Latest / Ryder Lee / Decoding Kubrick, The Shining, 2001: A Space Odyssey | Six Sensory Podcast

Transcript

Decoding Kubrick, The Shining, 2001: A Space Odyssey | Six Sensory Podcast · Ryder Lee

• 0:23
  Speaker 1: My guest today is the host of Raised by a
• 0:26
  Speaker 1: Giants podcast. He's a researcher and he is the director
• 0:31
  Speaker 1: of a new documentary out now on Amazon. It's called
• 0:35
  Speaker 1: a Clockwork Shining. I'll let him tell us all about it.
• 0:38
  Speaker 1: Rider Lee, Welcome to the show.
• 0:41
  Speaker 2: Thanks so much for having me on, my friend. I
• 0:42
  Speaker 2: really appreciate it. Yeah, this documentary is one of my
• 0:46
  Speaker 2: passion projects, and I really hope that people would like
• 0:49
  Speaker 2: to go out there and support independent filmmakers, because independent
• 0:53
  Speaker 2: filmmakers are where it's at. Like Hollywood is basically dead.
• 0:56
  Speaker 2: We've seen the media, the mainstream media, it's pretty much gone,
• 1:01
  Speaker 2: and Hollywood has been slowly dying for years. And this
• 1:05
  Speaker 2: is where it's at, independent filmmakers. And we made this
• 1:09
  Speaker 2: movie completely, one hundred percent independently. And what it really
• 1:14
  Speaker 2: happened was is I brought Jay Widner. Are you familiar
• 1:17
  Speaker 2: with Jay Widner and who he is? Have you seen
• 1:20
  Speaker 2: some of his previous movies?
• 1:22
  Speaker 3: Yeah? Yeah, I'm familiar with Jay Widner. I even listened
• 1:24
  Speaker 3: to his podcast occasionally.
• 1:26
  Speaker 2: Okay, cool. So I was having Jay Widner on a
• 1:29
  Speaker 2: couple of years ago on my show, and I was
• 1:32
  Speaker 2: familiar with his work I'd known him for a while
• 1:35
  Speaker 2: and I'd watched the two films of Cuber's Honestly one
• 1:38
  Speaker 2: and two, and I brought him on and I was like, well,
• 1:41
  Speaker 2: I got to do some study and some research, because
• 1:43
  Speaker 2: I like to research the people that I bring on,
• 1:45
  Speaker 2: Like I don't like to bring on people just willy nilly.
• 1:47
  Speaker 2: If they have like a movie or if they have
• 1:50
  Speaker 2: a book, I try and watch that movie or read
• 1:52
  Speaker 2: that book before I bring them on. So it's a
• 1:55
  Speaker 2: more cohesive conversation between the two of us, and I
• 1:58
  Speaker 2: can ask them questions that maybe other people has never
• 2:01
  Speaker 2: asked them before because I've actually read or watched their work.
• 2:05
  Speaker 2: And I was like, I watched those documentaries and then
• 2:08
  Speaker 2: I'm like watching The Shining over and over and over again.
• 2:11
  Speaker 2: And The Shining is one of those movies it's like
• 2:15
  Speaker 2: every time you watch it, you get something different out
• 2:17
  Speaker 2: of it. There's something there within the movie. Cubric is
• 2:20
  Speaker 2: like a master filmmaker in that way, like symbolically, and
• 2:24
  Speaker 2: he's putting little hints and little clues in there. And
• 2:27
  Speaker 2: as I'm watching it over and over again, I'm like,
• 2:29
  Speaker 2: I'm not gonna find anything new in this movie. This
• 2:31
  Speaker 2: movie's been breaked through with a fine tooth comb. You know,
• 2:34
  Speaker 2: there's no way that I'm going to find some things
• 2:37
  Speaker 2: in the air that people haven't seen. And sure enough
• 2:40
  Speaker 2: I did, and I spoke to Jay about this and
• 2:43
  Speaker 2: I was like, Jay, we should I think that my
• 2:46
  Speaker 2: theory of what The Shining is about explains the entire
• 2:50
  Speaker 2: movie because there's so many gaps and there's so many
• 2:52
  Speaker 2: continuity errors within The Shining that doesn't make any sense,
• 2:57
  Speaker 2: especially coming from a master filmmaker, someone like Qubreak. You know,
• 3:01
  Speaker 2: you just don't have these continuity as in your movie.
• 3:04
  Speaker 2: And The Shining has probably the most continuity airs out
• 3:08
  Speaker 2: of any movie in history. And I'm watching it over
• 3:12
  Speaker 2: and over and I'm like, Jay, let's I think I
• 3:15
  Speaker 2: got this spot on. I think this is the best
• 3:17
  Speaker 2: theory that I've ever heard, and I've come up with it.
• 3:20
  Speaker 2: Let's put together a movie. Let's do a documentary on this.
• 3:24
  Speaker 2: And he was like, Yeah, that sounds good. Let's do that.
• 3:26
  Speaker 2: And this one was going to you know, this is
• 3:29
  Speaker 2: a higher budget movie, and we were like, well, you know,
• 3:33
  Speaker 2: how do we Let's do something before we do a
• 3:36
  Speaker 2: clockwork Shining, which that was always the name of it
• 3:40
  Speaker 2: from the very beginning, which is really strange. Normally the
• 3:43
  Speaker 2: names change all the time of movies and stuff, but
• 3:46
  Speaker 2: that's what we wanted to call it from the very beginning,
• 3:48
  Speaker 2: and we're like, let's do another Let's do a movie first,
• 3:52
  Speaker 2: Let's cut our teeth on that movie, and then we'll
• 3:55
  Speaker 2: see how that one turns out, and then we'll, you know,
• 3:58
  Speaker 2: do the next one, which is the next when is
• 4:00
  Speaker 2: A Clockwork Shining? So we did jfk X Excuse Me first,
• 4:05
  Speaker 2: which is also on Amazon Prime. Well it's on Amazon
• 4:09
  Speaker 2: Prime Free V so you can just get on there
• 4:11
  Speaker 2: and watch it for free. But we did that movie,
• 4:15
  Speaker 2: it went through its run, and then we started filming
• 4:18
  Speaker 2: A Clockwork Shining. And I've been working on this for
• 4:21
  Speaker 2: the past six months and it's been an incredible journey.
• 4:26
  Speaker 2: I've worked tirelessly on it. I like we were mentioning
• 4:29
  Speaker 2: before we started the show, I would eat, sleep, and
• 4:31
  Speaker 2: breathe this documentary. So I really hope that people go
• 4:34
  Speaker 2: out and give it a shot. And it's not like
• 4:36
  Speaker 2: something you've seen it, what do you think of it?
• 4:40
  Speaker 2: Can you get Yeah, let them know what you think
• 4:43
  Speaker 2: of it.
• 4:43
  Speaker 1: Well, first of all, I like when stuff just kind
• 4:46
  Speaker 1: of comes together and falls into my lap. And we
• 4:49
  Speaker 1: spoke over the weekend. You told me Friday night to
• 4:52
  Speaker 1: check out the documentary, and so I went into it
• 4:57
  Speaker 1: just not knowing what to expect. I had no idea
• 5:02
  Speaker 1: that it was going to be as good as it is,
• 5:04
  Speaker 1: so I would say it's better than good. I'd say
• 5:09
  Speaker 1: it's the best documentary of twenty twenty four in my opinion.
• 5:13
  Speaker 3: I'm not just saying that because you're here. I don't
• 5:16
  Speaker 3: do that.
• 5:16
  Speaker 1: I don't just throw out those kind of compliments on here.
• 5:20
  Speaker 1: I do think it's that good. So and I'll say
• 5:23
  Speaker 1: this too.
• 5:24
  Speaker 3: You know, the first.
• 5:25
  Speaker 1: Twenty minutes built me up to the point where when
• 5:30
  Speaker 1: you guys hit Laurel Canyon, I think the film went
• 5:35
  Speaker 1: through the roof from there and it just kind of
• 5:37
  Speaker 1: kept building and getting better. And you know, it's funny.
• 5:41
  Speaker 1: I was telling a friend this weekend. We were having
• 5:44
  Speaker 1: a conversation about Courtney Love, and I was saying, you know,
• 5:49
  Speaker 1: there's a good case to be made that she was
• 5:54
  Speaker 1: her dad was government, and that she was peddling drugs
• 5:58
  Speaker 1: for the CIA, and that she was supplying heroin to
• 6:00
  Speaker 1: the grunt scene, kind of initiating that.
• 6:03
  Speaker 3: I think she's probably the one who.
• 6:04
  Speaker 1: Got Kurt on heroin and then of course he goes
• 6:11
  Speaker 1: out and gets it on his own. And I know
• 6:12
  Speaker 1: your documentary doesn't cover that, but I was telling my
• 6:16
  Speaker 1: friend this so and he's so he's thinking about this now.
• 6:20
  Speaker 1: So what I'm gonna do is I'm going to send
• 6:21
  Speaker 1: him your documentary because you guys have kind of laid
• 6:26
  Speaker 1: a foundation for that to make sense.
• 6:31
  Speaker 2: Absolutely. That's one of the what I've been told by
• 6:35
  Speaker 2: people that have seen it in some of the reviews
• 6:37
  Speaker 2: already up on Amazon Prime Video. They're they're shocked because
• 6:41
  Speaker 2: some of the information people already knew, and I've discussed
• 6:45
  Speaker 2: it before, but it's the way that it's been like
• 6:47
  Speaker 2: laid off for them to like consume it makes it
• 6:49
  Speaker 2: a really a difference because they're seeing it visually and
• 6:53
  Speaker 2: they're hearing it. And that was one of the shocking
• 6:57
  Speaker 2: things to me as I was making it. I was like,
• 7:00
  Speaker 2: this is why people, no matter how good you are
• 7:06
  Speaker 2: at any profession, no matter how good of a singer
• 7:09
  Speaker 2: you are, no matter how good of a musician you are,
• 7:13
  Speaker 2: it really doesn't matter if you don't have the connections.
• 7:17
  Speaker 2: You don't have the military backing if your family is
• 7:21
  Speaker 2: a part of some high up military officer. And that's
• 7:25
  Speaker 2: what we really bring into this movie because it's not
• 7:27
  Speaker 2: just about the shining and Stanley Kubrick. That's the main focus,
• 7:31
  Speaker 2: but there's so many other things in there. The music industry,
• 7:34
  Speaker 2: the film industry, the CIA, the intelligence community. It's all
• 7:37
  Speaker 2: wrapped up into this film, this almost two hour long film.
• 7:45
  Speaker 2: It's an hour and fifty minutes to clock Cinet. And
• 7:48
  Speaker 2: I think that that really shocks a lot of people
• 7:51
  Speaker 2: because they're going in expecting one thing and then they
• 7:55
  Speaker 2: get all of these other things and they're like wow.
• 7:58
  Speaker 2: So yeah, I really appreciate that compliment.
• 8:00
  Speaker 1: Yeah, it got me with the element of surprise because
• 8:06
  Speaker 1: you know, a guy in the community.
• 8:07
  Speaker 3: Kind of linked us up.
• 8:09
  Speaker 1: Of course, I've heard you before on other podcasts and stuff.
• 8:12
  Speaker 1: I told you before we got started to day. I've
• 8:14
  Speaker 1: always kind of planned on having you on somewhere down
• 8:19
  Speaker 1: the line, of course, but this just kind of landed
• 8:21
  Speaker 1: in my lap. And I love when stuff just kind
• 8:24
  Speaker 1: of surprises me and you get like a really cool
• 8:27
  Speaker 1: whether it's a show or a book, or you find
• 8:30
  Speaker 1: something new that just kind of comes out of the
• 8:32
  Speaker 1: blue sky. And that's what this documentary did for me.
• 8:35
  Speaker 1: But I was thinking when you were kind of talking
• 8:38
  Speaker 1: about the origins of this film too, it sounds like
• 8:41
  Speaker 1: it had a very organic conception because it sounds like
• 8:46
  Speaker 1: you were watching this film and you saw some stuff
• 8:50
  Speaker 1: that probably nobody has seen, and you.
• 8:54
  Speaker 3: Went to Jay about it.
• 8:56
  Speaker 1: And Jay is someone I'm pretty sure he is the
• 9:00
  Speaker 1: originator of the theory that Kubrick worked with NASA to
• 9:05
  Speaker 1: do the moon landing.
• 9:07
  Speaker 2: Yes. Yeah, so that the shining is Kubrick's confession to
• 9:11
  Speaker 2: faking the moon landing distress.
• 9:13
  Speaker 3: Yes.
• 9:13
  Speaker 4: So.
• 9:15
  Speaker 1: So Jay's a guy who's like, spent a lot of
• 9:18
  Speaker 1: time with this film. He's a cool guy to go
• 9:22
  Speaker 1: to when you see something new. What was his reaction
• 9:24
  Speaker 1: to some of the new findings that you had, Well.
• 9:28
  Speaker 2: I really laid all of this out for him, not
• 9:31
  Speaker 2: everything that's in the movie, because a lot of the
• 9:33
  Speaker 2: things I hadn't actually seen yet. Like the handprint, Well, yeah,
• 9:40
  Speaker 2: I had seen that before because I brought that up
• 9:42
  Speaker 2: in our conversation on my show, But the Nazi swastika
• 9:45
  Speaker 2: in the background of the gold Room, no one has
• 9:48
  Speaker 2: ever seen that. I'm the first person to ever see that.
• 9:51
  Speaker 2: And I hadn't seen that yet until I watched The
• 9:53
  Speaker 2: Shining on the big screen. There was a theater near
• 9:58
  Speaker 2: by me last year on Halloween and twenty twenty three
• 10:03
  Speaker 2: that was doing a reshowing of The Shining on the
• 10:07
  Speaker 2: big screen for one night, and I was like, Oh,
• 10:10
  Speaker 2: we're doing a documentary on this, I gotta go see
• 10:12
  Speaker 2: the Shining on the big screen. And that is the
• 10:14
  Speaker 2: only way that I would ever have seen that swastika
• 10:18
  Speaker 2: in the background of the Gold Room, and no one
• 10:20
  Speaker 2: has ever seen that before ever. So it not only
• 10:24
  Speaker 2: brings together new things, but it also mixes in other
• 10:28
  Speaker 2: things that people have seen before. It's kind of like
• 10:30
  Speaker 2: kind of like a culmination of what people have seen
• 10:34
  Speaker 2: within the Shining and then my interpretation and then you know,
• 10:38
  Speaker 2: in our theories of what it really means and what
• 10:41
  Speaker 2: Kubrick was actually trying to portray. But Jay was really
• 10:44
  Speaker 2: receptive because I had already had him on a couple
• 10:47
  Speaker 2: of times before that before we did this show of
• 10:50
  Speaker 2: you know, my analysis of the Shining, and he was like, Wow,
• 10:57
  Speaker 2: I think you're right. This makes one hundred percent complete sense.
• 11:01
  Speaker 2: And I really think that we convey that really well
• 11:05
  Speaker 2: within this documentary. I think we lay it out as
• 11:08
  Speaker 2: plainly as we possibly can, and I think it really
• 11:11
  Speaker 2: drives home that this movie is not what people think
• 11:15
  Speaker 2: that it is. It's an experiment. There's something more, There's
• 11:21
  Speaker 2: something darker and deeper going on up here. And that's
• 11:25
  Speaker 2: one of the things that really struck me as I
• 11:27
  Speaker 2: watched it over and over and over again, was that
• 11:31
  Speaker 2: in the first ten minutes of the movie, when Jack
• 11:33
  Speaker 2: is sitting there talking to Almond in his office before
• 11:37
  Speaker 2: they move into the hotel for the winner, Almend pretty
• 11:40
  Speaker 2: much just lays out the entire plot of the movie
• 11:44
  Speaker 2: and he tells Jack pretty much everything that's going to
• 11:48
  Speaker 2: happen in the entire movie. He's like, listen, Jack, this
• 11:50
  Speaker 2: isn't a physically demanding job. This is a This is
• 11:54
  Speaker 2: more of a psychological operator. It's a psychological job because
• 11:59
  Speaker 2: of like your ice laid it up here. You can't
• 12:01
  Speaker 2: really go anywhere. The winners are really hecktic. You can't
• 12:03
  Speaker 2: get off the mountain. You know you're gonna be up
• 12:06
  Speaker 2: here for a long period of time, and some people
• 12:08
  Speaker 2: can't handle the isolation. And then he tells Jack about Grady,
• 12:12
  Speaker 2: what murdered his two daughters and his wife. Yeah, you know,
• 12:17
  Speaker 2: and it's like he lays out the entire what's going
• 12:20
  Speaker 2: to happen the rest of the movie in that first
• 12:22
  Speaker 2: ten minutes of the movie. I mean, he doesn't come
• 12:25
  Speaker 2: out and outright say that this is what's going to happen.
• 12:28
  Speaker 2: But it's not like movies nowadays, because a lot of
• 12:31
  Speaker 2: movies nowadays they give everything away in the exposition of
• 12:34
  Speaker 2: the movie, you know, they it's between the dialogue of
• 12:39
  Speaker 2: the characters. Like you could have like a really mysterious,
• 12:42
  Speaker 2: creepy movie that people don't really know what's going on,
• 12:46
  Speaker 2: but then at some point within the movie it's explained
• 12:49
  Speaker 2: to you between the dialogue of the characters, which is
• 12:54
  Speaker 2: as garbage. It's like Long Legs. I don't know if
• 12:56
  Speaker 2: you've seen Long Legs, but that's exactly what they did
• 12:59
  Speaker 2: with Nicholas Cage. Like it's a very creepy, mysterious movie.
