Latest / Inspiring Stories / The DaVinci of Today Robin Chappell

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The DaVinci of Today Robin Chappell · Inspiring Stories

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Thank you for listening to De Pictures Media Radio. You rat you readything to
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me? Oh well, jus well not a bad stop. I just see
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sow supashion s alongst Welcome back, everybody. Our next guest Robin Chappelle.
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He is an artist and creative person. He works with working in a range
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from architecture to acting, from fine art to feature screen screenplays. Creativity is
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not just a passion of his, but it is how he lives. In
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his adult years, he has worked a span of eight creative fields, and
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his life isn't over yet, so there's still more to come from Robin.
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With his work, his artwork, and his writing and his film production company,
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he works to seek both to entertain as well as act as an avenue
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of further higher consciousness on the planet. His scripts and the novel adaptations that
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he currently bringing into the world work on the level of entertainment as well as
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having a higher content embedded in them, but without overpowering them so that he
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can suddenly influence the masses and bring knowledge to the people. So when we
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welcome Robin to the show and let's hear how this modern day Da Vinci it
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operates. Because he's just an amazing person something we can so Robin I called
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you in and the intro the modern day Da Vinci, but you're one of
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one of your your I don't know, you're branding or something like that is
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twenty first century Davini, right, yeah, yeah, I call myself the
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twenty first century Da Vinci because like Da Vinci, I have many different directions
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and I work to try and take those directions in ways that other people do
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not. Yes so, but unlike Da Vinci, since we live in the
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modern age, you know, I have many things that I've done, like
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writing in writing video and you know, writing for screenplays, you know,
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for a film that he did not have at the time. But at the
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same time, I also call myself a visionary designer as well. Yeah,
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I know. I know that on the camera end that they had a what
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is it they by the fifteenth century that discovered a pinhole that you could project
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image through a pinhole and then have it if if it was completely dark,
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and they and as as points of entertainment to the royalty, that you could
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have people walk past that pinhole and you could see their reflection up on the
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blackened screen or something like that. I wasn't too sure how well it actually
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worked or didn't work, But but that would be the fifteenth century precursor to
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our motion picture right of course. Of course, now it's like on a
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personal note, I was able to do something here here on the very computer
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that you're appearing to me on. Now that I was able to create something
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that was event I've got the opportunity to see on an imax screen, so
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we I mean very large format, right, and it's it's become that much
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more simpler to take things from image to entertaining masses. Well, and not
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only that, but you know, cameras have advanced. I mean, my
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iPhone is basically a four K camera captures images that the seventeen megapixels. You
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know, there are cameras out there now the capture images thirty two megapixels.
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So those cameras basically capture more light than we can actually see. So when
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you see images that are created by these cameras, they look surreal because they
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have a definition that we can't even really you know, be able to process.
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So you know, and DAMENTI was basically seeing and creating things back in
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the fifteenth century that most people would not have even thought of for another three
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centuries, you know, to the eighteenth century. You know, the whole
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idea of human flight wasn't really accepted until you know, the age of hot
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air balloons. Yeah, yeah, I was also thinking of thinking about mystery
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Gatlin, right. Well, yeah, Unfortunately, you know, he was
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receiving his uh funding from uh I'll douko you know, the no I'm I'm
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blinking, oh de Medici. You know, it'll do go to Medici,
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you know, and she was basically funding not just the art, but he
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was also funding Leonardo creating instruments of war. So it's kind of like you
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know the modern day people that you know received funding from, you know,
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like the Nobel Prize, which you know, Alfred Nobel basically created you know,
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dynamite and so you know, it's you know, but it was and
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this this is what makes the dynam the whole dynamite thing. And we still
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we still have have this since we're going off on this particular tangent, we
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still have this mindset that if we create the super weapon, they will discover
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peace. Yeah. Yeah, but not to get too far into conservative territory
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with the whole Ronald Reagan pace, you know, peace through strings, which
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is nonsense. Yeah, it basically is. But mister Nobel, that was
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that was the reason why he created the high explosive, the super weapon.
