:00
  Speaker 1: the industry lived there. They all had good jobs and everything.
• 30:03
  Speaker 1: And then we went through there last April, I guess,
• 30:07
  Speaker 1: and I'm CD LA was CD. I was really surprised
• 30:13
  Speaker 1: by California and how far had gone down, at least
• 30:16
  Speaker 1: southern calf. I haven't been to the Bay Area or
• 30:18
  Speaker 1: north but I was really surprised. But you know, I
• 30:23
  Speaker 1: was talking to a person I know in the movie industry,
• 30:26
  Speaker 1: still in the industry, and he says to that, you know,
• 30:33
  Speaker 1: he gets his usual fifty emails a day from people
• 30:36
  Speaker 1: who want jobs in Hollywood right looking for a job
• 30:38
  Speaker 1: from him because he hires people and basically he has
• 30:42
  Speaker 1: one email now he just copies and paste and sims
• 30:45
  Speaker 1: it says, there's nothing here for you. Stay in your
• 30:49
  Speaker 1: own hometown, make your films there. Don't come here because
• 30:52
  Speaker 1: there's nothing here. So I think the film industry is dying.
• 30:55
  Speaker 1: I really do. I think it's going to be little
• 31:01
  Speaker 1: films with a lot of heart, like the Clockwork Shining,
• 31:03
  Speaker 1: that are going to be what succeeds from here on out.
• 31:06
  Speaker 1: And I think the big budget films are likely going
• 31:10
  Speaker 1: to die off. For the most part.
• 31:13
  Speaker 2: I agree with that it's going to be independent filmmaking
• 31:15
  Speaker 2: I was actually listening to an interview interview with Kevin
• 31:18
  Speaker 2: Smith the other day, and that's exactly what he was saying.
• 31:21
  Speaker 2: He was like, it's all about independent filmmaking and right
• 31:23
  Speaker 2: now is your shot. Right now is your time to shine, baby,
• 31:27
  Speaker 2: And that's what we're doing. We're shining with the clockwork,
• 31:29
  Speaker 2: shining baby. But Lookout Mountain within the film is also
• 31:34
  Speaker 2: a really interesting aspect that we that we bring in
• 31:39
  Speaker 2: because Lookout Mountain was a military base on top of
• 31:42
  Speaker 2: Laurel Canyon and a This is where a lot of
• 31:47
  Speaker 2: films were made, a lot of military films, and a
• 31:52
  Speaker 2: lot of them are still classified to this very day.
• 31:55
  Speaker 2: It had really well known actors that was associated with it.
• 32:00
  Speaker 2: Old Reagan was associated with it, like Marilyn Monroe, all
• 32:05
  Speaker 2: these people carry Grant like all these famous people were
• 32:08
  Speaker 2: all associated with this military base on top of Lookow Mountain.
• 32:14
  Speaker 1: That's right, And you know what we're gonna do. We're
• 32:17
  Speaker 1: going to show this shine. We're going to show our trailer,
• 32:20
  Speaker 1: our newest trailer, all right.
• 32:22
  Speaker 4: Hallucinogenic drugs, hypnosis, electric shocks to the brain, some of
• 32:29
  Speaker 4: the methods used in secret CIA mind control experiments.
• 32:33
  Speaker 2: There are many theories as to what the shining is
• 32:36
  Speaker 2: really about, from the faking of the moon landing to
• 32:39
  Speaker 2: Native American genocide and the Holocaust.
• 32:42
  Speaker 1: Now, if he did fake the Apollo moon landing, then
• 32:44
  Speaker 1: he probably has really deep connections into the intelligence world.
• 32:49
  Speaker 1: Why are there these gigantic continuity airs in this movie?
• 32:54
  Speaker 3: The occulted meeting has to be comprehensible. It's just hidden,
• 32:58
  Speaker 3: usually in a very systematic way, so that it could
• 33:02
  Speaker 3: be understood by someone coming along later on, who knows
• 33:05
  Speaker 3: what the real meaning is supposed to be.
• 33:07
  Speaker 2: We believe that there's something even more sinister lurking beneath
• 33:11
  Speaker 2: the surface of this masterful film.
• 33:14
  Speaker 1: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
• 33:19
  Speaker 5: You realize that there's no such thing as a coincidences
• 33:23
  Speaker 5: like that.
• 33:24
  Speaker 2: As Lookout Mountain studios ran by the Air Force.
• 33:27
  Speaker 6: And told the story of nuclear weapons testing by the
• 33:30
  Speaker 6: United States of.
• 33:32
  Speaker 1: The Army Navan Air Force.
• 33:34
  Speaker 7: The Air Force was known to be the most excited,
• 33:37
  Speaker 7: the most turned on by mk ultran its prospects.