• 13:03
  Speaker 2: You don't really have any idea what's going on, but
• 13:06
  Speaker 2: in the last ten minutes of the movie, they explain
• 13:09
  Speaker 2: the entire movie to you, and you're like, what do
• 13:11
  Speaker 2: you mean, why did I just watch this hour and
• 13:14
  Speaker 2: forty five minute movie just to get everything explained to me.
• 13:17
  Speaker 2: At the end of the movie, it doesn't make any sense.
• 13:20
  Speaker 2: They take the mystery out of the movie and they
• 13:24
  Speaker 2: take the putting two to two together by the audience
• 13:27
  Speaker 2: to fit things together. And that's what Cubriic did with
• 13:31
  Speaker 2: all of his movies. And he did very few interviews.
• 13:34
  Speaker 2: He didn't want to do a lot of interviews about
• 13:36
  Speaker 2: his movies because he didn't want to tell the audience
• 13:38
  Speaker 2: what he thought that it was about. He wanted the
• 13:41
  Speaker 2: audience to figure it out on their own. He wanted
• 13:44
  Speaker 2: the audience to put two and two together and theorize
• 13:46
  Speaker 2: and create their own ideas and their own theories surrounding
• 13:49
  Speaker 2: what his movie is about.
• 13:51
  Speaker 1: And that first scene, I never really realized it until
• 13:56
  Speaker 1: I watched your documentary. But yet he is kind of
• 13:58
  Speaker 1: laying out what's going to happen. But it's subconscious. It's
• 14:04
  Speaker 1: a it's something that the and I think Kubrick was
• 14:07
  Speaker 1: a master at this. He's taking the viewer on this
• 14:11
  Speaker 1: roller coaster ride and then that first scene, he's introducing
• 14:17
  Speaker 1: these psychological elements to your sub conscious And I've done
• 14:22
  Speaker 1: shows on Kubrick.
• 14:24
  Speaker 3: And I've heard a lot of shows.
• 14:28
  Speaker 1: About Kubrick and I was never really positive though that
• 14:32
  Speaker 1: there was a real connection between Kubrick and the government
• 14:38
  Speaker 1: and between these psychological elements and government projects that kind
• 14:44
  Speaker 1: of revolve around psychological stuff as well. That's changed now
• 14:48
  Speaker 1: that I've seen your documentary, because I can't see The
• 14:50
  Speaker 1: Shining any other way.
• 14:51
  Speaker 3: Now. My opinion now.
• 14:54
  Speaker 1: Is that Kubrick is like Hollywood's Book of Revelation. He's
• 14:58
  Speaker 1: his stuff is just of coded information.
• 15:03
  Speaker 2: Yeah, it's in layers, It's in layers upon layers. And
• 15:08
  Speaker 2: we discussed it in the documentary a little bit. We're
• 15:10
  Speaker 2: talking about the moon landing, which again is was what
• 15:14
  Speaker 2: j Weiner's movies prior to this one really discussed that
• 15:18
  Speaker 2: The Shining was Cuber's confession to you know, faking the
• 15:21
  Speaker 2: moon landing. And it's very possible that Cubriic was interested
• 15:28
  Speaker 2: that he had connections to the military, because we show
• 15:30
  Speaker 2: a document in the movie that shows that Cubic that
• 15:34
  Speaker 2: the government was interested in Cubic and other directors. And
• 15:37
  Speaker 2: when you watch it, you'll see that there's a line
• 15:40
  Speaker 2: in there that says that out of the it was
• 15:43
  Speaker 2: from the US Information Agency, and they list four other directors,
• 15:49
  Speaker 2: including Cubic, and then the sentence underneath that says that
• 15:52
  Speaker 2: Cubic is the most promising out of all of these
• 15:55
  Speaker 2: other popular film directors. Now we don't know what this
• 15:58
  Speaker 2: project was really therefore, or what this project was, because
• 16:04
  Speaker 2: it doesn't say in the document, but it just shows
• 16:06
  Speaker 2: that the government was interested, highly interested in Stanley Kubrick.
• 16:10
  Speaker 2: And this was right around the time of the moon
• 16:13
  Speaker 2: landing and right around the time that Qubriic is launching
• 16:16
  Speaker 2: production on two thousand and one of Space Odyssey. And
• 16:20
  Speaker 2: this two thousand and one of Space Odyssey uses effects
• 16:23
  Speaker 2: that had never been used in movies before, highly advanced
• 16:28
  Speaker 2: front screen projection that Jay also discusses in his other documentaries.
• 16:33
  Speaker 2: So it's a high possibility. I'm not saying that it's fact.
• 16:37
  Speaker 2: It's a high possibility that during the shoot of two
• 16:41
  Speaker 2: thousand and one of Space Odyssey, Cubic shot bonus scenes,
• 16:45
  Speaker 2: like extra scenes, so the actors they would just think
• 16:49
  Speaker 2: that it was just a part of the movie that
• 16:51
  Speaker 2: they're in, and those scenes didn't get put into two
• 16:55
  Speaker 2: thousand and one of Space Odyssey, and those scenes became
• 16:58
  Speaker 2: the moon landing footage. That, yeah, it's a high possibility. Again,
• 17:03
  Speaker 2: not say inisfactual but it makes sense.
• 17:05
  Speaker 3: Yeah, I think so too.
• 17:07
  Speaker 1: And I think the eternal question here for me is
• 17:12
  Speaker 1: was Kubrick. This is kind of deep, but this is
• 17:15
  Speaker 1: where I'm at with this. I'm wondering if Kubrick was
• 17:19
  Speaker 1: getting played or if he was the one kind of
• 17:22
  Speaker 1: playing the government here, because you got to show that
• 17:25
  Speaker 1: quote from Kubrick in the beginning of your doc where
• 17:27
  Speaker 1: it's like he says something along the lines of never
• 17:30
  Speaker 1: go near or become friends with people who have real power,
• 17:36
  Speaker 1: and then you go on to show that the government
• 17:42
  Speaker 1: had these pet projects and these tentacle projects that have
• 17:46
  Speaker 1: shaped the way Americans think. Kubrick's aware of that, and
• 17:50
  Speaker 1: he's kind of clueing us into it.
• 17:52
  Speaker 3: And I don't know.
• 17:54
  Speaker 1: I mean, I've always heard too that this. Maybe I'm
• 17:57
  Speaker 1: not the first guy to say this. I'm sure i'm not,
• 18:00
  Speaker 1: but because I've always heard that there's this group of
• 18:02
  Speaker 1: people who are super into Kubrick, super into his film,
• 18:05
  Speaker 1: specifically The Shining. I think even Paranoid American said something
• 18:09
  Speaker 1: about it on here in a show, and like he
• 18:13
  Speaker 1: was talking about these guys. They're in these forums online
• 18:16
  Speaker 1: and they're invested in this movie, and they're invested in
• 18:20
  Speaker 1: how it kind of sort of foreshadows government programs, and
• 18:25
  Speaker 1: I never really thought that there was anything to that,
• 18:29
  Speaker 1: but I do now. I'm starting to see that there's
• 18:31
  Speaker 1: something there. There's a thread there. And I don't know
• 18:34
  Speaker 1: if he's clueing us in or if he's being manipulated
• 18:37
  Speaker 1: that's but there's a connection there.
• 18:40
  Speaker 2: There's a connection there one percent. And I think that
• 18:44
  Speaker 2: it's highly possible that he was doing it such in
• 18:48
  Speaker 2: a subliminal way, because this is how no one's ever
• 18:50
  Speaker 2: had this theory of what the shinings about until now. Yeah,
• 18:54
  Speaker 2: you would think that if they were smart and they knew,
• 18:57
  Speaker 2: then someone would have came out about this before, but
• 19:00
  Speaker 2: they didn't. I was the first person to do it,
• 19:04
  Speaker 2: and I think that's like the long game with Kubrick.
• 19:09
  Speaker 2: He knew what he was doing. He changed Stephen King's
• 19:12
  Speaker 2: novel to fit exactly what he wanted. He knew what
• 19:18
  Speaker 2: he was doing. He was rewriting the script as the
• 19:21
  Speaker 2: movie was being shot. No film director would ever do
• 19:26
  Speaker 2: that ever, That's just not smart to do. And Jack
• 19:31
  Speaker 2: Nicholson was so frustrated with him rewriting it all the
• 19:34
  Speaker 2: time that he wouldn't He wouldn't even study or read
• 19:37
  Speaker 2: any of the lines because he knew that the script
• 19:39
  Speaker 2: was going to change the next day. So I think
• 19:44
  Speaker 2: he was playing a really long game. And people like
• 19:47
  Speaker 2: to throw around, you know, five D chas and forty
• 19:50
  Speaker 2: chas and all that, and it kind of negates the
• 19:53
  Speaker 2: meaning of what that actually is. But I think if
• 19:55
  Speaker 2: anybody was a five D player, it would have been Kubrick.
• 20:03
  Speaker 2: And Kubrick also loved playing chess. He was a chess master.
• 20:08
  Speaker 2: Not a lot of people know that about him. But
• 20:12
  Speaker 2: there's so many things that are hidden within the movie
• 20:15
  Speaker 2: that there's no other way around it than other than
• 20:20
  Speaker 2: the way that, other than our theory and what we
• 20:23
  Speaker 2: present in the movie, there's not really it's going to
• 20:27
  Speaker 2: be very difficult to argue with that. It's not an
• 20:30
  Speaker 2: experiment that's being ran up there at the overlook. All
• 20:34
  Speaker 2: of the telltale signs are there. You got Catcher in
• 20:36
  Speaker 2: the Rye the first time you see Wendy and Danny
• 20:39
  Speaker 2: in the movie, Wendy's reading the book Catcher in the Rye.
• 20:42
  Speaker 2: Many people, many researchers, have discussed that Catcher in the
• 20:46
  Speaker 2: Rye is a MK ultra mind control trigger was found
• 20:50
  Speaker 2: on the scene of two major assassinations. A year, less
• 20:53
  Speaker 2: than a year after the release of The Shining Cubric
• 20:58
  Speaker 2: counted in his film first, and then it just happens
• 21:00
  Speaker 2: to be a little bit after the film is released,
• 21:03
  Speaker 2: you have these two major assassinations of John Lennon and
• 21:07
  Speaker 2: well the attempt at assassination, but it's still was an
• 21:11
  Speaker 2: attempted assassination of Ronald Reagan.
• 21:15
  Speaker 1: Big book was for me when you brought Joe Atwell in,
• 21:19
  Speaker 1: because he breaks that down perfectly. That's what I'm trying
• 21:22
  Speaker 1: to I'm trying to tell people here, like, you got
• 21:24
  Speaker 1: to go see this because it's not just a Shining documentary.
• 21:28
  Speaker 1: I think you may have even said that already in
• 21:30
  Speaker 1: this episode. It's it's more than that. It's going to
• 21:33
  Speaker 1: That's why I brought up the Courtney Loved thing. It's
• 21:35
  Speaker 1: because that has nothing that's not in your documentary. But
• 21:39
  Speaker 1: other things like that that you've heard that the government
• 21:42
  Speaker 1: was involved with are going to fall into place and
• 21:45
  Speaker 1: make sense when you watch this documentary. And Catcher and
• 21:47
  Speaker 1: ariahs one of them. I thought that was great bringing
• 21:51
  Speaker 1: Joe Atwill onto because he's I mean, I've read some
• 21:54
  Speaker 1: of his blogs about that and like he's got a
• 21:56
  Speaker 1: great point.
• 21:58
  Speaker 3: But his person.
• 21:59
  Speaker 2: I'm actually having him on my shirt tomorrow discussion on it.
• 22:03
  Speaker 4: Yeah.
• 22:03
  Speaker 1: Great, I'll be tuning into that. I like that guy
• 22:06
  Speaker 1: a lot. He's one of those guys just off topic
• 22:09
  Speaker 1: a little bit here. He's one of those guys that
• 22:11
  Speaker 1: when I first started to uh see the world differently
• 22:15
  Speaker 1: and you know, kind.
• 22:16
  Speaker 3: Of peeked behind the curtain a little bit.
• 22:18
  Speaker 1: I heard an episode of a podcast that he was
• 22:21
  Speaker 1: on and it was so compelling I had to listen
• 22:24
  Speaker 1: to it twice and I like wrote his name down
• 22:26
  Speaker 1: in a note in my phone, just like I was.
• 22:29
  Speaker 3: Like, I gotta go find this guy's stuff.
• 22:33
  Speaker 1: All the guys are, all the guys on your documentary
• 22:37
  Speaker 1: are are really good man and the guy the other
• 22:43
  Speaker 1: guy I don't know his name, but dol or See
• 22:47
  Speaker 1: the one that talked about going to Laurel Canyon.
• 22:52
  Speaker 2: Yeah, Mark is super articulate, Like he just nailed that
• 22:56
  Speaker 2: entire interview and just blasting off off the top of
• 23:01
  Speaker 2: his head. It was really incredible to watch, and to
• 23:06
  Speaker 2: be honest, as some of my favorite parts of the
• 23:08
  Speaker 2: documentary is it's his stuff.
• 23:11
  Speaker 3: Yeah, I'm telling you.
• 23:13
  Speaker 1: When that Low Canyon Park comes in, it just it's
• 23:16
  Speaker 1: just all up from there.
• 23:17
  Speaker 3: It's just like, I don't know that.
• 23:20
  Speaker 1: It brings like a life to the documentary that you
• 23:23
  Speaker 1: guys like kind of maintained throughout the remainder of it.
• 23:27
  Speaker 3: It's pretty cool.
• 23:28
  Speaker 2: Thank you. I really appreciate that we actually have a
• 23:31
  Speaker 2: trailer here if you if we like to play it, yeah,
• 23:35
  Speaker 2: let's do that.
• 23:37
  Speaker 5: Hallucinogenic drugs, hypnosis, electric shocks to the brain, some of
• 23:44
  Speaker 5: the methods used in secret CIA mind control experiments.
• 23:48
  Speaker 2: There are many theories as to what the Shining is
• 23:51
  Speaker 2: really about, from the faking of the moon landing to
• 23:54
  Speaker 2: Native American genocide and the Holocaust.
• 23:56
  Speaker 6: Now, if he did fake the Apollo moon landing, he
• 23:59
  Speaker 6: probably has really deep connections into the intelligence world. Why
• 24:04
  Speaker 6: are there these gigantic continuity as in this movie?
• 24:09
  Speaker 4: The occulted meeting has to be comprehensible. It's just hidden,
• 24:13
  Speaker 4: usually in a very systematic way, so that it could
• 24:17
  Speaker 4: be understood by someone coming along later on. Who knows
• 24:20
  Speaker 4: what the real meaning is supposed to be.
• 24:22
  Speaker 2: We believe that there's something even more sinister lurking beneath
• 24:26
  Speaker 2: the surface of this masterful film.
• 24:29
  Speaker 6: So Lookout Mountain Hotel look a lot like the Overlook hotel.
• 24:34
  Speaker 7: You realize that there's no such thing as a coincidences like.
• 24:37
  Speaker 2: That as Lookout Mountain studios ran by the Air Force
• 24:42
  Speaker 2: and told the story of nuclear weapons testing by the
• 24:45
  Speaker 2: United States of.
• 24:46
  Speaker 3: The Army Navan Air Force. The Air Force was known
• 24:50
  Speaker 3: to be the most excited, the most turned on by
• 24:53
  Speaker 3: mk ultran.
• 24:54
  Speaker 7: Its prospects reportedly that what more films might look Out
• 24:59
  Speaker 7: Mounting than at all the other film studios in Hollywood.
• 25:05
  Speaker 6: We really don't know what these famous film directors were
• 25:07
  Speaker 6: being recruited for. What project or whatever?
• 25:10
  Speaker 2: Was it?
• 25:11
  Speaker 6: The Moon Landing.
• 25:15
  Speaker 2: The CIA's mk Ultra programs were admitted to the public
• 25:19
  Speaker 2: in nineteen seventy, five, years before the release of The Shining.
• 25:25
  Speaker 5: These experiments were done without the informed consent of the patients.
• 25:29
  Speaker 5: Look at some UFO cases and the things that are
• 25:32
  Speaker 5: reported tells me that.
• 25:35
  Speaker 3: MK ultra is likely being applied.
• 25:38
  Speaker 8: My mk Ultra mind control experience, I was taken to
• 25:41
  Speaker 8: various military, NASA and DARPA installations for sophisticated mind control programming.
• 25:52
  Speaker 7: Foke Disney, Marilyn Monroe, James Stewart, Carrie Groan, Ronald Reagan.
• 26:00
  Speaker 7: Nobody really knows what they were doing.
• 26:01
  Speaker 9: Up there as well as high ranking military and Department
• 26:05
  Speaker 9: of Defense personnel.
• 26:06
  Speaker 6: But people don't realize is that many of the people
• 26:09
  Speaker 6: that worked with Kubrick also worked with Kennedy. This is
• 26:12
  Speaker 6: actually the smoking gun proving that Kubrick was working with
• 26:16
  Speaker 6: the government.
• 26:17
  Speaker 7: These were all CIA sponsored experiments.
• 26:21
  Speaker 2: I said, I'm not gonna hurt you, I'm just gonna bash.
• 26:25
  Speaker 7: Your brains and putting little symbolic cryptic clues and easter
• 26:30
  Speaker 7: eggs pertaining to the fact that they're still doing it.
• 26:34
  Speaker 2: The clues include a hidden swastika in the background of
• 26:39
  Speaker 2: his old room.
• 26:40
  Speaker 8: What was the set up? What it was being told?
• 26:43
  Speaker 8: And realized that it was a lie all along, But.