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And we know now that the super weapon does doesn't No, it doesn't work
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right. Well, you know, even Oppenheimer and the rest of the crew
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at Ala Megordo, we're not surer when they lit the first atomic weapon whether
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it would create a cascade effect and burn off the entire atmosphere. They were
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hoping that it wouldn't. That it was just merely a contained explosion, but
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the idea was that it would set off a cascade effect that would just basically
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incinerate us. So yeah, I mean according to the to the physics,
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that was a real possibility, right, you know, especially they ran off
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into infinity. It's like by a planet, right right, I mean it
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just the whole process of setting off the explosion. Yeah, it was not
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necessarily considered a finite situation. Yeah, so you know, so they also
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built that built the weapon with the idea to the super weapon to bring about
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it was it's like, hey, we have this super weapon. Hey Japan,
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we have this super weapon. Now I would advise you to call off
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your well, what what most people do not know is that Japan had already
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basically surrendered at that point, but they had this project that had to go
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through fulfillment in order to show America as the first superpower. And that's why
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Erosia might happened, Yes, because they had to show that, you know,
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we have the power. Yet there was a few things that happened with
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the three bombs that were actually set off that that could have been handled differently
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by President Truman. Yes, you know, history is more lives, but
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that's yeah, I mean, that's a whole nother direction we can go into,
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is you know, history that was given to us, the actual history
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that you know. But that leads me into some of some of your projects,
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your your films, your books and things like that, taking us to
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the higher power. Yes, where we can understand that we you know,
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we we how we're all connected in how we don't have to to hate and
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fight each other. Right. Well, I mean part of what I'm doing
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with both my screenplays, which will hopefully eventually you know, become films feature
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films, and the novels that you know, I'm adapting from them. You
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know, it's it is taking things using the medium of fiction to a higher
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level. You know. So my last book I call a horror metaphysical science
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fiction book, and it is a very dark subject matter because it deals with
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the darkest of the dark of what is, you know, ruling the world.
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But then at the end, the main character transforms into that which goes
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beyond the physical limitations that she had been previously living, and so it becomes
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a tale of transformation and higher consciousness. But I'm taking the original very dark
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material, then I'm using it in order to be able to create this end
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product, which is saying that no matter what we invest in the illusions of
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this world, that there is our levels far beyond what most people can possibly
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comprehend. And so, you know, I'm I take the fiction. My
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first novel was basically a romantic drama, but then I also took and put
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into it that it was not just a romantic drama, but it was also
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basically you know, feminism, women in politics, and the transition from men
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running the country to women, you know, participating in running the country.
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Yeah yeah, and of course you do. You we have both lived long
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enough to see a woman take the vice presidencyat right. Well, yeah,
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I mean I I'm sure she loved him. But you know, Hillary Clinton
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basically married to Bill because she intended to be the president at some point,
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and she figured to basically backdoor her way into the presidency by being married to
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someone who had more of a potential based on you know, our society to
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be able to move into that position. Oh okay, So the interesting Hillary
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is a really good good example of of of I should say both of them.
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Both of them were a good example of two people who were bright eyed
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in their young days about changing the world. And that conversation is what led
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to them becoming married, and that conversation did lead to them being in the
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White House. But fortunately some of the events that happened in everything didn't They
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didn't have the huge impact that they thought they were going to have. Well,
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yeah, I mean that's you know, another subject completely. Yeah,
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but that's that's again for the history books right out right. But I mean
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she, I mean, part of the reason why we had Donald Trump was
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because she assumed the presidency. She assumed she was going to be president,
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and so she stopped campaigning because she assumed. And you know, one of
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my father's favorite sayings, I'm sure you've heard of it is assume means you
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make an ass out of you and me. Well, so in that case,
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you know, she assumed she was going to be the president, and
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you can't make that kind of assumption. I mean, that's you know,
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getting off track. But you can't. You when you interrace, you got
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to keep running until yes, you cross the finish line, right and you
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know, you get into the politics of the whole situation. But we only
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have Yeah, so that's it's but I just that mindset change that you're trying
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to create, right right right, I'm trying to take people beyond a temporal
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limited mindset and pulling them, through the use of fiction, into a much
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more expanded mindset. Okay, So that's basically, you know, my next
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book that I've been working on, I really wanted to, you know,
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be able to release on Valentine's Dat. This last you know this Year basically
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is another romantic drama, dash romantic comedy, but it deals with agism.