• 33:41
  Speaker 5: Reportedly, there were more films might at Lookout Mounting than
• 33:46
  Speaker 5: at all the other film studios in Hollywood.
• 33:50
  Speaker 1: We really don't know if these famous film directors were
• 33:53
  Speaker 1: being recruited for what project or whatever was it? The
• 33:56
  Speaker 1: Moon Landing.
• 34:00
  Speaker 2: The CIA's MK Ultra programs were admitted to the public
• 34:05
  Speaker 2: in nineteen seventy, five, years before the release of The Shining.
• 34:10
  Speaker 5: These experiments were done without the informed consent of the patients.
• 34:15
  Speaker 4: Look at some UFO cases and the things that are
• 34:18
  Speaker 4: reported tells me that MK Ultra is likely being applied.
• 34:23
  Speaker 6: My mk ultra mind control experience, I was taken to
• 34:27
  Speaker 6: various military, NASA and DARPA installations for sophisticated mind control programming.
• 34:37
  Speaker 5: Woke Disney, Marilyn Monroe, James Stewart, Carrie Groan, Ronald Reagan.
• 34:45
  Speaker 5: Nobody really knows what they were doing.
• 34:47
  Speaker 7: Up there, as well as high ranking military and Department
• 34:50
  Speaker 7: of Defense personnel.
• 34:51
  Speaker 1: But people don't realize is that many of the people
• 34:54
  Speaker 1: that worked with Kubrick also worked with Kennedy. This is
• 34:57
  Speaker 1: actually the smoking gun that Kubrick was working with the government.
• 35:03
  Speaker 5: These were all CIA sponsored experiments.
• 35:06
  Speaker 2: I said, I'm not gonna hurt you, I'm just gonna bash.
• 35:10
  Speaker 5: Your brains and putting little symbolic cryptic clues and Easter
• 35:16
  Speaker 5: eggs pertaining to the fact that they're still doing it.
• 35:20
  Speaker 2: These clues include a hidden swastika in the background of
• 35:24
  Speaker 2: the old room.
• 35:26
  Speaker 6: What was the set up? What it was being told?
• 35:29
  Speaker 6: And realized that it was a lie all along.
• 35:33
  Speaker 5: But right there in the narrative in the dialogue, they're
• 35:36
  Speaker 5: telling you that this was a very real program coming
• 35:40
  Speaker 5: out of those nice folks in the cio.
• 35:58
  Speaker 7: Here's Johnny, there it is folks.
• 36:10
  Speaker 1: That was awesome. Yeah, So that's the trailer for our
• 36:15
  Speaker 1: new film. Writer, just put that out today. I'll be
• 36:19
  Speaker 1: putting it up on Reality Check isolated from this show also,
• 36:24
  Speaker 1: And I really really really tells you what the film's about.
• 36:29
  Speaker 1: It really does. It's a very good explanation in a
• 36:33
  Speaker 1: short two and a half three minutes of what the
• 36:35
  Speaker 1: film's about. And the cutting style was the same kind
• 36:38
  Speaker 1: of cutting style it's in the film because saying editor
• 36:41
  Speaker 1: did it. So it's up on Amazon. Tell your friends
• 36:46
  Speaker 1: and family to watch it, because I really do believe
• 36:52
  Speaker 1: it's one of the best films of twenty twenty four.
• 36:55
  Speaker 1: Not that there's much competition this year, but you know,
• 36:59
  Speaker 1: not too much good sort of about out anymore, but
• 37:01
  Speaker 1: this one is good worth blatching and ryery just did
• 37:05
  Speaker 1: a really good job on it.
• 37:08
  Speaker 2: Thank you. I really appreciate that I worked was super
• 37:10
  Speaker 2: hard on it. So I really hope people go out
• 37:12
  Speaker 2: and support it. I mean, this is the this is
• 37:15
  Speaker 2: the direction that everything is going. It's it's you know,
• 37:19
  Speaker 2: independent filmmakers and you know people just grinding away at
• 37:24
  Speaker 2: it because like we mentioned earlier, Hollywood is dead. There's
• 37:28
  Speaker 2: there's nothing in Hollywood. There's nothing that really any of
• 37:31
  Speaker 2: these studios can do for you that you can't do
• 37:35
  Speaker 2: on your own, to be honest, like everybody can just
• 37:38
  Speaker 2: can do it now if you have you know, the
• 37:41
  Speaker 2: dedication in the you know, the moxie to actually do
• 37:46
  Speaker 2: it and put it together. And I think that no
• 37:50
  Speaker 2: matter if you are a Shining fan or you're not
• 37:53
  Speaker 2: a Shiny fan, or if you've never even seen The
• 37:55
  Speaker 2: Shining before, it won't really matter because there's so many
• 37:59
  Speaker 2: other things in this movie that you will like that
• 38:04
  Speaker 2: you do know about already and that you don't know
• 38:08
  Speaker 2: it in the way that we're really presenting it. And
• 38:10
  Speaker 2: that's something that really got me as well, because you
• 38:14
  Speaker 2: were actually the one that talked about noticed that Wendy
• 38:18
  Speaker 2: was reading Catcher in the Riot. I didn't even notice
• 38:20
  Speaker 2: that I just noticed the other things, you know, throughout
• 38:24
  Speaker 2: the movie that made sense in my theory in what
• 38:28
  Speaker 2: I was trying to you know, put together and you know,
• 38:31
  Speaker 2: realize and put out there. But that just the fact
• 38:36
  Speaker 2: that that book is in the movie changes the whole game,
• 38:42
  Speaker 2: like it really brings it all together, because what that
• 38:45
  Speaker 2: book represents is a lot of people believe that it's
• 38:52
  Speaker 2: like a Manchurian candidate style mk ultra trigger for assassinations.