• 26:48
  Speaker 7: Right there in the narrative in the dialogue, they're telling
• 26:51
  Speaker 7: you that this was a very real program coming out
• 26:55
  Speaker 7: of those nice folks in the CIO.
• 27:13
  Speaker 9: Here's Johnny, there was baby.
• 27:23
  Speaker 2: Yeah.
• 27:24
  Speaker 4: Yeah.
• 27:24
  Speaker 1: So maybe now people will see that I'm not just
• 27:27
  Speaker 1: kind of blowing smoke here when I say that this
• 27:29
  Speaker 1: is as good as I say it is. That that
• 27:32
  Speaker 1: should be enough to, you know, pique everybody's interest, even
• 27:36
  Speaker 1: if you're not a conspiracy theorist or into alternative theories
• 27:40
  Speaker 1: or or into all that this kind of explains the
• 27:45
  Speaker 1: state of where we are and kind of our mentality
• 27:49
  Speaker 1: as Americans because we've been bombarded with propaganda for so long.
• 27:54
  Speaker 1: And it goes back to a lot of the stuff
• 27:56
  Speaker 1: mentioned in the trailer, you know, with NASA and the Swasaka.
• 28:00
  Speaker 1: I don't think that's a coincidence, because I think we
• 28:04
  Speaker 1: took a lot of stuff from the Nazi regime, including
• 28:07
  Speaker 1: propaganda and big pharma with ig Farbin, and of course
• 28:11
  Speaker 1: Operation paper Clip and just our rockets program and all
• 28:16
  Speaker 1: of that. It comes out of well nineteen forty seven
• 28:20
  Speaker 1: really and also in nineteen forty seven you have the
• 28:25
  Speaker 1: creation of the CIA. So nineteen forty seven is a
• 28:29
  Speaker 1: time where I think it's very clear if you're paying attention,
• 28:33
  Speaker 1: that the intelligence agencies are going to start having a
• 28:37
  Speaker 1: huge hand in how Americans think.
• 28:42
  Speaker 3: And that fits into this for me.
• 28:43
  Speaker 1: It's like Kubrick was kind of into that and like
• 28:47
  Speaker 1: or at least tuned into it. It's like he was
• 28:49
  Speaker 1: on the pulse of that somehow, and he's like, in
• 28:52
  Speaker 1: a weird way, like I don't know, reflecting that in
• 28:56
  Speaker 1: his films. And I think you brought out something very compelled,
• 29:00
  Speaker 1: and that is that Kubrick was rumored to be an atheist,
• 29:04
  Speaker 1: and he tried to. Almost when you look at Stephen
• 29:08
  Speaker 1: King's book and you look at what he did with
• 29:10
  Speaker 1: the film, it's almost like he took the supernatural write
• 29:12
  Speaker 1: out the story and instead he has people acting as
• 29:17
  Speaker 1: apparitions instead, and it's almost like everything as opposed to
• 29:23
  Speaker 1: it being ghosts or paranormal, everything's portrayed as like cabin fever,
• 29:30
  Speaker 1: mental disorder, psychology.
• 29:33
  Speaker 2: And.
• 29:35
  Speaker 1: I don't know, I mean, it's it's like it's almost
• 29:38
  Speaker 1: as this is conjecture on my part, but it's almost
• 29:42
  Speaker 1: as if Kubrick got a hold of some classified CIA
• 29:45
  Speaker 1: MK Ultra or Monarch footage and injected that into the Shining.
• 29:50
  Speaker 1: And that's why that could be why this disturbs people,
• 29:54
  Speaker 1: not because it's classic horror, but because it's deeply disturbing
• 29:59
  Speaker 1: in this way that points back to like what you
• 30:01
  Speaker 1: see in A Clockwork Orange in that film where people
• 30:03
  Speaker 1: are being held down and being brain lost in real time.
• 30:10
  Speaker 2: Yeah, Kubrick had to have known about these MK Ultra programs,
• 30:15
  Speaker 2: just surely based on the fact that he made A
• 30:18
  Speaker 2: Clockwork Orange. I mean, that's what that entire movie is
• 30:21
  Speaker 2: pretty much about is feeding the main character, Alex LSD
• 30:26
  Speaker 2: to make him go out there and do these crimes,
• 30:29
  Speaker 2: and you know, calls a lot of problems. And that
• 30:32
  Speaker 2: was another issue with Kubrick's movie, is that that actually
• 30:36
  Speaker 2: had an effect on real life people overseas. I'm not
• 30:42
  Speaker 2: one hundred percent sure where we show some of the
• 30:46
  Speaker 2: newspaper articles in the movie, but they flash really quickly.
• 30:50
  Speaker 2: But a lot of things that happened in the film
• 30:54
  Speaker 2: after the film was released, a clockwork orange like real
• 30:58
  Speaker 2: life crimes started to skyrocket, and they ended up banning
• 31:04
  Speaker 2: the book. And not the book, it is based on
• 31:07
  Speaker 2: a book, but they ended up banning Kubrick's movie. Where
• 31:10
  Speaker 2: all this stuff was going on, it was either the
• 31:12
  Speaker 2: UK or Germany or someplace like that. I'm not because
• 31:17
  Speaker 2: I don't have it in front of me. I don't
• 31:19
  Speaker 2: want to say the wrong thing. But in some other
• 31:22
  Speaker 2: country there was like the things that were that people
• 31:26
  Speaker 2: were seeing on screen, they were going out and re
• 31:28
  Speaker 2: enacting them in real life. And there's another thing that
• 31:32
  Speaker 2: we talk about in the movie, which is Sue Lyon
• 31:36
  Speaker 2: and Lolita in that role and that role having such
• 31:40
  Speaker 2: a deep, profound effect on her that it basically ruined
• 31:43
  Speaker 2: her and like ruined her career, just as it did,
• 31:46
  Speaker 2: just as The Shining did Shelley Duval. So Stanley Kubrick
• 31:50
  Speaker 2: has had like a repeating process of this that it
• 31:53
  Speaker 2: either completely destroys the actor or it makes them like
• 31:57
  Speaker 2: a superstar. Know, they either rise and fame or they
• 32:02
  Speaker 2: just crash and burn. And the thing with Lolita and
• 32:05
  Speaker 2: Sue Lyon was that the portraying because Lolita is a
• 32:11
  Speaker 2: very horrific film. I don't know if you've ever seen it,
• 32:13
  Speaker 2: but it's a really horrific film and it's basically all
• 32:16
  Speaker 2: about pedophilia and the man sleeping within an underage girl.
• 32:24
  Speaker 2: But in real life, that exact same thing happened to
• 32:27
  Speaker 2: Sue Lyon, which is playing the role in Kubrick's movie.
• 32:31
  Speaker 2: Kubrick's producer was sleeping with the star of Lolita, and
• 32:36
  Speaker 2: she was fourteen at the time. Yeah, so it's like
• 32:39
  Speaker 2: this this this you know, art like reality imitating art, Yeah,
• 32:47
  Speaker 2: is what it really feels like.
• 32:48
  Speaker 4: Yeah.
• 32:49
  Speaker 1: Yeah, And that movie is very intentional with the sexuality.
• 32:53
  Speaker 1: It's I watched it again somewhat recently and I remember thinking, oh,
• 32:58
  Speaker 1: this is kind of gross, Like there are lines in
• 33:02
  Speaker 1: the movie that are clearly meant to be taken as
• 33:06
  Speaker 1: like a sex joke. They're just kind of they're kind
• 33:10
  Speaker 1: of in there in a way where it's like, oh,
• 33:14
  Speaker 1: that could mean something else, but it doesn't because it's
• 33:17
  Speaker 1: you know, it's cheeky and all that and that. I mean, yeah,
• 33:20
  Speaker 1: that's a great point. I mean, just the fact that
• 33:24
  Speaker 1: here's a movie that's talking about older men being interested
• 33:27
  Speaker 1: in underage girls, and then behind the scenes that's going
• 33:31
  Speaker 1: on as well.
• 33:33
  Speaker 2: That's the exact same thing that's happening. And then when
• 33:36
  Speaker 2: you look at The Shining as well, with the Shelley
• 33:38
  Speaker 2: Duvall and the way that Kubrick was treating Shlley Duvall
• 33:43
  Speaker 2: within the filming of The Shining, like he was doing
• 33:45
  Speaker 2: horrific things to her. He was telling the cast and
• 33:47
  Speaker 2: the crew not to speak with her, don't talk to her,
• 33:50
  Speaker 2: don't empathize with her, h don't get her what she needs.
• 33:55
  Speaker 2: And there's a scene that we have in our movie
• 33:58
  Speaker 2: that he's like just pretty much oneing and screaming at her.
• 34:01
  Speaker 2: It's like, you're you're screwing all this up. It's You're
• 34:04
  Speaker 2: you're pretty much telling her that she's worthless and that
• 34:08
  Speaker 2: seems very familiar as to what I mean. It's definitely
• 34:14
  Speaker 2: not as extreme, but it seems like that he's not
• 34:17
  Speaker 2: only making an experiment within the movie, like the movie's
• 34:23
  Speaker 2: about a CIA experiment, but he's also doing an experiment
• 34:30
  Speaker 2: as he's filming the movie. And then it's a triple
• 34:34
  Speaker 2: whammy because then it's an experiment on the audience that's
• 34:37
  Speaker 2: also watching the movie. Yeah, so it's like a triple
• 34:42
  Speaker 2: It's a triple triple.
• 34:43
  Speaker 1: I mean, that's yeah, That's that's how his movies can be.
• 34:47
  Speaker 1: He's no stranger to like the psychological and I mean,
• 34:52
  Speaker 1: like when you especially when you look at MK Ultra,
• 34:56
  Speaker 1: it's a project that comes out of nineteen fifty three
• 34:59
  Speaker 1: and kind of nineteen fifty four out through that in
• 35:02
  Speaker 1: there too, and in fifty four you have the Eisenhower
• 35:07
  Speaker 1: administration and the Dullest Boys and Ed Brene's and they
• 35:11
  Speaker 1: really kind of pay the way for propaganda to take
• 35:14
  Speaker 1: hold of the American public as well. And it in
• 35:19
  Speaker 1: that same year when MK Ultra comes out, Kubert puts
• 35:23
  Speaker 1: out a film called Fear and Desire.
• 35:27
  Speaker 3: I believe it's a war thriller, and.
• 35:29
  Speaker 1: It's also very psychological and it's about this kind of
• 35:32
  Speaker 1: aimless war in the jungle. It's about this ghost like
• 35:35
  Speaker 1: general and these guys who like descend in the madness
• 35:39
  Speaker 1: in this forest, in this war torn environment, and it
• 35:45
  Speaker 1: just has a weird way like what we're saying of
• 35:48
  Speaker 1: reflecting like the times in in a bizarre way, and
• 35:52
  Speaker 1: like he does it again in nineteen fifty six with
• 35:54
  Speaker 1: Paths of Glory. It's another war with psychological undertones.
• 35:58
  Speaker 2: So in a way, Full Metal Jacket, it's like all
• 36:02
  Speaker 2: it's like all of it. It's it's insane. But the
• 36:05
  Speaker 2: I was correct in saying that it was banned in
• 36:07
  Speaker 2: the UK. At the Clockwork Orange it was. It was.
• 36:10
  Speaker 2: It's been banned in Spain, South Africa, Brazil, Brazil and
• 36:14
  Speaker 2: in the UK. I just wanted to clarify that because
• 36:17
  Speaker 2: I don't like talking about things that I'm not one
• 36:19
  Speaker 2: hundred percent sure on. But I was correct and seeing
• 36:21
  Speaker 2: that it was banned in the UK, and that's really
• 36:27
  Speaker 2: there's something that I really wanted to put into the
• 36:29
  Speaker 2: movie that I didn't realize until after the movie was
• 36:35
  Speaker 2: was over and I had actually rewatched it because I've
• 36:37
  Speaker 2: gotten too I've watched The Shining so many times I'm
• 36:39
  Speaker 2: probably the one person probably, I mean, I'm at least
• 36:42
  Speaker 2: in the top five people that have seen the shining
• 36:45
  Speaker 2: the most times in the United States, for sure. But
• 36:49
  Speaker 2: there's there's several things that I thought about, like after
• 36:53
  Speaker 2: the fact. So in Stephen King's Okay, so Laurel Canyon,
• 37:00
  Speaker 2: We're gonna go to Lowa Kenny for a minute because
• 37:01
  Speaker 2: it's a really interesting topic, and we discuss it a
• 37:04
  Speaker 2: lot in the documentary. There was a military base called
• 37:07
  Speaker 2: Lookout Mountain up there, and Lookout Mounain was a place
• 37:11
  Speaker 2: where a lot of films were made. More films were
• 37:14
  Speaker 2: made to Lookout Mountain than all of Hollywood up until
• 37:17
  Speaker 2: that point, and a lot of it is still classified
• 37:19
  Speaker 2: to this day. We have very little idea of exactly
• 37:22
  Speaker 2: what was going on up there. But as you've seen
• 37:24
  Speaker 2: just in the trailer Mark Devlin, all these people that
• 37:27
  Speaker 2: had high ranking top security clearance, Ronald Reagan had hiring
• 37:31
  Speaker 2: top security cleans, a lot of these famous actors, Marilyn Monroe,
• 37:34
  Speaker 2: James Stewart, carry Grant, And that's actually where these the
• 37:40
  Speaker 2: nuclear bomb testing was done at, but on miniature sets.
• 37:47
  Speaker 2: They would do it on miniature sets. It wasn't like
• 37:49
  Speaker 2: in actual filming of a nuclear bomb in the Nevada
• 37:53
  Speaker 2: Desert or in Arizona or any of these actual real
• 37:56
  Speaker 2: nuclear testing sites. It was all on miniature sets. And
• 38:01
  Speaker 2: that's another shocking thing that. I mean a lot of
• 38:03
  Speaker 2: people already kind of know that, but for the people
• 38:06
  Speaker 2: that don't, I would imagine it's pretty a pretty shocking revelation.
• 38:10
  Speaker 2: But before Lookout Mountain Military Base was there, there was
• 38:15
  Speaker 2: a hotel that sat right on the grounds where the
• 38:19
  Speaker 2: military base later became, and it was called Lookout Mountain Hotel,
• 38:24
  Speaker 2: and Lookout Mountain Hotel looked strikingly similar to Qubic's The
• 38:33
  Speaker 2: Overlook within The Shining and the thing that I didn't
• 38:39
  Speaker 2: even put two and two together and within the movie
• 38:42
  Speaker 2: was that Lookout Mountain Hotel, which was on top of
• 38:47
  Speaker 2: Laura Canyon burnt down. It burnt to the ground, right
• 38:53
  Speaker 2: and Stephen King sequel to The Shining Doctor Sleep at
• 39:00
  Speaker 2: the end of that movie, the Overlook burns of the ground.
• 39:07
  Speaker 2: At the end of the book too, it also burns
• 39:09
  Speaker 2: to the ground. So I was like, holy crap, I
• 39:12
  Speaker 2: can't believe I missed that, and that who whole thing
• 39:15
  Speaker 2: in the making of this movie, how did I miss that,
• 39:17
  Speaker 2: because I've seen Doctor Sleep several times as well, which
• 39:21
  Speaker 2: is a you know, a sequel to The Shining, has
• 39:24
  Speaker 2: Hughan McGregor in it, and yeah, so it's definitely not
• 39:29
  Speaker 2: nearly as good as The Shining. It doesn't have hardly
• 39:33
  Speaker 2: any symbolism. It's just the kind of like throwback. They'll
• 39:36
  Speaker 2: put some things in there from the Shining, like they
• 39:39
  Speaker 2: had the they went back to the hotel and the
• 39:42
  Speaker 2: Shining and they had the carpet there and then you
• 39:44
  Speaker 2: see the ghost of Jack, but he's not played by
• 39:46
  Speaker 2: Jack Nicholson. But it really takes a filmmaker like Stanley
• 39:52
  Speaker 2: Kubrick to bring something to life like that.
• 39:55
  Speaker 1: Yeah, it's not a coincidence either that those two buildings
• 39:59
  Speaker 1: have such a direking resemblance. When you're talking about the
• 40:03
  Speaker 1: hotel in the Shining and then this lookout mountain which
• 40:06
  Speaker 1: is a very shady place. I mean, I love the
• 40:09
  Speaker 1: details that you guys brought out about that. You know,
• 40:11
  Speaker 1: that's a place still shady, I think to this day,
• 40:14
  Speaker 1: like Jared Leto owns it for some reason today. But
• 40:18
  Speaker 1: when I've gone back and I've looked into that and
• 40:22
  Speaker 1: it's been a while, but I want to say that
• 40:24
  Speaker 1: it was owned by it's like a joint venture ownership
• 40:28
  Speaker 1: between the Department of Energy and the Air Force, and
• 40:33
  Speaker 1: that's who was so and maybe one other military branch
• 40:38
  Speaker 1: got in there at one point as well. But so
• 40:41
  Speaker 1: it's like, what are these guys, Why are these guys
• 40:43
  Speaker 1: making movies? And why do all these people, these high
• 40:48
  Speaker 1: like just big celebrity people have these have access to
• 40:52
  Speaker 1: this place.
• 40:54
  Speaker 2: Yeah, it's it's a real mystery. And I think that
• 40:59
  Speaker 2: it's like I mentioned that more films were made there
• 41:02
  Speaker 2: than anywhere else in Hollywood, and it's so close to Hollywood,
• 41:06
  Speaker 2: so it's like, well, you know, why wouldn't you be
• 41:09
  Speaker 2: recruiting these big time actors for this this military filming
• 41:14
  Speaker 2: and the stuff that you're doing up there? But what
• 41:16
  Speaker 2: was it for? Like what what what did you need
• 41:19
  Speaker 2: them for? You know what exactly were they're doing there?