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It's an older woman younger man, but the older woman is sixty two and
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the younger man is forty two, and so it basically is dealing with not
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only his trying to come to terms with having the sex that he's having with
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women at his own age is not really fulfilling. And then the woman basically
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is you know, locked into a loveless marriage that she got into for reasons
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of security, but she's just really you know, at odds with her life.
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And so they come together and it's through their interactions that both of them
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move beyond that and both nothing personal. My first romantic drama and Happily Married
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my second one basically has the idea that, you know, we need to
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find out who it is that you know we're going to be truly happy with
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ya. I mean, the first story, you know, she's forty two,
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he's twenty eight. Second story, she's sixty two and he's forty two.
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But it basically comes down to what do you want in your life and
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can you accept having it well? I mean, at first, I think
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people will probably look at it as oh, sixty two years old woman wanting
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to have sex. Well, Dad in it self is age is and right
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there because he's like, oh god, oh you can't have anybody whose forty
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five is not supposed to have sex. It's like that's you know, people
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under thirty years old. It's like ew, mom and dad having sex.
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Yeah, yeah, you know, it's like, well, how did you
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get here? Mom? And dad has sex, but advent sex beyond that.
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One of the one of the things that I about having a sexual relationship
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with with my with my wife and we're both being over fifty five years old,
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is the fact that we get to use our minds to help inspire the
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sex. It's not just a physical act now, it's it becomes a cerebral
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and sometimes a spiritual act depending on the conversation that leads into it, right,
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right, I mean you can have just sex, which is just a
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physical manifestation, and then you can take it, you know higher and have
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you know, sex being a divine act, which is basically what it should
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be. Right. So, once again an elevation of what most people think
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of to something that is beyond what most people think of. Yes, I
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mean we don't we don't go to movies that have sex and them just to
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see the sex, because that's just pornography. Yeah, but we go to
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see movies because people fall in love and also, you know, sexual component
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is there, but it's like they fall in love so they find that which
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which is highest in the other person, and that's what drives us into the
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story. Yeah, in that also leads to other things commitment blah blah blah,
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and just you know, to let people know that they're watching you.
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And I had like, ack, what was two and a half hours and
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half our conversation before this. So there's always like Rasanne Rasanna Dana said,
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you know, it's always something. Yeah. So you know, when you
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expand what your arena is and you know, you never know where it's going
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to take you. Yeah, And that's part of the that's part of the
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enjoy of living is taking things. Okay, maybe this far, I wonder
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what's beyond that? Now, Well, hopefully everyone is looking to explore greater
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and greater depth. You know a lot of people these days, you know
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it's like, you know, no, I've been hurt, you know,
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I don't want to explore an depth. They just want to have, you
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know, whatever I can you know, get or experience, you know,
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without getting into all that other stuff. Well, you know, but people
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are people are wanting more of that stuff because people are no longer just wanting
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you know, the action movies. They're also wanting, you know, movies
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that have greater depth to them. And this is something that has changed in
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Hollywood over the last twenty or so years. You know. Sam Goldwyn of
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MGM said, if I want to send a message, I'll go the Western
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Union, you know. But people want to see a message because they want
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to have they want to touch something deeper. Yeah, and so that's you
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know, basically what I'm working towards is trying to get people to touch that
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something deeper. Mm hmm. Yeah. Well it's the thing. Also in
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your work, it seems that there's hope building to it, and that's something
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that it seems that more and more people are looking for, yeah, in
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their lives today that that Yeah, we have a lot of electronic connection.