• 38:58
  Speaker 2: And what does Jenn do through the movie. He's trying
• 39:02
  Speaker 2: to kill people in the movie.
• 39:06
  Speaker 1: Yeah, and people don't realize. And we pointed out in
• 39:09
  Speaker 1: the movie that two of the most famous assassination attempts
• 39:14
  Speaker 1: of the early eighties was the assassinate successful assassination of
• 39:20
  Speaker 1: John Lennon by Mark David Chapman and the unsuccessful assassination
• 39:25
  Speaker 1: just a few months later of Ronald Reagan by John
• 39:28
  Speaker 1: Hinckley and both Mark David Chapman. As soon as he
• 39:32
  Speaker 1: shot Lennon, he sat the gun down, and he pulled
• 39:35
  Speaker 1: out a catching the rye and sat down on a
• 39:38
  Speaker 1: little stone wall waiting for the cops to come. He said,
• 39:43
  Speaker 1: I'm waiting for the cops to come, right and Hankley
• 39:46
  Speaker 1: had it on him too. And what's important, what we
• 39:49
  Speaker 1: point out the film is that both of those assassinations
• 39:54
  Speaker 1: and assassination attempts happened within one year of the release
• 39:59
  Speaker 1: of The Shining, which features Shelley Duval reading a Catcher
• 40:04
  Speaker 1: in the Rye at the beginning of the film. And
• 40:06
  Speaker 1: we show with the great Joe Atwell that there is
• 40:13
  Speaker 1: a lot more to The Catcher in the Rye than
• 40:15
  Speaker 1: we've been led to believe. It's not just a movie
• 40:17
  Speaker 1: about a disaffected teenager. It's a movie about a secret society.
• 40:23
  Speaker 1: Our book about secret societies, and and and we go
• 40:27
  Speaker 1: through the whole thing in the movie. It's really really interesting.
• 40:30
  Speaker 1: Here's my cat sona so much he's bothered. I don't
• 40:34
  Speaker 1: know what to do about him.
• 40:36
  Speaker 2: He's gotten so big, Holy crowd. They grew really quick.
• 40:40
  Speaker 1: Yeah, they're gonna be huge cats.
• 40:42
  Speaker 2: Well, they were just a little, tiny, little tiny kittens.
• 40:48
  Speaker 1: All right, right, Ert listen, I really appreciate all your help,
• 40:50
  Speaker 1: and I'm you know, we were told that it was
• 40:53
  Speaker 1: going to take three months by various people who have
• 40:56
  Speaker 1: films up on Amazon, that you have to wait three
• 40:59
  Speaker 1: months for the time they accept the film to where
• 41:02
  Speaker 1: they uploaded and ours went three weeks. So I think
• 41:06
  Speaker 1: that's a testimony to Amazon what they think of us
• 41:12
  Speaker 1: and the prospects of making them a whole bunch of money.
• 41:16
  Speaker 2: And the testament how you know, good the film is
• 41:21
  Speaker 2: as well, and they think that it's that it needs
• 41:24
  Speaker 2: to be pushed out there quickly, and also to the
• 41:26
  Speaker 2: help from the people that you know that we've been
• 41:29
  Speaker 2: telling to continuously put it in and search for it
• 41:33
  Speaker 2: as well, because you know how everything is about algorithms now,
• 41:36
  Speaker 2: and you got to be got to do it at
• 41:39
  Speaker 2: the right time and the post it at the right
• 41:41
  Speaker 2: time and all that to get triggered in the algorithm.
• 41:44
  Speaker 2: So I thank you everyone that has been searching for
• 41:47
  Speaker 2: the movie, you know, waiting for it to come out.
• 41:50
  Speaker 2: We've also been patiently waiting. We thought that it was
• 41:53
  Speaker 2: going to take a lot longer than you know what
• 41:56
  Speaker 2: it has taken, and I wanted it to be out
• 41:58
  Speaker 2: before the election, Jay, and it came out a day
• 42:02
  Speaker 2: before the election.