• 41:23
  Speaker 2: And the facility had all kinds of stuff, had a
• 41:26
  Speaker 2: freaking its own helicopter pad, and had its own nuclear
• 41:30
  Speaker 2: fallout shelter underneath it, several film stages, several recording studios.
• 41:35
  Speaker 2: I mean, we show the footage in our movie and
• 41:38
  Speaker 2: it's like they were just making movies every single day,
• 41:42
  Speaker 2: like a big, huge You've seen these military personnel carrying
• 41:46
  Speaker 2: like freaking forklifts of freaking movie reels and to be processed.
• 41:51
  Speaker 2: So like what what was all that?
• 41:54
  Speaker 4: Yeah?
• 41:55
  Speaker 1: Yeah, and then Kubrick is I like this too, you
• 41:58
  Speaker 1: guys show I had never seen this before.
• 42:01
  Speaker 3: Where at the end of so at.
• 42:05
  Speaker 1: The end of two thousand and one Space Odyssey and
• 42:09
  Speaker 1: I guess one version of it at the end there
• 42:11
  Speaker 1: it shows the credits and it gives credits to all
• 42:15
  Speaker 1: of these military institutions and aerospace companies. And this was
• 42:21
  Speaker 1: like twelve years I think before The Shining is when
• 42:25
  Speaker 1: he puts out two thousand and one. So I think
• 42:28
  Speaker 1: it just kind of goes to show that the government
• 42:30
  Speaker 1: was heavily involved with his films, because by the time
• 42:35
  Speaker 1: he does The Shining, those relationships are already in place
• 42:38
  Speaker 1: almost Yeah.
• 42:40
  Speaker 2: And it's a I think what happened with that was
• 42:44
  Speaker 2: because the government and the military and the CI nowadays
• 42:48
  Speaker 2: we know that they're all involved within filmmaking. I mean
• 42:50
  Speaker 2: there's documents, there's FOIO requests for the military being involved
• 42:56
  Speaker 2: with the Transformers movies, some of the James Bond movies
• 43:00
  Speaker 2: like there because they have to get their permission to
• 43:03
  Speaker 2: use some form of military you know craft, so they
• 43:09
  Speaker 2: have to get their permission to be able to use it.
• 43:11
  Speaker 2: So I think that what happened was is Kubrick had
• 43:15
  Speaker 2: a lot of help from the military and these aerospace companies,
• 43:19
  Speaker 2: and he didn't think that it was a big deal
• 43:23
  Speaker 2: that they were in the credits of this movie. But
• 43:25
  Speaker 2: then somebody saw it and was like, oh, hey, like,
• 43:30
  Speaker 2: we don't want the public to know that we supplied
• 43:32
  Speaker 2: any kind of information to filmmaker, to Stanley Kuber, so
• 43:38
  Speaker 2: you got to take that stuff out, and that's what happened.
• 43:42
  Speaker 1: Yeah, I think this is something I wanted to say earlier.
• 43:48
  Speaker 1: I think, and this is some enough come to understand
• 43:51
  Speaker 1: like more and more through my own personal research, and
• 43:54
  Speaker 1: it seems like the CIA kind of wanted to control
• 43:59
  Speaker 1: the counter culture so badly that they stomped out the
• 44:02
  Speaker 1: real counter culture and replaced it with one that they
• 44:05
  Speaker 1: had assembled from the shadows, essentially that they could have
• 44:09
  Speaker 1: more control over. And I think you guys lay that
• 44:12
  Speaker 1: out perfectly.
• 44:14
  Speaker 2: Yeah, that's another shocking revelation too. Along with a lot
• 44:18
  Speaker 2: of these famous musicians having you know, fathers that were
• 44:23
  Speaker 2: high ranking military officers, I mean pretty much every single
• 44:26
  Speaker 2: one of them that you can think of. How to
• 44:28
  Speaker 2: die there was a high ranking military officer, but the
• 44:32
  Speaker 2: other one is like, like just what you said, And
• 44:36
  Speaker 2: it's like, like I mentioned earlier, like people aren't familiar
• 44:40
  Speaker 2: with some of these topics, but whenever it's presented in
• 44:43
  Speaker 2: the way that we've presented it, it's like a it's
• 44:47
  Speaker 2: a mind blowing thing. And when you realize that the
• 44:49
  Speaker 2: CIA was responsible for all of the LSD and basically
• 44:54
  Speaker 2: creating this counter culture of people to stomp out the
• 44:58
  Speaker 2: anti war movement, and then they also ran an opt
• 45:02
  Speaker 2: to destroy the counterculture as well with the Manson tape murders,
• 45:09
  Speaker 2: that just put a nail in the coffin of the
• 45:11
  Speaker 2: entire scene. The hippie movement in the sixties were just
• 45:15
  Speaker 2: completely over because that's what they do. They they will
• 45:19
  Speaker 2: they will create an event, but not not created like
• 45:25
  Speaker 2: like they like plan out every single detail. They just
• 45:29
  Speaker 2: give somebody the opportunity to do something wild. And there's
• 45:32
  Speaker 2: a lot of people have done extensive research in the
• 45:36
  Speaker 2: Charles Manson and pretty much discovered that he was just
• 45:40
  Speaker 2: supplied LSD and given LSD by the CIA so that
• 45:45
  Speaker 2: he can give to his friends and then create this
• 45:47
  Speaker 2: this Manson cult that we all know. So it's not
• 45:52
  Speaker 2: like planned down to the like fine details. They they
• 45:57
  Speaker 2: just would come in and capitalize upon opportunity and set
• 46:01
  Speaker 2: back and just kind of see what was going to happen.
• 46:05
  Speaker 2: That's as far as the plan really goes. But that
• 46:08
  Speaker 2: whole the the tape murders with Sharon Tate, with Sharon
• 46:13
  Speaker 2: Tate's dad was another high ranking military officer. Tates that
• 46:19
  Speaker 2: when when that happened and the Manson crew went in
• 46:22
  Speaker 2: and killed Sharon Tate and I believe it was two others. Uh,
• 46:29
  Speaker 2: that just but the entire movement that the hippie movement
• 46:34
  Speaker 2: under the spotlight, and people were like, oh, well, is
• 46:36
  Speaker 2: this really a good movement to be involved with. They
• 46:40
  Speaker 2: just went out and murdered some people. They just went
• 46:42
  Speaker 2: out and killed some people. So it really just put
• 46:45
  Speaker 2: the boot down on the entire hippie movement that they created.
• 46:50
  Speaker 2: And they realized that it got out of hand really quickly,
• 46:54
  Speaker 2: and they're like, well, what can we do to basically
• 46:56
  Speaker 2: stomp this out? And then you get the Man's and
• 46:59
  Speaker 2: tape murders.
• 47:03
  Speaker 1: Yeah, yeah, I mean with Manson too. It's like, yeah,
• 47:07
  Speaker 1: his involvement with the government is there's enough there if
• 47:12
  Speaker 1: anybody wants to go and research it, where they're going
• 47:14
  Speaker 1: to find stuff. I mean they Yeah, they didn't have
• 47:17
  Speaker 1: him on the tightest leash always like he would get
• 47:21
  Speaker 1: locked up, but they would always be there to come
• 47:23
  Speaker 1: and put him get him out of jail.
• 47:27
  Speaker 2: It's the same way with Jim Morrison too. The same
• 47:29
  Speaker 2: thing happened with Jim Morrison. He got arrested several times.
• 47:32
  Speaker 2: And that's why he was so wild and crazy and
• 47:34
  Speaker 2: felt like that he could do whatever he wanted to
• 47:36
  Speaker 2: do because his dad was a top ranking military officer
• 47:39
  Speaker 2: that was responsible for the Gulf of Tonkin incident, the
• 47:41
  Speaker 2: Goddess into the Vietnam War that killed thousands and thousands
• 47:45
  Speaker 2: of people. So he knew that he wasn't going to
• 47:48
  Speaker 2: get into any trouble. And that's exactly what happened. Whenever
• 47:51
  Speaker 2: he would get arrested for doing whatever on stage, you know,
• 47:55
  Speaker 2: like being naked on stage, or flashing people on stage,
• 47:58
  Speaker 2: or performing drunk or disorderly on ducked out when he's
• 48:01
  Speaker 2: not doing a show, and he would get arrested, he
• 48:03
  Speaker 2: would almost immediately be let out because he knew that
• 48:06
  Speaker 2: he would immediately be let out because it was like
• 48:09
  Speaker 2: it was a fabrication. It was a thing that was
• 48:11
  Speaker 2: like put together.
• 48:15
  Speaker 4: Yeah.
• 48:16
  Speaker 1: Yeah, it causes me to question his death as well.
• 48:19
  Speaker 1: Talking about Jim Morrison, I mean supposedly he died in Paris,
• 48:24
  Speaker 1: but they immediately like sealed the coffin up. Only his
• 48:29
  Speaker 1: girlfriend and his and the doors manager apparently saw him dead.
• 48:33
  Speaker 1: They just threw him in a coffin and sealed the coffin.
• 48:36
  Speaker 1: And they won't let the last time I checked, they
• 48:38
  Speaker 1: won't let anybody go and exum the grave. It's just
• 48:41
  Speaker 1: so shady, but it makes sense when you see like
• 48:44
  Speaker 1: the connections behind his career.
• 48:49
  Speaker 2: Yep, all military, all by military design, and a lot
• 48:55
  Speaker 2: of strange things happened. Like now they don't really do
• 49:00
  Speaker 2: that anymore. If like if something was if there was
• 49:05
  Speaker 2: something funny about a death, or they don't want someone
• 49:08
  Speaker 2: to know about someone, or someone is like fake their death.
• 49:12
  Speaker 2: The easiest way to get around that is to immediately
• 49:17
  Speaker 2: cremate the body. Then it's just gone. That's been There's
• 49:22
  Speaker 2: been several exacits. And I don't want to go off
• 49:24
  Speaker 2: on a whole other tangent here because I want to
• 49:27
  Speaker 2: stay on this topic, but an example of that was
• 49:30
  Speaker 2: Pat Price with the with the remote viewing unit. He
• 49:34
  Speaker 2: worked with SRI. He was one of the best remote
• 49:37
  Speaker 2: viewers in the entire world. And he was found dead
• 49:42
  Speaker 2: in California and his family wasn't alerted of his death
• 49:47
  Speaker 2: until after he was already cremated. He took out a
• 49:53
  Speaker 2: giant life insurance policy before he died. He called his
• 49:57
  Speaker 2: family and his friends cryptically and said all you know,
• 50:01
  Speaker 2: kind of cryptically gave them his like last goodbyes, and
• 50:06
  Speaker 2: then a guy with a suitcase came in with a
• 50:09
  Speaker 2: like sort of looking like a man in black. He
• 50:12
  Speaker 2: came in and got the body. So I think that
• 50:16
  Speaker 2: that is a perfect example of somebody that faked their death,
• 50:24
  Speaker 2: that has all the tailtale science of someone that faked
• 50:27
  Speaker 2: their death. And what's his name? That not the KGB guy,
• 50:33
  Speaker 2: but in Third Eye Spies Ury not no, no, no,
• 50:40
  Speaker 2: no no, it's another guy that is really popular within
• 50:45
  Speaker 2: the remote viewing community. He was a part of s
• 50:47
  Speaker 2: R for a little bit, but they thought that he
• 50:49
  Speaker 2: was a Russian spy, so they let him go. It's
• 50:53
  Speaker 2: the guy that thinks that the suit pokemon because the
• 50:58
  Speaker 2: character Alec Exam, Well, you thought was based off of him.
• 51:02
  Speaker 2: I'm blank, completely blanking on his name.
• 51:04
  Speaker 1: But it's either one that's like very wealthy, but nobody
• 51:07
  Speaker 1: knows how or why.
• 51:11
  Speaker 3: Because there was a guy in.
• 51:12
  Speaker 1: That movie that that was like he had a mansion
• 51:15
  Speaker 1: over in France or something and like, but nobody knows, Like,
• 51:18
  Speaker 1: nobody knows what he does for a living other than
• 51:21
  Speaker 1: he's involved with the government's legitimate remote viewing program. All
• 51:25
  Speaker 1: those guys have kind of, you know, weird, weird connections.
• 51:29
  Speaker 1: I don't want to I don't want to call them
• 51:31
  Speaker 1: all sketchy because I don't know that all those guys
• 51:33
  Speaker 1: are sketchy. Some of them just have this I guess
• 51:37
  Speaker 1: unique ability. But I don't know the guy's name that
• 51:41
  Speaker 1: you're talking about.
• 51:42
  Speaker 2: Yeah, I'm trying to find his name. I'm completely blanking
• 51:47
  Speaker 2: on it. I only have so much stuff in my
• 51:50
  Speaker 2: head on time, and then I discard some things that
• 51:53
  Speaker 2: was old to make room for for new things. You
• 51:56
  Speaker 2: know what I mean. Yeah, you're all you're a gallery.
• 52:01
  Speaker 2: But Uri Geller was talking to Russell targ within the
• 52:04
  Speaker 2: movie Third I Spies, and he's like, listen, like, let's
• 52:07
  Speaker 2: see Ia just does they don't take out people that
• 52:10
  Speaker 2: are so valuable like that, and Pat Price was a
• 52:12
  Speaker 2: very valuable asset. So I think that he and again
• 52:18
  Speaker 2: I'm not saying it for a fact, it's just from
• 52:21
  Speaker 2: the things that you're a galerus at and all the
• 52:23
  Speaker 2: circumstances surrounding Pat Price's death that it is a possibility
• 52:28
  Speaker 2: that some shenanigan's happened there. But it's kind of the
• 52:31
  Speaker 2: same way with the I don't want to take a
• 52:34
  Speaker 2: political turn either. It's just another example with the with
• 52:38
  Speaker 2: the attempted shooter on on Trump they cremated his body
• 52:43
  Speaker 2: like that done, just gone.
• 52:47
  Speaker 3: They're still using the same playbook.
• 52:50
  Speaker 2: Yeah, just kind of just you know, switching it up
• 52:53
  Speaker 2: a little bit here and there. Yeah, So yeah, that's uh.
• 52:58
  Speaker 2: I didn't want to get off topic, off tangent on
• 53:01
  Speaker 2: any of those things. But are some examples of people
• 53:05
  Speaker 2: that I think that in Jim Morrison, I would like
• 53:09
  Speaker 2: to actually talk with Mark Devlin a little bit about
• 53:12
  Speaker 2: that and if see if he has any more theories
• 53:15
  Speaker 2: or more explanation on what do you think actually happened
• 53:18
  Speaker 2: with Jim Morrison. But it would make sense that if
• 53:20
  Speaker 2: he was like no longer useful to the to the
• 53:26
  Speaker 2: music industry anymore. Then he would just be like, all right,
• 53:29
  Speaker 2: I'm out. It's kind of the same way with like
• 53:32
  Speaker 2: Prince Prince as well. You know, he was no longer
• 53:38
  Speaker 2: useful to the music industry. He got all of the
• 53:40
  Speaker 2: rights back to his music. Yeah, and people weren't making
• 53:44
  Speaker 2: money off of his music anymore. So it's like time
• 53:46
  Speaker 2: for you to go.
• 53:48
  Speaker 4: Yeah.
• 53:48
  Speaker 1: I think with Jim Morrison too as well, Like he
• 53:51
  Speaker 1: was in a state. I think the night that he
• 53:53
  Speaker 1: died or supposedly died, he was downstairs of where he
• 53:57
  Speaker 1: was staying in a bar, and they found him like
• 54:00
  Speaker 1: passed out in the stall, and they carried him out.
• 54:05
  Speaker 1: They maybe they carried him up to his flat, and
• 54:09
  Speaker 1: he was in a state where he should have just
• 54:11
  Speaker 1: been able to sleep off whatever, you know, whether he
• 54:14
  Speaker 1: had drank too much or whether he was doing heroin
• 54:16
  Speaker 1: he should have been able to or both. Who knows,
• 54:18
  Speaker 1: He should have been able.
• 54:19
  Speaker 3: To sleep it off.
• 54:21
  Speaker 1: But instead they you know, they say he died, but
• 54:26
  Speaker 1: he goes back to what you're saying with what happens
• 54:29
  Speaker 1: after the alleged death is what is where all the
• 54:32
  Speaker 1: sketchiness comes in. It's like where they they either cremate
• 54:36
  Speaker 1: the body, they just get rid of the evidence. And
• 54:38
  Speaker 1: with Morrison's case, it's you know, locking him in a
• 54:40
  Speaker 1: coffin forever, not letting anybody kind of go in and
• 54:45
  Speaker 1: do a have a second look.
• 54:48
  Speaker 2: And it was the same way with JFK's body, except
• 54:51
  Speaker 2: JFK's body was actually exhumed in the middle of the
• 54:55
  Speaker 2: night with no explanation. They just came in and dug
• 54:58
  Speaker 2: up his body and then just moved him like two
• 55:00
  Speaker 2: or three feet. Yeah, so weird.
• 55:05
  Speaker 1: And the hospital died mysteriously too, that we're kind of
• 55:09
  Speaker 1: involved with moving his body around.
• 55:13
  Speaker 2: So interesting. Yeah, there's a lot of cases like that,
• 55:19
  Speaker 2: and it's a high possibility that something like that also
• 55:23
  Speaker 2: happened with the with the Tate murders as well. That
• 55:28
  Speaker 2: it's kind of like a it's kind of more of
• 55:31
  Speaker 2: like a movie set.
• 55:33
  Speaker 1: Yeah, what do you think about the Once Upon a
• 55:35
  Speaker 1: Time in Hollywood movie?