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You know, Hey, we all walk around with one of these guys.
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But uh I saw that the doctor Who's green saber. Yeah, okay,
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I another Yeah, I'm a doctor who geek. Yeah, it's right.
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And oh wait and that really isn't a shout out to Disney either, Sorry,
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guys. Oh they bought Doctor Who now from BBC. Yeah, Disney
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wants to own everything, you know. That leads these is to to that
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that mainstream corporate message. You know that they want us to be using all
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the all of their stuff to connect And don't get me wrong, it's it's
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it's really cool that I can talk to you and I'm with about fifteen hundred
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miles north of where you are something like that. Yeah, and I can
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talk to you in real time. That is that is pretty cool. But
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no, the technology is wonderful. But it also depends on what you put
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the technology too. Yeah. You know, I'm not a fan of uh,
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you know, video games, you know, but the technology for video
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games is like exploded, especially you know now that they're using AI to h
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further integrate the images. Yeah. Well I've I've watched my kids, well,
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they while they're playing playing the game. It's it's like he had a
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friend who was who was a long distance uh, and they were and that
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was how they would chat with It was actually through the game. Right.
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Oh, in that respect only Okay, can I really say it's a it's
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a bad thing if if there is some social interaction, but using that same
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technology to promote the Oh, you have to have this in order to be
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happy. You have to be this in order to be happy. You have
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to have this size in in order to be beautiful. Is that a good
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thing to have? Well, I think that the you know, the cutting
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point is when technology takes people away from interacting on an interpersonal level. And
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you know, yeah, it's great to have you know, kids, you
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know, interacting through a video game, but then they're not interacting through interpersonal
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levels. They're interacting through the process. They're interacting through the game, which
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is you know, most games are you know, on the darker side,
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because you know, that's what brings people in. Yeah, and that's you
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know, that's part of what I'm trying to that's part of what I'm trying
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to do, is to take the medium and pull people through to a higher
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level of content. Yeah, to to something that's more divine and more loving.
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Right, you know, I just my tagline for run nothing personally,
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well, my tagline for dreams, desires and dead ends. My first collection
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of short stories is with dreams and desires. There are no dead ends,
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you know. And the one with nothing personal is it's about romance dot dot
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dot, it's about sex, dot dot dot, it's about politics, dot
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dot dot, it's dot dot dot nothing personal. Right, So taking and
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taking those subjects and you know, kind of elevating them and with shadows and
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light. My latest one, you know, it's basically, you know,
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part of what I do with my artwork is that, you know, I
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do night scenes. So, you know, my mother and father when they
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first came home the first art show they been to, which was you know,
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late in my career, you know, my mother said, you know,
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I really like your work, but why are they so dark? And
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I'm like, they're night scenes, mom, and she was like, I
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understand that, but why are they so dark? You know, but I
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was focusing I'm using you know, if you're familiar with Charles Giro, you
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know rim Brandt rim Brand isn't focusing on the dark. He's focusing on the
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light and how light is popped in the image by the darkness. We see
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light in contrast to darkness. You know, we see light when we're not
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necessarily seeing darkness all the time. You know, we see light. And
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so my work is working to get people to see the light of the situation
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that is at the heart of each work, because that's where the spiritual essence
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lies. Yeah. Well, because I'm a big big fan of of of
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night of the night sky and everything, but that is where our window to
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the fourteen billion years of creation can be seen, right, Yeah, I
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mean, for me, the whole idea that we're you know alone in this
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vast vast vast vast vast vast vast fast universe is just you know, people
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are like, oh, well, they haven't contacted us. It's like,
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well, you know, Star Trek has been in our lexicon for fifty years,
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fifty five plus years now. The Prime Director states that you do not
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interact with species who are not of sufficient technological advancement to be able to move
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beyond their solar system. We are still using you know, light that candle.