• 42:04
  Speaker 1: Yeah, I think that might have had some reason why
• 42:06
  Speaker 1: they did it so quickly.
• 42:09
  Speaker 2: I think so too, And I think that it really
• 42:11
  Speaker 2: explains a lot of things that are going on politically
• 42:16
  Speaker 2: and you know, how we've all been fooled in a
• 42:21
  Speaker 2: way by the intelligence community and you know, by the military,
• 42:25
  Speaker 2: And that's going to be a really big revelation for
• 42:28
  Speaker 2: a lot of people. And I think a lot of
• 42:30
  Speaker 2: people already know that, but it's I think it's the
• 42:33
  Speaker 2: way that we explain it and the way that we
• 42:35
  Speaker 2: put everything together that's really going to hit home with people,
• 42:38
  Speaker 2: because obviously it's going to be a lot of people
• 42:40
  Speaker 2: listening to this and from this community, and they you know,
• 42:43
  Speaker 2: a lot of people like to talk about all it's yeah,
• 42:45
  Speaker 2: it's definitely MK ultra, that's MK. But they don't really
• 42:48
  Speaker 2: know anything about it. They haven't looked into it or
• 42:51
  Speaker 2: really searched into it. And I'm not seeing that people
• 42:54
  Speaker 2: don't do that. They there are a lot of really
• 42:56
  Speaker 2: good researchers and people that have read the documents and
• 43:00
  Speaker 2: gone through everything and realize what's going on, but it's
• 43:03
  Speaker 2: just been expanded to they tried to figure it out
• 43:07
  Speaker 2: on an individual level. Once they figured it out on
• 43:09
  Speaker 2: an individual level, they were like, Okay, well, let's just
• 43:11
  Speaker 2: do this to everybody all at once, all at the
• 43:14
  Speaker 2: same time, and what does that look like. It looks
• 43:18
  Speaker 2: like what's.
• 43:19
  Speaker 1: Happening right now the modern world.
• 43:22
  Speaker 2: Yeah, and the Yuri Besmanov stuff that I that I
• 43:27
  Speaker 2: put in there as well, Like that's that's a that's
• 43:29
  Speaker 2: a kick in the ass too, because you listen to
• 43:32
  Speaker 2: that whole Just that section that I put in there
• 43:35
  Speaker 2: really tells you everything that you need to know about
• 43:40
  Speaker 2: our culture and the way that our we've been ideologically
• 43:45
  Speaker 2: subverted and how things have been put there on purpose
• 43:48
  Speaker 2: in order for us to believe in and to distrust
• 43:51
  Speaker 2: your neighbors, distrust your friends, distrust your family, you know.
• 43:55
  Speaker 1: And uh everything. Yeah, And former director of the CIA,
• 44:03
  Speaker 1: the late asshole Bill Casey, once said, we will know
• 44:08
  Speaker 1: that we are successful when everything that everybody believes is bullshit.
• 44:13
  Speaker 1: And that really is the whole point of the MK
• 44:15
  Speaker 1: ultra operation is to make you not trust your own
• 44:20
  Speaker 1: view of reality. And so I kind of look at
• 44:25
  Speaker 1: a clockwork shining as you know, you guys used heavy
• 44:32
  Speaker 1: duty propaganda on us for seventy years now, and this
• 44:40
  Speaker 1: is us shooting back. This is us taking your propaganda
• 44:46
  Speaker 1: and the methods of propaganda and pushing it right back
• 44:50
  Speaker 1: in your face. And I think we did an excellent
• 44:52
  Speaker 1: job with it.
• 44:53
  Speaker 2: Yeah, once you realize that the entire counterculture movement was
• 44:57
  Speaker 2: set up by the CIA, and then the also squashed
• 45:01
  Speaker 2: it with the CIA, Like it's like, what's going on here?
• 45:05
  Speaker 2: You got the whole Manson Tape murders, which was basically
• 45:08
  Speaker 2: put there to squash the thing that they created.
• 45:13
  Speaker 1: Yep, all right, everybody go watch it. It's on Amazon.
• 45:17
  Speaker 1: I'll put a link below and right in and tell
• 45:20
  Speaker 1: us what you think of the film. We'd like to
• 45:22
  Speaker 1: hear what you think. And writer, he did a good job.
• 45:27
  Speaker 1: And we're gonna be working on another project here soon.
• 45:29
  Speaker 1: In fact, going to shoot it some of the new
• 45:32
  Speaker 1: project here in about a week and so we have
• 45:35
  Speaker 1: more product coming out. So hang on, folks, just gonna
• 45:38
  Speaker 1: get more and more interesting. Thanks for watching, everybody, See
• 45:42
  Speaker 1: you a writer, see you. Thank you.