• 55:38
  Speaker 2: I love Quentin Tarantino. He's he's kind of getting weird
• 55:41
  Speaker 2: with his opinions and his ideas and stuff on on
• 55:46
  Speaker 2: things as of late. But I've always liked Quinn Tarantino's work.
• 55:51
  Speaker 2: But I've heard some people say that Once Upon a
• 55:55
  Speaker 2: Time in Hollywood is sort of like this generation of
• 56:00
  Speaker 2: people's The Shining. I don't know if that I've only
• 56:04
  Speaker 2: seen it once. I thought that it was good. I
• 56:07
  Speaker 2: liked it. I really like all of his movies besides
• 56:10
  Speaker 2: The Hateful Eight. I did not really care for The
• 56:13
  Speaker 2: Hatefully Eight, but I mean it was still a good,
• 56:16
  Speaker 2: solid movie. I just wish that he would have made
• 56:18
  Speaker 2: a sequel to Djingo, yeah instead, And that was his
• 56:21
  Speaker 2: original plan, was to make a sequel to Jingo. With
• 56:24
  Speaker 2: the script leaked online, so he had to change up
• 56:27
  Speaker 2: all the actors and all that. It was supposed to
• 56:29
  Speaker 2: be Jimmie Fox and Samuel L. Jackson's role in that
• 56:33
  Speaker 2: movie was supposed to be a sequel to Jingo, and
• 56:35
  Speaker 2: then he switched out Jimmie Fox with Samuel L. Jackson.
• 56:40
  Speaker 1: Yeah, it's my least favorite Tarantino movie, the Hate Boy is.
• 56:44
  Speaker 1: It's an interesting comparison though, with with Once Upon a
• 56:47
  Speaker 1: Time in Hollywood and The Shining. I guess I kind
• 56:49
  Speaker 1: of see where people are going with that, like, because
• 56:52
  Speaker 1: there is a psychological element there in Once upon a
• 56:56
  Speaker 1: Time where he introduces the Manson family and he's kind
• 56:59
  Speaker 1: of set in the stage for the tape murder. There
• 57:02
  Speaker 1: is some psychological undertones there, but it's not nearly as
• 57:06
  Speaker 1: disturbing as Shining.
• 57:09
  Speaker 2: Yeah, I would have to agree with that. I have
• 57:11
  Speaker 2: to watch Once upon a Time in Hollywood again. I
• 57:14
  Speaker 2: kind of watched it late, late in the game, and
• 57:17
  Speaker 2: but I really enjoyed it. I think he's a fantastic filmmaker.
• 57:22
  Speaker 2: But they're they're they're not like they're not really like
• 57:27
  Speaker 2: smart films. I wouldn't say they're not really intellectual films.
• 57:33
  Speaker 2: It's they're fun films. Yes, they're like popcorn films, and
• 57:36
  Speaker 2: they're filmed really well. And he's out of the box
• 57:39
  Speaker 2: type of filmmaker, and he uses a lot of practical effects,
• 57:44
  Speaker 2: Like he uses a lot of squibs in his movies,
• 57:48
  Speaker 2: like to emulate a gunshot wound, which I really like.
• 57:52
  Speaker 2: I like practical effects in my movies. So, you know,
• 57:57
  Speaker 2: one more movie down and then but he's not making
• 57:59
  Speaker 2: the anymore. He can the critic, So nobody really knows
• 58:04
  Speaker 2: what is lasting final movie is going to be.
• 58:08
  Speaker 3: That's going to be interesting to see.
• 58:10
  Speaker 1: Uh, you know, maybe he does the Hollywood retirement or
• 58:14
  Speaker 1: the you know, the the hip hop retirement where like
• 58:17
  Speaker 1: he's you know, he retires and then you know he's
• 58:20
  Speaker 1: back in a game five years later doing a project.
• 58:23
  Speaker 8: But with the Tate.
• 58:24
  Speaker 1: Murders, I was gonna I wanted to balance this off
• 58:28
  Speaker 1: of you maybe get your opinion on this. You know,
• 58:30
  Speaker 1: Roman Polanski's involved with that, and then you have Sharon
• 58:34
  Speaker 1: Tate and we see in your film that Sharon.
• 58:36
  Speaker 3: Tate's father is a big military guy.
• 58:39
  Speaker 1: But Polanski, it's been said that he may have had
• 58:44
  Speaker 1: one of these blackmail operations going on, similar to like
• 58:47
  Speaker 1: Diddy or Epstein, and that maybe there's a connection there.
• 58:52
  Speaker 1: Maybe Kubrick got sucked into that somehow because Kubrick was
• 58:55
  Speaker 1: friends with Polanski. Did you come across any of that
• 58:59
  Speaker 1: in your research.
• 59:00
  Speaker 2: Well, absolutely, Polanski got in trouble for being with an
• 59:08
  Speaker 2: underage girl at Jack Nicholson's house. That's one fact, and
• 59:12
  Speaker 2: we talk about that in our documentary. And then Polanski
• 59:15
  Speaker 2: fled the country to escape being prosecuted and going to
• 59:20
  Speaker 2: jail and going to prison, and Jack Nicholson at that
• 59:24
  Speaker 2: exact same time also fled and went to make The
• 59:30
  Speaker 2: Shining with Stanley Kubrick for over a year, so they
• 59:34
  Speaker 2: kind of just like after that happened. They just they
• 59:38
  Speaker 2: just kind of split. But Roman Polanski and John Nicholson
• 59:43
  Speaker 2: were had a pretty close relationship. They'd done, you know,
• 59:50
  Speaker 2: several movies together. Jack Nicholson was huge and instrumental in
• 59:54
  Speaker 2: the Laurel Canyon movie scene, the Trip Psycho known as
• 1:00:01
  Speaker 2: Psycho psych Out the Monkeys movie had which a lot
• 1:00:07
  Speaker 2: of them, you know, glorified lsd us and so Polanski
• 1:00:15
  Speaker 2: had to have also been friends with with Qubrick as well.
• 1:00:20
  Speaker 2: And Easy Writer was a film that Jack Nicholson was
• 1:00:27
  Speaker 2: in which actually prompted Qubrick to hire Jack Nicholson for
• 1:00:33
  Speaker 2: the Shining. It was because of that movie Easy Writer,
• 1:00:37
  Speaker 2: with Jack Nicholson in it. Easy Writer, Writer, Lee Baby.
• 1:00:43
  Speaker 2: That's another one, and you put into that put in
• 1:00:48
  Speaker 2: but no one's heard from Jack Nicholson in a long time.
• 1:00:50
  Speaker 2: He kind of retired from filmmaking and doing a lot
• 1:00:55
  Speaker 2: of this stuff. But a lot of the things that
• 1:00:56
  Speaker 2: we bring up in the documentary too, is that Jack
• 1:00:58
  Speaker 2: Nicholson doesn't know his father mhm. His mom doesn't even
• 1:01:05
  Speaker 2: know who the father is. So there's a lot of
• 1:01:09
  Speaker 2: really strange things that were going on with Stanley with
• 1:01:16
  Speaker 2: Jack Nicholson in that era of his life. So we
• 1:01:22
  Speaker 2: could have digged deeper into Jack Nicholson a little bit,
• 1:01:26
  Speaker 2: but some of it was, you know, cut for time
• 1:01:29
  Speaker 2: and making a cohesive and sound story. We also could
• 1:01:32
  Speaker 2: have went into Stanley Kubrick a lot more, because there's
• 1:01:35
  Speaker 2: a lot of rumor and speculation surrounding Stanley Kubrick that
• 1:01:41
  Speaker 2: I don't really want to say.
• 1:01:42
  Speaker 1: Because we don't want to say here.
• 1:01:45
  Speaker 2: It's just it's it's theory in the speculations, right, It's
• 1:01:49
  Speaker 2: a it's compelling though, it's pretty compelling, and it might
• 1:01:55
  Speaker 2: turn out that I don't even want to see it.
• 1:02:00
  Speaker 1: That's fine, you know, I was going to say, I
• 1:02:02
  Speaker 1: imagine that in preparing and doing research for this film,
• 1:02:07
  Speaker 1: I imagine that you had to sit through and watch
• 1:02:10
  Speaker 1: a lot of interviews. And what got me thinking about
• 1:02:15
  Speaker 1: that was where you alluded to a second ago where maybe,
• 1:02:18
  Speaker 1: like what Jack Nicholson's up to right now is kind
• 1:02:21
  Speaker 1: of a mystery. He's kind of I guess, like maybe
• 1:02:23
  Speaker 1: he's laying low or something like that. And I had
• 1:02:27
  Speaker 1: to thought when you said that, I bet writers sat
• 1:02:29
  Speaker 1: through a lot of interviews with people involved with this film,
• 1:02:34
  Speaker 1: especially Jack.
• 1:02:36
  Speaker 2: Even people that's not even necessarily related to the film,
• 1:02:40
  Speaker 2: because I just wanted to see what they would mention,
• 1:02:42
  Speaker 2: if they would talk about anybody that's you know, important.
• 1:02:46
  Speaker 2: I listened to several interviews with William Freaking, the director
• 1:02:52
  Speaker 2: of The Extorcist, because he was kind of another like
• 1:02:56
  Speaker 2: Kubrick esque character in the way that people some people
• 1:03:02
  Speaker 2: really liked him and other people they didn't like him.
• 1:03:05
  Speaker 2: He was like a you know, hardcore kind of director
• 1:03:09
  Speaker 2: and like you know, went through his vision. And I
• 1:03:11
  Speaker 2: listened to a lot of interviews with him trying to
• 1:03:14
  Speaker 2: see if he, you know, mentions Kubrick because we have
• 1:03:17
  Speaker 2: this part in the documentary that we pretty much come
• 1:03:22
  Speaker 2: to the conclusion that The Shining was kind of just
• 1:03:24
  Speaker 2: given to Stanley Kubrick because they had a pre published
• 1:03:29
  Speaker 2: copy of Stephen King's book The Shining, and it was
• 1:03:33
  Speaker 2: kind of given to Kubrick to you know, kind of
• 1:03:36
  Speaker 2: push him in this direction, like, hey, do this, Uh,
• 1:03:40
  Speaker 2: this is going to be a you know, a best
• 1:03:41
  Speaker 2: best selling novel. It's coming from Stephen King. We want
• 1:03:45
  Speaker 2: you to kind of make a movie out of this book.
• 1:03:48
  Speaker 2: Because his last film that he made before he made
• 1:03:51
  Speaker 2: The Shining was Barry Linden and Berry Lindon was not
• 1:03:53
  Speaker 2: a successful movie. It was one of Kubrick's worst movies,
• 1:03:56
  Speaker 2: worst performing, worst critically critically reviewed, and worst audience review,
• 1:04:02
  Speaker 2: and it lost a lot of money. And Warner Brothers
• 1:04:04
  Speaker 2: was more than kind of likely like, okay, well here
• 1:04:08
  Speaker 2: we got this pre published copy of The Shining. Why
• 1:04:11
  Speaker 2: don't you consider this kind of pushing him in that,
• 1:04:14
  Speaker 2: consider this for your next you know, your your next movie,
• 1:04:18
  Speaker 2: because we've had success with you know, an A list
• 1:04:21
  Speaker 2: director directing a best selling horror novel and The Exorcist it,
• 1:04:28
  Speaker 2: so we have like a track record with doing this
• 1:04:31
  Speaker 2: kind of film, and that's more than likely. What happened
• 1:04:40
  Speaker 2: is that Kubrick was kind of pushed to make The
• 1:04:43
  Speaker 2: Shining because his movie before it was not very successful,
• 1:04:47
  Speaker 2: and they were like, okay, well let's just have him,
• 1:04:49
  Speaker 2: you know, try and and do this film. Yeah.
• 1:04:53
  Speaker 1: I imagine there was that created a lot of tension
• 1:04:55
  Speaker 1: between him and Stephen King and without I don't want
• 1:04:59
  Speaker 1: to give away too much with your documentary, but I
• 1:05:01
  Speaker 1: think that point hit me pretty hard when I saw
• 1:05:05
  Speaker 1: that you guys showed in a documentary this scene of
• 1:05:07
  Speaker 1: the red car being crushed that I never thought about
• 1:05:12
  Speaker 1: this before. But that seems like it was blatant.
• 1:05:16
  Speaker 3: It was a stab at King. It was I mean,
• 1:05:19
  Speaker 3: how could it have been anything else?
• 1:05:22
  Speaker 2: Right, Yeah, he changed the collar of the Volkswagen beetle
• 1:05:27
  Speaker 2: that Jack drives in The Shining and in Stephen King's
• 1:05:32
  Speaker 2: novel was a red beetle. Then he changed Jack's collar
• 1:05:36
  Speaker 2: to a yellow beetle. And then later on in the movie,
• 1:05:38
  Speaker 2: when Hollerin is driving up to the overlook whenever he
• 1:05:41
  Speaker 2: had had, you know, psychic visions from Danny telling him that,
• 1:05:46
  Speaker 2: you know, things are not so good, things aren't so
• 1:05:50
  Speaker 2: good back here, Bob. He's driving up to the overlooking
• 1:05:53
  Speaker 2: the middle of a storm, and he sees the red
• 1:05:56
  Speaker 2: Volkswagen beetle crushed underneath a semi Yeah, it's for sure
• 1:06:01
  Speaker 2: a stab at Stephen King. There's not you know, it's like, hey,
• 1:06:08
  Speaker 2: you may be a good book writer, you might sell
• 1:06:11
  Speaker 2: some best selling books, but you're not a filmmaker. You know,
• 1:06:17
  Speaker 2: you can't make movies. Yeah, And I think that that
• 1:06:23
  Speaker 2: was the kind of what he was seeing the Stephen
• 1:06:26
  Speaker 2: King at that time, and he was he was one right,
• 1:06:31
  Speaker 2: because the way that Stephen be seeing how bad Stephen
• 1:06:35
  Speaker 2: King's rendition of The Shining was in that horrible mini
• 1:06:39
  Speaker 2: series that he did, that television series with The Shining
• 1:06:44
  Speaker 2: and Cubrick again, Kubrick was. It's been theorized and has
• 1:06:49
  Speaker 2: been said that people that were close to him that
• 1:06:51
  Speaker 2: Kubrick was he didn't. It was like a pseudo type
• 1:06:55
  Speaker 2: of atheist. Maybe he didn't necessarily believe, because there were
• 1:06:59
  Speaker 2: several times again and Stephen King has mentioned this before
• 1:07:01
  Speaker 2: an interviewed. Stephen King was like, cubric would call me
• 1:07:04
  Speaker 2: in the middle of the night and ask me some
• 1:07:05
  Speaker 2: weird questions. He would call me at like three in
• 1:07:07
  Speaker 2: the morning and ask me if I thought God was real.
• 1:07:11
  Speaker 2: And so it's been kind of theorized that Cubriic necessarily
• 1:07:16
  Speaker 2: didn't believe in the paranormal in the supernatural, so he
• 1:07:19
  Speaker 2: wanted to make this The Shining realistic. He wanted to
• 1:07:26
  Speaker 2: replace the ghost with real people. And that gives you
• 1:07:35
  Speaker 2: an explanation of who let Jack out of the storage
• 1:07:41
  Speaker 2: room in the movie, because that's always been That's really
• 1:07:45
  Speaker 2: the only paranormal thing that happens in the entire movie,
• 1:07:50
  Speaker 2: aside from the fact that the ball rolling toward Danny
• 1:07:53
  Speaker 2: whenever he stands up in the hallway and goes in
• 1:07:55
  Speaker 2: the room two thirty seven. Those are the only two
• 1:07:58
  Speaker 2: paranormal things to happened in the entire that are truly paranormal.
• 1:08:04
  Speaker 6: Like the.
• 1:08:07
  Speaker 2: Grady can be Grady can be a real guy, which
• 1:08:09
  Speaker 2: I think that he was. Lloyd could be a real guy,
• 1:08:11
  Speaker 2: which I think that he was. The old lady in
• 1:08:14
  Speaker 2: the bathroom could have been an old lady like a
• 1:08:17
  Speaker 2: real person. And we can get into that too. Don't
• 1:08:21
  Speaker 2: let me forget to mention that, because there's a connection
• 1:08:23
  Speaker 2: between Lloyd giving Jack an alcoholic drink and what the
• 1:08:28
  Speaker 2: CIA had done before. But all these people can be
• 1:08:32
  Speaker 2: actors playing a role up at the overlook to or
• 1:08:39
  Speaker 2: an experiment to run on the family up there, to
• 1:08:43
  Speaker 2: see how they were to react and see what way
• 1:08:46
  Speaker 2: that you know, where their mind would be and what
• 1:08:49
  Speaker 2: they would do based off of the circumstances that they're given.
• 1:08:53
  Speaker 2: So the it makes sense that Grady was actually there
• 1:09:01
  Speaker 2: and he let Jack out of the storage room so
• 1:09:04
  Speaker 2: they could go reek havoc and try and kill Danny
• 1:09:08
  Speaker 2: and Wendy. And when you look at what he's typing, right,
• 1:09:10
  Speaker 2: because that's really the most famous scene in the entire
• 1:09:14
  Speaker 2: movie is when Wendy walks in on all of Jack's
• 1:09:18
  Speaker 2: work laying there on his desk, and she realizes at
• 1:09:21
  Speaker 2: that very moment that Jack is not writing a novel.