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You know, we're still using lower forms of technological advancement in order to
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just even get to the moon or you know, case of Voyager. We've
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gotten to the edge of you know, the Solar system and beyond. But
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that wasn't through the thrust capabilities of a rock. If that was through you
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know, that was through gravity and you know, using that you know,
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simple thrust in order to slingshot Voyager into the void. Right, but we're
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still we're not even a class one civilization. The Cardasshev scale, the Cardasshev
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scale goes up to five or now they're you know saying even seven, you
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know, based on on the advancement of the species, and so we're not
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we're barely advanced, you know, into the age of flight. I wish
30:07
to remind you to limit the statements to know more than three minutes, in
30:14
order to enable the Council to carry out his work expeditiously. Please show respect
30:18
to all the speakers on the list. Flashing lights on the colors of the
30:22
microphones will prompt speakers to bring the remarks after three minutes. You can always
30:29
submit your full statement to be placed in writing later, but please limit your
30:34
statements to three minutes. Thank you. I now give the floor to his
30:38
excellency mister Lewis Ertomaurilloa, minnesot Foreign Affairs of Columbia, Columbia lay so,
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Celicia up by, it's I faced the one of your languages. All right,
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there we go. I don't know the you and YouTube channel kicked in.
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I don't know why. Oh okay, yeah, so I just killed
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the window. It's like get rid of it that way, okay, So
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yeah, I mean, well, if we're gonna go back to Voyager for
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a second rate, there was an episode of Voyager where the sky ship got
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because they were caught in a gravitational pull Voyager and below the the planet below.
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It went from stony to being able to build a rocket before they even
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started understanding that there was an actual spaceship sitting up there in the sky.
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Well, we're somewhere. And and by time they actually were able to push
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Voyager off away from their planet, they still could not basically go past their
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own atmosphere because going to the going to UH banned space travel for us has
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never has never really exceeded going past the outer reaches of our own atmosphere,
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because the Moon is still within our within the gravitational pull of our planet.
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Right, So, how can we say that we're so technologically advanced that we
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can exclude another life form even being existing in UH in our universe until we've
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we've been able to to travel to a light speed or beyond, right,
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Oh, I mean we placed these limitations on ourselves. I mean, Einstein
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said that we cannot travel beyond the speed of light. But you know,
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before quantum mechanics came along, you know, we lived in a Newtonian mechanical
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universe, so everything was you know, gears and mechanical. You know,
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we we saw the universe in a mechanical way, because that was the height
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of our civilization at that point, and then quantum mechanics came along and you
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know, basically exploded all of that. But we're still basically living, you
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know, in a Newtonian universe where you know, our limitations are speaking.
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We're not you know, transcending our limitations. Except in fiction. Yeah,
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you know, in fiction. You know, Rodenberry had the idea well,
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I mean, faster than light travel was you know, around before Roddenberry.