• 1:09:26
  Speaker 2: He's not writing a book. He's just writing the same
• 1:09:28
  Speaker 2: sentence over and over and over again, which is all
• 1:09:30
  Speaker 2: work and no play. Makes Jack a dull boy. That's
• 1:09:33
  Speaker 2: psychic driving. That's a psychic driving mk ultra technique, that
• 1:09:36
  Speaker 2: is to put something inside of your psyche to control
• 1:09:40
  Speaker 2: and manipulate you. Hugh and Cameron in Canada was famous
• 1:09:44
  Speaker 2: for creating this mk ultra technique. And when you look
• 1:09:48
  Speaker 2: at the RFK assassination and Sir Hans, sirhand or Sir Hans,
• 1:09:56
  Speaker 2: Sirhan who, however you want to say it, people say
• 1:09:59
  Speaker 2: a different way. But he they found a notebook of him.
• 1:10:05
  Speaker 2: He's a gentleman that's been, you know, supposedly shot and
• 1:10:08
  Speaker 2: killed RFK. He had a notebook where he just said
• 1:10:12
  Speaker 2: RF Chemist Die, rf Chemist Die rf chemist die over
• 1:10:15
  Speaker 2: and over and over again. So Jack is doing a
• 1:10:20
  Speaker 2: different version of psychic driving. He's doing his own version
• 1:10:26
  Speaker 2: of psychic driving. And when Wendy comes in and finds
• 1:10:29
  Speaker 2: out Jack's triggered and wants to kill Wendy, Yeah, and
• 1:10:36
  Speaker 2: then kill Danny triggered.
• 1:10:41
  Speaker 1: That reminded me of something as well. And this is
• 1:10:44
  Speaker 1: something that blew me away.
• 1:10:46
  Speaker 3: Uh, you know, there's essentially.
• 1:10:53
  Speaker 7: It has.
• 1:10:54
  Speaker 1: When you say triggered, I think about what the government's
• 1:10:56
  Speaker 1: capable of doing. And you guys showed that Britney's Fears
• 1:11:00
  Speaker 1: interview where Diane Sawyer says spasm And as soon as
• 1:11:06
  Speaker 1: she says that, you see Britney's head jerk back and
• 1:11:12
  Speaker 1: her everything changes about her. It's like a spirit comes
• 1:11:16
  Speaker 1: into her, or like a childlike personality comes into her
• 1:11:19
  Speaker 1: and starts coming through her. And it's so weird. I
• 1:11:23
  Speaker 1: had never seen that interview before. I'm so I'm glad
• 1:11:26
  Speaker 1: you guys showed that. It's so I've heard people talk
• 1:11:29
  Speaker 1: about that, but I'd never watched it. I never put
• 1:11:33
  Speaker 1: much thought into it. But it is so obvious that
• 1:11:36
  Speaker 1: whatever that word spasm means to her triggered her.
• 1:11:45
  Speaker 2: And it can be an array of words that the
• 1:11:47
  Speaker 2: word can be programmed into the psyche of the patient,
• 1:11:51
  Speaker 2: into the psyche of the victim. And whenever the phrase
• 1:11:54
  Speaker 2: or that word is uttered, it could also be callers.
• 1:11:57
  Speaker 2: It could be an image they can do the same thing.
• 1:12:01
  Speaker 2: It's whatever that person has been programmed with.
• 1:12:08
  Speaker 3: Yeah, yeah, absolutely.
• 1:12:13
  Speaker 1: I mean, aside from major plot points, one of my
• 1:12:19
  Speaker 1: favorite scenes is where you SYNCD up. He took the
• 1:12:22
  Speaker 1: time to see you sync up all the different newscasters
• 1:12:25
  Speaker 1: saying the same thing.
• 1:12:28
  Speaker 2: Yep.
• 1:12:29
  Speaker 1: And I think it's important that people see that because
• 1:12:32
  Speaker 1: as a modern society, that's something that we're contending with.
• 1:12:37
  Speaker 2: And the Ury bezman Off clip, which I real people
• 1:12:41
  Speaker 2: need to go back and listen to that Ury buzman
• 1:12:43
  Speaker 2: Off all those interviews that he did in the early
• 1:12:45
  Speaker 2: eighties because it explains everything that's happening right now, like
• 1:12:51
  Speaker 2: in this very day, Like the plans that he laid
• 1:12:55
  Speaker 2: out for everyone is exactly what has happened. And in
• 1:12:59
  Speaker 2: the in our documentary, he's talking about, you know, the
• 1:13:02
  Speaker 2: education system and how if you pretty much insert this
• 1:13:07
  Speaker 2: a certain ideology into an entire generation of people, later
• 1:13:12
  Speaker 2: those people will grow up to put those policies and
• 1:13:15
  Speaker 2: those ideas and everything into place into the culture. And
• 1:13:20
  Speaker 2: another thing that I'm not for sure is in there,
• 1:13:24
  Speaker 2: but another thing that he talks about is the confusion aspect.
• 1:13:27
  Speaker 2: Right if you confuse the public on what it is
• 1:13:33
  Speaker 2: that they're supposed to believe. Then whatever it is that
• 1:13:38
  Speaker 2: you want to do, it can be gotten away with
• 1:13:41
  Speaker 2: because people will think that fake things are real things
• 1:13:43
  Speaker 2: and real things are fake things. So you feed a
• 1:13:49
  Speaker 2: certain segment of the population one thing, and then another
• 1:13:51
  Speaker 2: segment of the population something completely different. It's kind of
• 1:13:57
  Speaker 2: like with what Kamala Harris just recently did. It Again,
• 1:14:00
  Speaker 2: I'm not trying to get political here, but she did
• 1:14:02
  Speaker 2: that very thing. She did a pro Israel ad to
• 1:14:07
  Speaker 2: a certain section of the United States, and then she
• 1:14:10
  Speaker 2: did a pro Palestine ad for another section of the
• 1:14:14
  Speaker 2: United States. It's that is that is how you create confusion.
• 1:14:20
  Speaker 2: And then Barack Obama later on echoes exactly what Yury
• 1:14:24
  Speaker 2: Besmanov was saying in the early eighties in that speech
• 1:14:29
  Speaker 2: where he's I think it was a college or something.
• 1:14:32
  Speaker 2: He's up there giving a speech and he was like, listen,
• 1:14:34
  Speaker 2: if we flood the public square with all of these
• 1:14:39
  Speaker 2: conspiracy theories and you know, all of these thoughts and ideas,
• 1:14:45
  Speaker 2: then the public no longer knows what to believe. And
• 1:14:49
  Speaker 2: whenever you get away from not believing in democratic institutions,
• 1:14:56
  Speaker 2: government and any organized then it's like good. That's that's
• 1:15:05
  Speaker 2: where that's where we want you. And that's been the
• 1:15:08
  Speaker 2: whole psychological flip of all this.
• 1:15:13
  Speaker 1: Yes, I heard it said recently. I think like this,
• 1:15:17
  Speaker 1: our grandparents indoctrination is our culture because they indoctrinate somebody
• 1:15:29
  Speaker 1: three or four generations back, and by the time it
• 1:15:32
  Speaker 1: gets to the grandkids, they don't question anything.
• 1:15:36
  Speaker 3: They don't even know to question anything. That's just how
• 1:15:38
  Speaker 3: it is.
• 1:15:41
  Speaker 2: And they were more accepting of it because back then,
• 1:15:45
  Speaker 2: the the government in these political figures were telling you
• 1:15:51
  Speaker 2: more truth than they are now, you know what I mean.
• 1:15:56
  Speaker 2: So it's like they still hang on to that a
• 1:15:58
  Speaker 2: little bit. They're like, oh no, they couldn't ever be
• 1:16:02
  Speaker 2: getting up there in bold face lying to us. I mean,
• 1:16:05
  Speaker 2: I mean, look at it now, look at it now.
• 1:16:08
  Speaker 2: Everything that they said that was going to happen turned
• 1:16:10
  Speaker 2: out not to happen. It was like, they're wrong, and
• 1:16:15
  Speaker 2: they've been wrong for a really long time. But people
• 1:16:18
  Speaker 2: still hang on to it because they want things to
• 1:16:21
  Speaker 2: be the way that it was whenever they were kids,
• 1:16:24
  Speaker 2: and that you could, you know, listen to the news
• 1:16:27
  Speaker 2: because that's what people did back in the day, you know,
• 1:16:28
  Speaker 2: whenever they would go out. That's really the only source
• 1:16:32
  Speaker 2: of information that they would get is you know, especially
• 1:16:35
  Speaker 2: like their kids, if you had like a family and
• 1:16:36
  Speaker 2: all that like back then, you know, I was raised
• 1:16:39
  Speaker 2: in the nineties, and it was still kind of like
• 1:16:41
  Speaker 2: that in the early nineties and into the late nineties,
• 1:16:45
  Speaker 2: where you know, you would come home from school and
• 1:16:49
  Speaker 2: you would come in and you would you know, eat
• 1:16:51
  Speaker 2: dinner and you would sit down in front of the
• 1:16:52
  Speaker 2: TV and watch whatever was on the TV. And that
• 1:16:56
  Speaker 2: was your primary source of information and people trusted that.
• 1:17:01
  Speaker 2: But that's not the way that it is anymore.
• 1:17:04
  Speaker 1: Yeah, And if you've got one of two choices there
• 1:17:07
  Speaker 1: when you get home and you turn on either turn
• 1:17:09
  Speaker 1: off Fox or you turn on CNN, you're red or blue.
• 1:17:15
  Speaker 3: And that's an easy way to.
• 1:17:17
  Speaker 1: Control the narrative and not make it look like you're
• 1:17:20
  Speaker 1: controlling a narrative because you have two different sort of well,
• 1:17:24
  Speaker 1: you know, we're probably on the same page with this
• 1:17:27
  Speaker 1: two wings of the same bird, that whole thing.
• 1:17:31
  Speaker 2: It is true to a degree. But I'm actually very
• 1:17:38
  Speaker 2: I'm very hopeful, more hopeful now than I've ever been.
• 1:17:45
  Speaker 2: Uh And and if it turns out that that hope
• 1:17:49
  Speaker 2: was in vein or it turns out to be another
• 1:17:51
  Speaker 2: nothing burger. Then it's nothing on me, Like I don't
• 1:17:58
  Speaker 2: I think we need to celebrate the win because I
• 1:18:00
  Speaker 2: think that it is a win, and we don't get
• 1:18:03
  Speaker 2: very many wins, Like the public never gets any win.
• 1:18:08
  Speaker 2: We've never had a win to this degree, even if
• 1:18:12
  Speaker 2: it's a perceived win, even if it's just a perception
• 1:18:15
  Speaker 2: of a win, it still matters because we've never had
• 1:18:20
  Speaker 2: something like this in the history of my life. And
• 1:18:24
  Speaker 2: I don't think that any of the people that are
• 1:18:26
  Speaker 2: still alive in the United States has had a win
• 1:18:30
  Speaker 2: like that, except people that maybe we're you know, still alive.
• 1:18:34
  Speaker 2: At the end of World War Two, I'm sure people
• 1:18:36
  Speaker 2: were super excited about that that that war was finally
• 1:18:40
  Speaker 2: over and we defeated Germany. But since then it's been
• 1:18:45
  Speaker 2: nothing but fear and doom and gloom. Now everything is
• 1:18:55
  Speaker 2: like too big to win. It's the the intelligence community,
• 1:19:01
  Speaker 2: the government's got their hands and all this. I don't
• 1:19:02
  Speaker 2: ever see it ever changing, Like no matter what type
• 1:19:06
  Speaker 2: of scenario, is just one thing after the other, Like
• 1:19:09
  Speaker 2: starting with you know, immediately after World War two was
• 1:19:13
  Speaker 2: the Cold War, Vietnam War. Then we had like Waco
• 1:19:19
  Speaker 2: in the United States, which was a big wake up call.
• 1:19:22
  Speaker 2: I mean, there's a lot of things were happening in
• 1:19:24
  Speaker 2: the nineties that were getting militias really roued up. And
• 1:19:28
  Speaker 2: then the thing after that was nine to eleven, which
• 1:19:32
  Speaker 2: somehow weirdly united everybody for an extended period of time,
• 1:19:39
  Speaker 2: and then it was just completely destroyed with them just
• 1:19:45
  Speaker 2: a few months later. It was just went on to
• 1:19:47
  Speaker 2: something else. And then in twenty twenty that turned out
• 1:19:50
  Speaker 2: to be like a whole thing. And this seems like
• 1:19:53
  Speaker 2: even if it's just a perception that things are going
• 1:19:57
  Speaker 2: to be okay, and I want to whole go on
• 1:20:00
  Speaker 2: to that thing being okay, because if we just keep
• 1:20:02
  Speaker 2: focusing on all the negative and how all this stuff
• 1:20:04
  Speaker 2: is too big for us to the government is too
• 1:20:09
  Speaker 2: big for anything for any real change to happen and
• 1:20:11
  Speaker 2: for us to live in like a a harmonious way,
• 1:20:15
  Speaker 2: and for our food supply to be cleaned up, and
• 1:20:17
  Speaker 2: like these these governmental agencies, you know, not having all
• 1:20:21
  Speaker 2: this power and the taxes and increase price of food,
• 1:20:25
  Speaker 2: Like what do you want to happen if you think
• 1:20:28
  Speaker 2: that there's no change in it? Like, what do you
• 1:20:30
  Speaker 2: think is going to happen? And it seems like that
• 1:20:36
  Speaker 2: what the people like that that that are just black
• 1:20:39
  Speaker 2: pilled to their core. It seems like that they're pushing
• 1:20:43
  Speaker 2: for a new world order. They inadvertinently want a new
• 1:20:47
  Speaker 2: world order because that's the only way that's going to happen.
• 1:20:51
  Speaker 2: That's the only way that we're going to get the
• 1:20:52
  Speaker 2: reality that they want is a new world order. You
• 1:20:56
  Speaker 2: only have two directions to go. You either attempt to
• 1:21:00
  Speaker 2: change some of this stuff and make it better for everybody,
• 1:21:04
  Speaker 2: or you completely submit. And that's what those people are
• 1:21:09
  Speaker 2: inadvertently doing. I think that they're you know, being righteous
• 1:21:14
  Speaker 2: and being out there and calling everybody on their bullshit
• 1:21:18
  Speaker 2: and being like, oh, no, he works for blah blah blah, No,
• 1:21:20
  Speaker 2: he works for that spirit. He's an Israel supporter. Well,
• 1:21:23
  Speaker 2: it's the two sides of the same thing. He's not
• 1:21:25
  Speaker 2: going to make a difference. Blah blah blah blah blah.
• 1:21:28
  Speaker 2: Like that is that's not doing anybody any good, because
• 1:21:33
  Speaker 2: that is actually just really influencing and propping up the
• 1:21:41
  Speaker 2: new world Order.
• 1:21:43
  Speaker 3: Yeah, I'm with you, I can get behind that.
• 1:21:46
  Speaker 1: I think what I should have said was the two
• 1:21:49
  Speaker 1: wings of the same bird thing in a lot of
• 1:21:52
  Speaker 1: ways applies to the politics of yesteryear, and I agree
• 1:21:57
  Speaker 1: with you. It does feel like something is on the
• 1:22:01
  Speaker 1: horizon and this doesn't feel like the same run as
• 1:22:04
  Speaker 1: the Meal Republican Party. He's bringing in people like RFK
• 1:22:09
  Speaker 1: and Tulsi Gabbard and other people who got stomped out
• 1:22:15
  Speaker 1: by the establishment when they tried to hold it or
• 1:22:18
  Speaker 1: or make office.
• 1:22:21
  Speaker 3: So it does feel and hopefully it is real. Hopefully
• 1:22:24
  Speaker 3: it is a real change. You know, we will see.
• 1:22:27
  Speaker 3: Only time will tell. But I'm with you with that,
• 1:22:30
  Speaker 3: you know.
• 1:22:30
  Speaker 1: And I probably shouldn't have said we're on the same
• 1:22:32
  Speaker 1: page about it and laid it out like that, because
• 1:22:35
  Speaker 1: it is a new day and the stuff that applied
• 1:22:39
  Speaker 1: yesterday maybe doesn't apply today.
• 1:22:41
  Speaker 3: Hopefully it doesn't.
• 1:22:43
  Speaker 2: Yeah, it's a new set of circumstances. It's a new Uh,
• 1:22:46
  Speaker 2: it's a it's a completely new reality, I think. And
• 1:22:52
  Speaker 2: and hey, like you can all go to shit, and
• 1:22:55
  Speaker 2: I'll be the first to tell you. I'll be like, Hey,
• 1:23:00
  Speaker 2: everything that he said that he was going to do,
• 1:23:02
  Speaker 2: he didn't end up doing. But it's a different type
• 1:23:06
  Speaker 2: of scenario that we have now. Because he's been on
• 1:23:11
  Speaker 2: several shows and several big name podcasts basically saying the
• 1:23:17
  Speaker 2: same thing every single time he goes on. People know
• 1:23:23
  Speaker 2: what he's going to do, so if he doesn't do
• 1:23:27
  Speaker 2: it accountability, there's going to be problems. Yeah, So he's
• 1:23:32
  Speaker 2: really he really has no choice. It's not like in
• 1:23:36
  Speaker 2: twenty twenty, when really all that we got from him
• 1:23:39
  Speaker 2: was directly from the media. That was, you know, switching
• 1:23:43
  Speaker 2: his words around and making him seem like you said
• 1:23:45
  Speaker 2: all kinds of wild and crazy shit. Then that's not
• 1:23:48
  Speaker 2: to say that he doesn't say wild and crazy shit,
• 1:23:50
  Speaker 2: because he does, but he's actually funny whenever he says it,
• 1:23:52
  Speaker 2: which throws people off guard. But we now have like
• 1:23:57
  Speaker 2: a direct we've heard from him. I mean, he had
• 1:24:00
  Speaker 2: a three hour conversation said down with Joe Rogan, he
• 1:24:03
  Speaker 2: was on Lex Freeman, he was on Sean Ryan, he
• 1:24:04
  Speaker 2: was on theovaughn Uh, same with jd Vance. He's been
• 1:24:10
  Speaker 2: on all those podcasts as well. We know what they
• 1:24:13
  Speaker 2: said that they're going to do, and if they don't
• 1:24:17
  Speaker 2: do it, then we're going to be like, why didn't
• 1:24:21
  Speaker 2: you do it? You just said several times that all
• 1:24:25
  Speaker 2: that you were going to do all this stuff and
• 1:24:27
  Speaker 2: make everything better, Why didn't you do it? There's there's
• 1:24:31
  Speaker 2: going to be accountability there. And I don't think that
• 1:24:34
  Speaker 2: we've never experienced a time like this, And I don't
• 1:24:37
  Speaker 2: think in the history of the freaking world. I don't.