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But you know, the idea of warp travel, you know, I don't
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that was theoretical at that point, but it was still you know, everything
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was science fiction about it. But you know, we're almost to the point
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where we are learning how to do what I call trans dimensional travel, you
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know, which is going beyond the speed of light because the speed of light
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is a physical factor. But if you get into higher levels of dimensional space,
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you know, we can take and collapse that space, you know,
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into an entry point and an exit point, which is based that warp travel
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is, you know, except we haven't found that yet. Yeah. There's
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quite a number of science well science fact concepts that we did. The average
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person still chalks up to science fiction such as time dilation multi dimensional time,
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because who knows. The trick to to to a warp drive could be changing
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changing the dimension of time so that you travel at a greater distance along a
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different dimensional time. You know. But but to the average person that well,
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no time has to go click click click. According to the Newtonian idea
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of the arrow of time in thermo dynamics, right, time flies like narrow
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bananas exactly. Just we are a species is tied to our limitations, you
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know, and fiction, especially science fiction, is taking us beyond those limitations
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and expanding us, at least theoretically into cardis Show one or Cardashow two,
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you know, but we're still It's like the number one mechanism and humans is
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this thing called denial. You know, we deny that there can be UFOs
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and higher intelligence because we don't have it. It's like scientists are looking for
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radio waves as a sign of life, but it's like any advanced species radio
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waves is to us like we are to ants. You know, the whole
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idea that you know, advanced species would have radio waves, no, and
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radio waves only traveled very slowly, you know, so there could be you
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know, a civilization that you know, has radio just outside of our you
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know, extrasolar area and we just haven't picked up on it yet. But
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any species that has advanced enough in order to be able to do multi dimensional
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travel radio is not you know, hasn't been on the spectrum for ten million
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years, very you know, very even a point. So we keep looking
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for things that represent us. Well, we're still talking about the Wow signal,
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right, and they still you know, they don't know what it is,
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but it can't possibly be an advanced civilization because I don't know. Yeah,
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once again, denial is not a river in Egypt. Denial is you
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know, the basic motivation for a lot of people. It's like, if
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it's not trouble to us, we deny its existence, Like the whole conservative
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idea that you know, climate change doesn't exist because according to their viewpoint,
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evolution doesn't exist. So therefore, you know, there isn't anything that you
38:14
know, goes beyond simple Newtonian physics, right, and whether it's Simpletonian physics,
38:21
yeah, well yeah, that would be that would be very true.
38:25
It is simply based on Newtonia physics. But there's there's a whole another series
38:32
of theories out there to be attributed to the idea of climate change, which
38:40
is I believe is completely completely true. But well, I'm not denying that
38:49
there are in such things as the solar cycles. I'm just I'm saying that
38:53
basically, it's denial that we have not created the situation, right, you
38:59
know, That's what I was. That's exactly it, right, Just briefly,
39:05
one of the one of the discussions I had was with someone about it
39:08
was that it's possible because well, human beings have only been existing on this
39:17
planet for so many thousands of years, right, Well, what if in
39:22
so many thousands of years that are star or the sun would if it hasn't
39:30
completed its orbit yet, and we're in some place that no other living thing
39:37
has ever been in before. You know, it's you know, it's it's
39:43
that's that is also a possibility, and that also could be affecting what we're
39:47
what we're experiencing on our own planet. But that was that's out there kind
39:52
of a theory. Well, it's like, you know, science has basically
39:55
come to the idea that there are one point seven billion galaxy and just the
40:00
known universe one point seven billion galaxies, and each one of those galaxies might
40:07
have ten million solar systems that are in it, and so it gets exponentially
40:14
beyond the you know, beyond the pale. To use our limited perspective as
40:22
means of showing that you know, this is possible. You know, just
40:30
Star Trek, you know show, I mean Star Trek, you know,
40:31
in the nineteen sixties, you know, was revelation, you know, the
40:37
idea that you know, we just started our journey to the Moon and all
40:42
of a sudden, this show is showing us that, you know, we
40:44
can go to other star systems and other galaxies, and it's just and showing
40:51
it is just a part of everyday life. Yeah, and you know Star
40:55
Trek basically exists on the card show scale of one maybe one zero point five.
41:01
Now, you know, Star Trek has escaped the timeline that Roddenberry in
41:09
the nineteen sixties saw, you know, lost in space, you know,
41:14
the Robinson's left you know, planeted Earth to get lost in space in the
41:17
year nineteen ninety seven. So we are we're moving forward technologically, but you
41:28
know, our imaginations have advanced so much more. And Einstein said, you
41:32
know, imagination is more important. That's not the right word. Imagination is
41:43
more powerful than you know science, you know, and without imagination, we
41:49
do not stretch the boundaries of science. I mean it used to be that,
41:54
you know, science believe that we only had three dimensions. Then they
42:00
added time and added you know, a fourth dimension. Now science basically believes
42:07
that there are eleven dimensions, and that's just our current understanding. Yeah,
42:14
humans only seen Yeah, yeah, it's based on some crystal crystal theory or
42:21
something like that. That right, the eleventh dimensions. Yeah, But going
42:30
back to Einstein's idea of of of imagination and how it should be expanding,
42:43
I think I think somewhere along the line that we human beings have been,
42:49
especially Western human beings, we stifled that imagination to a cogni wheel sort of
42:54
thing. Well, you know, as a creative. You know, my
42:59
parents and you know, hoped even into my twenties and thirties that I would,
43:02
you know, well grow up and find a real job and find a
43:08
girl to settle down and have you know, a family with. But I
43:15
was already I decided by the time I was eighteen, the children were not
43:19
in my future. You know, my future was expanding even then. I
43:23
mean, back then I was an artist and an architect and the beginnings of
43:29
being a writer. And that was before I got into everything else that have
43:32
gotten into Sins. Yeah, you know, I one of the books that
43:38
I have laid out, but I need to go back and do the redo.
43:45
The illustrations for is a look book that basically traces my evolution from Star
43:51
Trek and Lost in Space through the idea of being an architect, through the
43:54
idea of being an architect of alternative design and using ultra technology that you know,
44:01
at the time was you know, very very primitive. It's still you
44:05
know, fairly primitive, and then designing buildings around that. Ye, And
44:10
so you know, I was dealing with the idea of what are called megastructures
44:16
from the visionary ar visionary architect Palacellari, and then I was taking my eleventh
44:24
grade high school science fare project was taking megastructures and putting them completely underground as
44:32
a means to be able to both get the raw materials out without doing you
44:38
know, gouging the earth with these massive excavation pits and then filling it up
44:46
back up with city so that you know, we could have as close to
44:51
one hundred percent usage of the land as possible. It was nineteen seventy three.
44:58
So you know, in some ways, you know, calling myself to
45:04
twenty first century to Vnshi seems like it is being an egomaniac, being delusional.
45:17
But I want the work that I'm doing to expand people's consciousness, to
45:24
expand, you know, the possibilities that exist. My book Shadows and Light
45:30
is what I call Book one and what I call the secret History of the
45:36
World work. As I tagline it, it's the mother of all conspiracy theories.
45:43
It takes and pulls in all the different quote unquote conspiracy theories like UFOs
45:49
and alternate history and pulls it into a expanding the what if in people's minds.
46:00
So I'm trying to get people to be much more expansive and how they
46:07
think about their world in which in a particular direction, No, in everything,
46:19
I mean, I started off with the screenplays, you know, except
46:22
for Shadows of Light, you know, with personal interactions and people questioning what
46:30
they were brought up with. You know, another one of my screenplays books
46:35
is basically two people that she at the present you know, at the opening
46:42
of the book is a police officer and then he who ends up being her
46:47
partner is an old hippie. But then throughout the course of the book you
46:54
find out that she used to be an old she used to be a hippie,
46:59
but and then she chose to become a police officer like her father and
47:02
her brother. And he, even though he still holds these you know,
47:07
beliefs that you know, being an old hippie, is basically an alcoholic who
47:12
is you know, having struggling with what his life is like and it's not
47:19
what he originally thought it was going to be like. So they come together
47:22
and they basically, during the course of the book come together to meet and
47:29
then expand beyond what their original life was. So I don't I don't write
47:37
books just for entertainment. I don't want to write movies just for entertainment.