• 1:24:42
  Speaker 2: I don't think. I mean, technology is very new. Uh,
• 1:24:46
  Speaker 2: you know, this is the first time in history that
• 1:24:48
  Speaker 2: we've had all the information that we can ever want
• 1:24:51
  Speaker 2: right in our freaking fingertips.
• 1:24:53
  Speaker 5: You know.
• 1:24:53
  Speaker 2: It's a it's a it's a wild reality to really
• 1:24:57
  Speaker 2: be in when when you think about it, but we've
• 1:24:59
  Speaker 2: been so normalized by it, We've become so complacent by it,
• 1:25:06
  Speaker 2: you know, we think that this is the way that
• 1:25:08
  Speaker 2: it's always been, Like, Bro, it's not. This is something
• 1:25:14
  Speaker 2: brand new. We're living in uncharted territory right now and
• 1:25:21
  Speaker 2: we're kind of the experiment right just like we're talking
• 1:25:24
  Speaker 2: about with this movie. The Shining was an experiment. It
• 1:25:27
  Speaker 2: was an experiment on the actors. It is an experiment
• 1:25:30
  Speaker 2: within the movie. It was a movie about an experiment,
• 1:25:33
  Speaker 2: and then it's also an experiment on the audience. We
• 1:25:35
  Speaker 2: are the living experiment.
• 1:25:39
  Speaker 1: What did you want to tell me about the CIA
• 1:25:41
  Speaker 1: connection with the drink, the bartender, the old lady, that
• 1:25:45
  Speaker 1: whole thing.
• 1:25:46
  Speaker 2: Yes, thank you for reminding me so Room two thirty
• 1:25:49
  Speaker 2: seven has been like this, this kind of people want
• 1:25:53
  Speaker 2: to know more about Room two thirty seven, like what
• 1:25:55
  Speaker 2: was going on there? We're like, what was this? Actually?
• 1:25:58
  Speaker 2: Jay Winer proposed that it was like a like a
• 1:26:01
  Speaker 2: secret room for the like how the held like Stanley
• 1:26:07
  Speaker 2: Kubrick's secrets. There's been a lot of theories surrounding what roomy.
• 1:26:13
  Speaker 2: And he changed the number because I believe it was
• 1:26:17
  Speaker 2: to seventeen in the in the novel, in Stephen King's novel,
• 1:26:25
  Speaker 2: but Stanley Kubrick turned it to changed it to Room
• 1:26:29
  Speaker 2: two thirty seven, and no one really understood or knew
• 1:26:35
  Speaker 2: why he did that. And Jay Weiner proposed that that
• 1:26:39
  Speaker 2: it had to do with the faking of the moon
• 1:26:41
  Speaker 2: landing because the Moon was reported to be around two
• 1:26:47
  Speaker 2: hundred and thirty seven thousand miles away from the Earth
• 1:26:52
  Speaker 2: at that time. Now now we know it's further away
• 1:26:55
  Speaker 2: from the Earth, but at that time when the movie
• 1:26:57
  Speaker 2: was being made, that's approximately how far we thought that
• 1:27:00
  Speaker 2: the Moon was from the Earth. And then you have
• 1:27:03
  Speaker 2: Danny in the hallway standing up with the Apollo eleven
• 1:27:06
  Speaker 2: shirt on which the in the carpet looks like the
• 1:27:10
  Speaker 2: launch pad from the Apollo eleven rocket. So that is
• 1:27:15
  Speaker 2: all very interesting. It's all in j Widner's other documentary.
• 1:27:18
  Speaker 2: I'm sure people have heard that several times before, but
• 1:27:20
  Speaker 2: also think it's just important to point out because Jay
• 1:27:23
  Speaker 2: Wiener is the producer and he's also in our movie.
• 1:27:27
  Speaker 2: Now when it comes to Room two thirty seven. The
• 1:27:30
  Speaker 2: first time that Jack experiences anything strange is in Room
• 1:27:34
  Speaker 2: two thirty seven when he encounters the very attractive woman
• 1:27:38
  Speaker 2: that comes out of the bathtub and then turns into
• 1:27:40
  Speaker 2: an elderly woman. But that didn't happen until after he
• 1:27:44
  Speaker 2: took the drink from Lloyd the bartender. Now, what we
• 1:27:51
  Speaker 2: propose in the movie is that Jack's drink could have
• 1:27:58
  Speaker 2: been dosed with some sort of hallucinogenic drug, and the
• 1:28:02
  Speaker 2: CIA has been known to do this several times in history.
• 1:28:08
  Speaker 2: It's it was done. Actually, it was done in one
• 1:28:12
  Speaker 2: uh some of the first experiments that was done on
• 1:28:16
  Speaker 2: some of the first m k Ultra experiments that were
• 1:28:19
  Speaker 2: done on army personnel. They didn't really know what kind
• 1:28:24
  Speaker 2: of drugs that they were being experimented on. They just
• 1:28:28
  Speaker 2: told that they were going to this army base and
• 1:28:31
  Speaker 2: that they were volunteers, and that they would be, you know,
• 1:28:38
  Speaker 2: to do testing like the military would be testing chemical
• 1:28:41
  Speaker 2: agents on these volunteers, these army personnel volunteers, and one
• 1:28:47
  Speaker 2: gentleman committed suicide after you'd been he'd ingusted and went
• 1:28:54
  Speaker 2: through these army experiments. And then Frank Olsen, which is
• 1:28:59
  Speaker 2: the most popular of the people that we bring up
• 1:29:02
  Speaker 2: heavily in our documentary, the head of the MKO Ultra programs,
• 1:29:06
  Speaker 2: Sidney Gottlieb, spiked Frank Olsen's drink with LSD and then
• 1:29:11
  Speaker 2: he ended up jumping out of high I think it
• 1:29:15
  Speaker 2: was like the eleventh story or really high in like
• 1:29:18
  Speaker 2: a hotel, and fell to his death. Because it's one
• 1:29:22
  Speaker 2: thing to be to knowingly take in a hallucinogenic like
• 1:29:26
  Speaker 2: when you knowingly take something, you're going to be expecting
• 1:29:29
  Speaker 2: to feel some effects from it, right, But when you're
• 1:29:34
  Speaker 2: unknowingly giving something and you start to experience changes, you're
• 1:29:38
  Speaker 2: going to think that you're going crazy. You're going to
• 1:29:41
  Speaker 2: think that you're out of your mind. And it's interesting
• 1:29:45
  Speaker 2: because when Jack takes that first drink of alcohol, which
• 1:29:48
  Speaker 2: is given to him by Lloyd, Wendy then comes into
• 1:29:52
  Speaker 2: the room and it was like Danny was hurt by
• 1:29:55
  Speaker 2: a lady in one of the rooms upstairs. So then
• 1:29:57
  Speaker 2: he goes into room two thirty seven. And when you
• 1:29:59
  Speaker 2: go into the room two thirty seven, things are like
• 1:30:01
  Speaker 2: super psychedelic. It's unlike anything else in the hotel. The
• 1:30:06
  Speaker 2: carpet patterns are different. They're they're purple and very vivid collars.
• 1:30:10
  Speaker 2: The curtains are different collars, the couches different colors. The
• 1:30:13
  Speaker 2: bathroom is like all green. We didn't see any kind
• 1:30:16
  Speaker 2: of really vibrant callers anywhere else in the hotel besides
• 1:30:22
  Speaker 2: in room two thirty seven. And then he experiences He
• 1:30:27
  Speaker 2: sees the woman and then uh, and then she turns
• 1:30:30
  Speaker 2: into an elderly and then she runs out of the room.
• 1:30:33
  Speaker 2: Jack runs out of the room, and then he goes
• 1:30:34
  Speaker 2: back into his room with Wendy. And then Wendy asked them,
• 1:30:39
  Speaker 2: did you see anything? And uh, you know, did you
• 1:30:43
  Speaker 2: did you find out anything? I didn't see a goddamn thing.
• 1:30:50
  Speaker 1: Yeah. Yeah, So there was a real quick moment in
• 1:30:54
  Speaker 1: the movie and I wanted to ask you about this.
• 1:30:58
  Speaker 1: You guys showed a document and I it was at
• 1:31:02
  Speaker 1: a part in the film where you guys were talking
• 1:31:05
  Speaker 1: about how Cia was using these at the time, I
• 1:31:08
  Speaker 1: guess newer and alternative drugs, and I saw adderall on
• 1:31:13
  Speaker 1: that list, and I wanted to ask, did you find
• 1:31:16
  Speaker 1: that maybe the CIA was trying out the first adderall
• 1:31:19
  Speaker 1: and riddling on the MK Ultra pass.
• 1:31:22
  Speaker 2: Yes, several drugs came out of the MK Ultra programs.
• 1:31:25
  Speaker 2: It wasn't just LSD. Everything was experimented on within those programs,
• 1:31:31
  Speaker 2: everything from sugar to nicotine to adderall, riddling, antidepressants, antipsychotics.
• 1:31:39
  Speaker 2: I mean, we show an entire list of all of
• 1:31:42
  Speaker 2: the drugs and there's over a hundred of them on
• 1:31:46
  Speaker 2: that list, And I think that's a really mind opening
• 1:31:51
  Speaker 2: thing as well, like because there's a lot of misconceptions
• 1:31:55
  Speaker 2: that it was just LSD, but it wasn't. There was
• 1:31:58
  Speaker 2: several drugs and antidepressants came out of the programs, antipsychotics
• 1:32:03
  Speaker 2: came out of the programs, out of all, riddling came
• 1:32:05
  Speaker 2: out of the programs, and then it was manufactured and
• 1:32:08
  Speaker 2: then given to the public. The first manufacturer of LSD
• 1:32:12
  Speaker 2: in the United States was also the manufacturer of prozac.
• 1:32:17
  Speaker 1: Yeah.
• 1:32:19
  Speaker 2: The first manufacturer that was contracted by the CIA was
• 1:32:23
  Speaker 2: making LSD for them, which was Eli Lilly and Company
• 1:32:30
  Speaker 2: also was the first manufacturer of prozac, so it stands
• 1:32:34
  Speaker 2: the reason that they did some kind of chemical compound
• 1:32:40
  Speaker 2: that was that gave you the downer type of feelings
• 1:32:44
  Speaker 2: with LSD, like you're coming down off of a trip,
• 1:32:49
  Speaker 2: or maybe it's a couple of days later after the
• 1:32:51
  Speaker 2: trip and you're you know, you know what I mean,
• 1:32:54
  Speaker 2: Like I don't know if you've ever did psychedelics before,
• 1:32:56
  Speaker 2: but you get into that state where you're like you
• 1:32:59
  Speaker 2: can't of like questioning your You're kind of like a
• 1:33:04
  Speaker 2: zombie a little bit, especially after the first time that
• 1:33:07
  Speaker 2: you ever, like take any kind of allucinogenic drug, Like
• 1:33:11
  Speaker 2: for a few days after.
• 1:33:12
  Speaker 1: You're kind of like you're readjusting to It depends on
• 1:33:16
  Speaker 1: I mean, if you take LSD, it's almost like you're
• 1:33:20
  Speaker 1: or d MT, it's almost like you're readjusting to the dimension.
• 1:33:25
  Speaker 1: Like it's almost like you've left and now you're coming
• 1:33:27
  Speaker 1: back and your body has to readjust And I'd say
• 1:33:30
  Speaker 1: that there's a similar effect after shrooms.
• 1:33:35
  Speaker 2: That effect is just that effect alone, that readjustment to
• 1:33:40
  Speaker 2: reality is what they created antidepressants. In antipsychotics with they
• 1:33:50
  Speaker 2: took out all of the consciousness, expanding benefits of LSD,
• 1:33:57
  Speaker 2: the things that would make you, you know, discovery, realize
• 1:34:02
  Speaker 2: that you know this reality, you know all the things
• 1:34:04
  Speaker 2: that people go through with, you know, doing a hallucent
• 1:34:06
  Speaker 2: egeny drug. They took all that stuff away and they
• 1:34:09
  Speaker 2: just pretty much put in the bad stuff. Then they
• 1:34:14
  Speaker 2: sold that to these pharmaceutical companies, and now everybody is
• 1:34:18
  Speaker 2: on all these drugs. I mean, you look up the
• 1:34:20
  Speaker 2: statistics for how many people in the United States is
• 1:34:24
  Speaker 2: on some form of pharmaceutical drug, and it's over half
• 1:34:26
  Speaker 2: the population. Over half the population is on some form
• 1:34:30
  Speaker 2: of pharmaceutical drug. And that's not even illicit drugs. It's
• 1:34:35
  Speaker 2: not even counting no elicit drugs. Over half the freaking
• 1:34:39
  Speaker 2: population of the United States is on some form of
• 1:34:43
  Speaker 2: pharmaceutical drug.
• 1:34:46
  Speaker 1: It suggests that there's a link between Big Farm and
• 1:34:48
  Speaker 1: the CIA, and I would imagine it might even go
• 1:34:52
  Speaker 1: back to ig Farban and the Nazis in that swastika
• 1:34:55
  Speaker 1: that you discovered, if we want to tie.
• 1:34:58
  Speaker 3: It all in like that.
• 1:34:59
  Speaker 1: I don't know, but I'm seeing a lot of dots
• 1:35:02
  Speaker 1: seemingly being connected here.
• 1:35:06
  Speaker 2: I think so too. And the swastika that I found
• 1:35:09
  Speaker 2: in the background excuse me, of the Gold Room really
• 1:35:14
  Speaker 2: connected what with what other people have seen before, other
• 1:35:19
  Speaker 2: people had Sorry, you got the hiccups for some reason.
• 1:35:23
  Speaker 1: You're good.
• 1:35:25
  Speaker 2: Other people had connected and seen that at the very end,
• 1:35:29
  Speaker 2: which we show in our movie as well, but we
• 1:35:31
  Speaker 2: didn't discover it. Other people had discovered this. At the
• 1:35:36
  Speaker 2: very ending of the movie, when the camera fades from
• 1:35:40
  Speaker 2: a far away shot of the picture on the wall
• 1:35:43
  Speaker 2: to a close up shot of Jack being there for
• 1:35:49
  Speaker 2: a split second, you can see like a little tiny
• 1:35:51
  Speaker 2: Hitler mustache on Jack's face, which just coincides with the
• 1:35:58
  Speaker 2: swastika that I found, because it's kind of disclosing to
• 1:36:05
  Speaker 2: Then if you combine that with all the work that
• 1:36:08
  Speaker 2: Jay's done with the moon landing stuff in NASA basically
• 1:36:12
  Speaker 2: being made up of Nazi aerospace engineers and stuff, like
• 1:36:17
  Speaker 2: Stanley Kubrick is playing like he's trying to tell you
• 1:36:21
  Speaker 2: that something that you don't really necessarily want to know
• 1:36:26
  Speaker 2: or even knew about in the first place.
• 1:36:30
  Speaker 1: Yeah, it's incredible. Just your film is a microcosm for
• 1:36:36
  Speaker 1: a lot of other shadow workings of the shadow government.
• 1:36:41
  Speaker 1: I mean, and I don't know if we even want
• 1:36:43
  Speaker 1: to call it that, but you know what I mean,
• 1:36:45
  Speaker 1: like just things behind the curtain, the behind the scenes
• 1:36:48
  Speaker 1: world activity of the government that's been going on since
• 1:36:52
  Speaker 1: for a long time, but definitely since the Nazis guy
• 1:36:55
  Speaker 1: here in forty seven. Your film is like a microcosm
• 1:36:58
  Speaker 1: of kind of shedding light onto a lot of stuff
• 1:37:01
  Speaker 1: that I don't think has been shed light on, and
• 1:37:04
  Speaker 1: I don't think it's been broken down quiet as well.
• 1:37:08
  Speaker 3: And you know, I've been trying to tell people. I
• 1:37:11
  Speaker 3: think you said this earlier as well.
• 1:37:14
  Speaker 1: You know, Hollywood is dying.
• 1:37:16
  Speaker 3: Mainstream media is dying.
• 1:37:19
  Speaker 1: Maybe not all, maybe not everyone has woken up to
• 1:37:22
  Speaker 1: that yet, but I think it's starting to become very obvious.
• 1:37:26
  Speaker 3: And I think we're just going to it's just only
• 1:37:28
  Speaker 3: going to keep descending.
• 1:37:30
  Speaker 1: But films like this are going to bring down the pillars.
• 1:37:36
  Speaker 1: Films like this will establish a new precedent. Thank you.
• 1:37:41
  Speaker 2: That is uh, that's really high praise, and I really
• 1:37:44
  Speaker 2: hope that it does, and I hope that people watch
• 1:37:50
  Speaker 2: it and then rewatch it because it's, uh, there's a
• 1:37:52
  Speaker 2: lot of information in there where there's a lot of
• 1:37:54
  Speaker 2: different topics, and from the feedback that I've been getting
• 1:37:58
  Speaker 2: is that they've had the palls the movie like an
• 1:38:01
  Speaker 2: hour and fifteen minutes in and just to be able
• 1:38:03
  Speaker 2: to like catch their breath and be able to process
• 1:38:06
  Speaker 2: everything that happened and then finish, finish the rest of it.
• 1:38:10
  Speaker 2: And then other people are like, hey, I've like I
• 1:38:12
  Speaker 2: watched it all the way through. I can you know,
• 1:38:15
  Speaker 2: I couldn't stop watching it, and you know, once I started,
• 1:38:20
  Speaker 2: I couldn't stop. And then now I'm they're rewatching it again.
• 1:38:25
  Speaker 2: So I really hope people. I hope that they check
• 1:38:29
  Speaker 2: it out and hopefully we can get a link to
• 1:38:33
  Speaker 2: it and the description.
• 1:38:35
  Speaker 3: Of I'll be doing that for you for sure, Thank
• 1:38:38
  Speaker 3: you very.
• 1:38:38
  Speaker 2: Much, really appreciate it. I hope people check it out.
• 1:38:40
  Speaker 2: I hope people watching it, and I hope that they
• 1:38:42
  Speaker 2: really pay attention to it because it's a It's also
• 1:38:46
  Speaker 2: something that you have to kind of you know, I
• 1:38:49
  Speaker 2: kind of took a playbook from you know, Stanley Kubrick
• 1:38:55
  Speaker 2: in there as well, Like you know, I some of
• 1:38:59
  Speaker 2: the things you have to put two and two together
• 1:39:01
  Speaker 2: on your own, Like we just don't come out and
• 1:39:04
  Speaker 2: explain it, like the reason for a lot of the
• 1:39:09
  Speaker 2: continuity errors in the movie, Like we don't come out
• 1:39:12
  Speaker 2: and explain that you kind of just have to put
• 1:39:15
  Speaker 2: two and two together on like what that means and
• 1:39:18
  Speaker 2: the reason for those things in there. And that's just
• 1:39:23
  Speaker 2: one example. There's several examples.
• 1:39:25
  Speaker 1: Through all the faster at that, and you know, something
• 1:39:29
  Speaker 1: came to mind, speaking of continuity. I'm so happy you
• 1:39:33
  Speaker 1: guys brought this out in the film. You know, it's
• 1:39:36
  Speaker 1: been a lot of time since I've actually sat down
• 1:39:38
  Speaker 1: and watched The Shining, But I will say, you don't
• 1:39:40
  Speaker 1: need to watch The Shining before you watch this documentary
• 1:39:43
  Speaker 1: because you guys show scenes and you kind.
• 1:39:45
  Speaker 3: Of lay it out nicely.
• 1:39:46
  Speaker 1: But I remember, back when I did watch The Shining,
• 1:39:49
  Speaker 1: there was a film or I'm sorry, there was a
• 1:39:51
  Speaker 1: part in the film where the guy says, and this
• 1:39:56
  Speaker 1: is the story room, and it sounds like he's said story.
• 1:40:03
  Speaker 1: And I remember when I watched.
• 1:40:04
  Speaker 3: The movie, I picked up on that. I'm like, did
• 1:40:07
  Speaker 3: he just says story?
• 1:40:09
  Speaker 2: And it it?
• 1:40:11
  Speaker 1: It? But it made my mind like put a bookmark
• 1:40:15
  Speaker 1: in the film right there, like it was like a
• 1:40:19
  Speaker 1: subliminal clue that, hey, that's gonna that means something like
• 1:40:23
  Speaker 1: remember this room because it's gonna it's gonna come back
• 1:40:27
  Speaker 1: around later and that just doesn't feel like it was
• 1:40:31
  Speaker 1: an accident.
• 1:40:33
  Speaker 2: It doesn't. And if they would have said that the
• 1:40:36
  Speaker 2: actor that that plays that that gentleman in the movie,
• 1:40:41
  Speaker 2: if CUBI wouldn't have let that fly, he had them
• 1:40:44
  Speaker 2: doing so many takes of the movie and he would
• 1:40:47
  Speaker 2: have gotten everything perfect. And that's really interesting that you
• 1:40:51
  Speaker 2: also caught that, because I thought I was one of
• 1:40:54
  Speaker 2: the first people that had that had noticed that. I mean,
• 1:40:57
  Speaker 2: I'm the first person to put it ever put it
• 1:40:58
  Speaker 2: in a movie. But that's that's really interesting that you
• 1:41:02
  Speaker 2: also caught that because I thought the exact same thing
• 1:41:05
  Speaker 2: as I was watching, and I was like, he says
• 1:41:06
  Speaker 2: story room. Yeah, he doesn't say storage rooms, say stories.
• 1:41:10
  Speaker 3: There's no no g in there.
• 1:41:13
  Speaker 1: You know how when you're watching a movie and you're like,
• 1:41:16
  Speaker 1: I don't know, you're fifteen to twenty minutes in and.
• 1:41:20
  Speaker 3: Something like that will happen and it will just like
• 1:41:24
  Speaker 3: blue your brain into it, or like.
• 1:41:27
  Speaker 1: It's like a subconscious code. It's like, I don't know,
• 1:41:30
  Speaker 1: it's like telling you without telling you that hey, this
• 1:41:33
  Speaker 1: this is important, remember this for later. That was a
• 1:41:36
  Speaker 1: sense I got from that line.
• 1:41:38
  Speaker 2: Yeah, and then you know later on that's when But
• 1:41:41
  Speaker 2: There's another interesting thing there too, is that whenever at
• 1:41:48
  Speaker 2: that moment when he's taking Windy and Danny around the
• 1:41:53
  Speaker 2: overlooking giving them a tour, there's a there's a light
• 1:41:57
  Speaker 2: switch underneath the right underneath the wall, like right on
• 1:42:01
  Speaker 2: right beside the door. And then later on, whenever Wendy
• 1:42:06
  Speaker 2: is dragging Jack's body into the storage room for the
• 1:42:11
  Speaker 2: you know, the movie to take a different turn, it's
• 1:42:14
  Speaker 2: not there, and it's a in the storage room. It
• 1:42:20
  Speaker 2: plays an integral part of the entire movie because when
• 1:42:23
  Speaker 2: Jack is in there, that's when the whole thing takes
• 1:42:26
  Speaker 2: a really dark turn in the movie. And Grady is
• 1:42:29
  Speaker 2: basically telling Jack to like outright murder Wendy like killer.
• 1:42:37
  Speaker 2: But before it was more like covert. Whenever Brady was
• 1:42:45
  Speaker 2: talking to him in the bathroom in the gold room,
• 1:42:47
  Speaker 2: who was kind of like, you should take care of
• 1:42:52
  Speaker 2: You should correct them, they need correcting. You should correct
• 1:42:56
  Speaker 2: them like I corrected my two daughters, my wife and
• 1:43:00
  Speaker 2: two daughters. You know, there's not there's not his exact words,
• 1:43:03
  Speaker 2: but it's, you know, pretty close. It's not a direct quote,
• 1:43:06
  Speaker 2: but that's pretty much the covert way of he was
• 1:43:09
  Speaker 2: telling Jack to like kind of you know, take care
• 1:43:12
  Speaker 2: of his family. But in the storage room, he's like, Hey,
• 1:43:18
  Speaker 2: you're going to do this thing or not. But like,
• 1:43:20
  Speaker 2: we don't think that you you have the guts, you
• 1:43:24
  Speaker 2: don't have the cajones, yeah, to go out there and actually,
• 1:43:28
  Speaker 2: you know, kill your wife and your kid. Yeah.
• 1:43:31
  Speaker 1: It's it's almost like saying in a coded way, this room,
• 1:43:36
  Speaker 1: this is a room that is quint essential to the story. Yeah,
• 1:43:40
  Speaker 1: and he just wanted to kind of say it in
• 1:43:42
  Speaker 1: a way that was kind of.
• 1:43:46
  Speaker 3: Barely in there. It's there if you're paying attention.
• 1:43:50
  Speaker 2: Yeah, the story room one was I had to have
• 1:43:54
  Speaker 2: that in there because it was I thought that it
• 1:43:58
  Speaker 2: was integral into the end entire movie because that's when
• 1:44:04
  Speaker 2: you got back to the story room, that's when the
• 1:44:07
  Speaker 2: story like picks up. That's when everything happens.
• 1:44:11
  Speaker 3: Yeah, exactly. And that's another example of how this movie.
• 1:44:16
  Speaker 1: Kubrick's movie plays on you psychologically, toys with you psychologically
• 1:44:23
  Speaker 1: in a big way.
• 1:44:24
  Speaker 3: And like, you know, I've heard that people are.
• 1:44:29
  Speaker 1: I've heard it the grape vine that people are maybe
• 1:44:31
  Speaker 1: having weird dreams after they're.
• 1:44:33
  Speaker 3: Watching your documentary. Now, and I don't think it's because
• 1:44:37
  Speaker 3: of your documentary.
• 1:44:38
  Speaker 1: I think it's because you've you've so well covered the
• 1:44:42
  Speaker 1: Shining that it's it's that it's that stuff in the
• 1:44:46
  Speaker 1: Shining that's kind of bleeding through your documentary and still
• 1:44:50
  Speaker 1: able to affect people.
• 1:44:52
  Speaker 2: Yeah, that's exactly what it is. I had several people
• 1:44:56
  Speaker 2: reach out to me, and some of the first people
• 1:44:59
  Speaker 2: that I sent it to a send it to my
• 1:45:00
  Speaker 2: friend Ryan Gable from The Secret Teachings. He watched it
• 1:45:04
  Speaker 2: and he had really bad dreams and nightmares after watching it.
• 1:45:08
  Speaker 2: The people that Jay Wiener sent the film too, well,
• 1:45:12
  Speaker 2: he didn't. He didn't send it to them. He had
• 1:45:14
  Speaker 2: a screening at his house or for about five or
• 1:45:16
  Speaker 2: six people, and they also experienced really strange, weird, nightmarish
• 1:45:22
  Speaker 2: type dreams. Now, I haven't experienced it while watching the
• 1:45:28
  Speaker 2: movie that I've done because I've watched this so many times.
• 1:45:32
  Speaker 2: I edited it and put it all together, so I
• 1:45:35
  Speaker 2: watched it a hundred times. At least I didn't have
• 1:45:39
  Speaker 2: any weird dreams after watching my movie. But I have
• 1:45:42
  Speaker 2: had weird dreams with watching The Shining, Like one time
• 1:45:46
  Speaker 2: I watched The Shining late at night, like right before
• 1:45:49
  Speaker 2: I went to sleep, and I had the most screwed
• 1:45:51
  Speaker 2: up dream that I had ever had in my life.
• 1:45:53
  Speaker 2: I was like, I'm not watching this anymore before I
• 1:45:56
  Speaker 2: go to sleep, Like watch it during the day, not
• 1:45:59
  Speaker 2: watching The bad Boy at Either's something with the visuals
• 1:46:05
  Speaker 2: within The Shining that is affecting people on a subconscious level.
• 1:46:11
  Speaker 2: So I'd be really interested if anybody else has a
• 1:46:14
  Speaker 2: name that's watched it or watched my movie. It doesn't
• 1:46:18
  Speaker 2: have anything to do with my movie. It just has
• 1:46:19
  Speaker 2: to do with the fact that there's clips and scenes
• 1:46:22
  Speaker 2: from The Shining. I didn't put any subliminal weird things
• 1:46:27
  Speaker 2: in my movie and the there's no there's not any
• 1:46:32
  Speaker 2: weird tones or anything like that. It's just like all standard,
• 1:46:36
  Speaker 2: you know, music and sound effects that I've put in there.
• 1:46:39
  Speaker 1: So well's I watched it Friday night after we talked,
• 1:46:44
  Speaker 1: and I watched it right before bad and I.
• 1:46:47
  Speaker 3: Did have kind of a weird dream.
• 1:46:49
  Speaker 1: It wasn't like disturbing or anything, but I had a
• 1:46:52
  Speaker 1: dream where I was in a big motel like building.
• 1:46:56
  Speaker 3: And I couldn't find this stairs.
• 1:47:00
  Speaker 1: I could see up to the second floor, but I
• 1:47:04
  Speaker 1: couldn't find the stairs, So I took the elevator to
• 1:47:06
  Speaker 1: the second floor and the elevator got stuck. But before
• 1:47:12
  Speaker 1: it got stuck, it was like I was in you know,
• 1:47:15
  Speaker 1: I'm just going to the second floor, but it felt
• 1:47:17
  Speaker 1: like I was going like all the way up to
• 1:47:19
  Speaker 1: like the eightieth floor or something. The elevator just goes
• 1:47:22
  Speaker 1: shoots up and like something weird happens that I don't
• 1:47:27
  Speaker 1: know if I've ever experienced this in a dream. It
• 1:47:29
  Speaker 1: felt like the elevator went up in the space and
• 1:47:33
  Speaker 1: started flipping around, and I had this strange anti gravity
• 1:47:39
  Speaker 1: effect that I felt in the dream, Like my body
• 1:47:44
  Speaker 1: felt this in the dream, and I had to like
• 1:47:48
  Speaker 1: calm myself down and like sit in the floor of
• 1:47:50
  Speaker 1: the elevator and just kind of, I don't know, just
• 1:47:54
  Speaker 1: be calm for a minute and take a breath or two.
• 1:47:57
  Speaker 1: And then I decided I was going to try to
• 1:48:00
  Speaker 1: open up the door, so I so I open up
• 1:48:03
  Speaker 1: the door and everything.
• 1:48:06
  Speaker 3: Comes back to normal.
• 1:48:07
  Speaker 1: It doesn't feel like it's floating anymore.
• 1:48:09
  Speaker 2: And there I am.
• 1:48:10
  Speaker 1: I'm on the second floor of this building, right where I.
• 1:48:13
  Speaker 3: Intended to be.
• 1:48:15
  Speaker 1: But it was the weirdest feeling floating.
• 1:48:18
  Speaker 3: Around, zooming around. I don't even know how to describe it.
• 1:48:21
  Speaker 3: In this elevator.
• 1:48:22
  Speaker 1: And that's so I had to throw that in and
• 1:48:25
  Speaker 1: tell you because I don't think I've ever experienced that
• 1:48:28
  Speaker 1: before in a dream that's wild, weird wild dream.
• 1:48:33
  Speaker 2: Yeah, yeah, yeah, min wasn't. Mine was just really scary
• 1:48:39
  Speaker 2: and like creepy weird in like nightmarish. That song that
• 1:48:47
  Speaker 2: sounds like a strange, cool weird dream. You definitely got
• 1:48:52
  Speaker 2: a good one out of all the ones that could happen.
• 1:48:55
  Speaker 9: I got.
• 1:48:57
  Speaker 3: Well, this has been great.
• 1:49:01
  Speaker 1: I do want to encourage everybody to go out and
• 1:49:02
  Speaker 1: see this. I try to touch on this a little bit.
• 1:49:09
  Speaker 1: I do think it connects dots with history, with our
• 1:49:13
  Speaker 1: recent history as Americans as well. There's a lot of
• 1:49:16
  Speaker 1: elements to this. And like we've been talking for almost
• 1:49:19
  Speaker 1: two hours now and we have not touched on all
• 1:49:23
  Speaker 1: the stuff, maybe not even half the stuff in this documentary.
• 1:49:25
  Speaker 3: It's full of gems.
• 1:49:29
  Speaker 1: And you've got You've got guys on there who who
• 1:49:33
  Speaker 1: hold their own they know their stuff. You've got great
• 1:49:37
  Speaker 1: researchers on here. It's just a great ride. And I'm
• 1:49:41
  Speaker 1: going to link it front and center in description, so
• 1:49:45
  Speaker 1: when you're done, when we wrap this up, guys, just
• 1:49:47
  Speaker 1: go to the description and I'll have a link straight
• 1:49:50
  Speaker 1: to the film on Amazon there for you.
• 1:49:52
  Speaker 3: You can find it.
• 1:49:55
  Speaker 1: Right in the description of this podcast and writer, I
• 1:49:58
  Speaker 1: want to thank you again for coming on man tell
• 1:50:01
  Speaker 1: it everybody where they can find you and anything else
• 1:50:03
  Speaker 1: that I may have missed.
• 1:50:05
  Speaker 2: Thank you very much, my friend. Really appreciate it as
• 1:50:07
  Speaker 2: a wonderful and lovely conversation. Thanks for having me on.
• 1:50:10
  Speaker 2: If people are interested, they can watch well if they
• 1:50:13
  Speaker 2: want to know more about the work that I do.
• 1:50:15
  Speaker 2: I have a podcast called Raised by Giants on YouTube
• 1:50:20
  Speaker 2: and an all podcast platforms on Rock Fin and Rumble
• 1:50:24
  Speaker 2: as well, And if they would like to reach out
• 1:50:26
  Speaker 2: to me personally, they can find me on Raised by
• 1:50:28
  Speaker 2: Giants pod on Instagram and Raise by Giants eight on
• 1:50:33
  Speaker 2: x Twitter. And please check out my documentary Clockwork Shining
• 1:50:38
  Speaker 2: on Amazon Prime Video and give it a give it
• 1:50:42
  Speaker 2: a good old rating and a review too, because that
• 1:50:44
  Speaker 2: really helps out. But thanks everyone for listening and thanks
• 1:50:47
  Speaker 2: for having me on, brother, I really appreciate it absolutely.
• 1:50:50
  Speaker 1: Yeah, everyone go watch Clockwork Shining as always, break the mold,
• 1:50:54
  Speaker 1: Conquer the realm, and thanks for listening.