47:43
You know, people have said, oh, why don't you just sell one
47:45
of your screenplays, and you know, you can say that, you know,
47:47
get a thousand dollars for it, say you know, are are a
47:51
produced you know, screenwriter, And it's like, No, everything I write
47:57
basically has higher purpose and I do not want to sell a script to someone
48:02
who will take and strip out that higher purpose and just make it just another
48:07
you know, Hollywood production. Yeah, I mean it's it's don't get me
48:14
wrong. It's cool to see see your work appear up on the screen.
48:17
But if the story that you went out there isn't destroyed, that you isn't
48:25
destroyed that appears on that screen, it's kind of an empty victory, isn't
48:30
it. Well. I met a woman at a networking breakfast who sold her
48:37
for a script, not option. She sold her for a script for one
48:40
dollar, just so that she could say that, you know, she had
48:45
a you know, a film that was produced for her script. It was
48:50
like, well, did they ever actually shoot it? Well, I don't
48:53
know. It's like, well, and you know, yeah, she sold
48:59
a script, but you sold her for one dollar. So in Hollywood,
49:04
you know, that one dollar is now her quote. So everyone else wants
49:08
to buy a script from her for like a thousand dollars or you know,
49:12
ten thousand dollars, when if it's really a substance, she should be getting
49:17
you know, a lot more than you know, a thousand or ten thousand
49:21
dollars. But she already set her limitation. Yes, she already said I'm
49:25
willing to work for nothing, And as a result, everyone in the future
49:30
until she actually sold something that you know would sell for much more. Okay,
49:36
but again, it's cold to sell it. That's what that's what you
49:39
want to do. But isn't it so much better to see it appear and
49:49
see and watch it change the lives and minds of of of the individuals around
49:54
you. Well, I'm not gonna I'm I'm not going to say that my
50:00
scripts are going to be you know, one hundred percent you know how I
50:02
wrote them. You know, I would be one of those kinds of directors
50:07
that you know, would basically have people on script on book. Yeah,
50:12
and you know they might do improv for part of it. But you know,
50:17
when it comes down to it, I'm the writer and they're the actor.
50:21
So the actor, basically, you know, is going to do what
50:24
the director tells them to do from the script that was originally done. Is
50:30
it going to be exactly the same note? But you know it's okay.
50:35
So you created one piece of art that's the script, right, the director
50:40
is now producing his art, which would be the interpretation of his interpretation of
50:46
your script. Well, that's okay, as long as some of some of
50:52
a lot of the same ideas follow through, right, you know, Well,
50:58
I mean I originally wrote my scripts based is a writer, producer,
51:00
director, and writing them for me to be the talent, be the male
51:06
lead, you know, and I've gone beyond that. There are some of
51:10
my scripts that, you know, where I can still play the male lead,
51:15
but for the majority of them, you know, I've aged out of
51:16
those characters. But I still want to produce and direct and have the basic
51:23
themes still in place or otherwise, you know, why buy my script and
51:28
then take it and change it? You know, my mentor when I first
51:31
came to Los Angeles thirty five thirty back in nineteen ninety seven, you know,
51:39
they they were writing scripts that then got optioned and never made. And
51:45
the one script that actually got optioned and ended up getting made, you know,
51:49
they basically went to the premiere and they started like slumping further and further
51:52
down in their seats, trying to figure out a way to get out of
51:55
the theater before they were acknowledged because the film was so not what they had
52:00
written that they wanted to disown it. They wanted to disown their part in
52:08
it. Yeah. I went to the La Festival of Books at one point
52:15
and listened to a talk by one of the big producers back in the nineteen
52:20
seventies. He had, you know, half a dozen shows on and he
52:23
said he went to see his first, you know, the first film created
52:27
from a script he'd written, and at the end he said, there was
52:30
only one line that you know, he recognized from his original script when that
52:34
was you know, I'll have rocks with that scotch. That's so pretty innocuous,
52:42
right, That was the only line he recognized. Was that the case?
52:45
You know? Or was that a good you know, talking point.
52:46
I don't know. But the thing is is that, you know, producers
52:52
can hire someone to write a script and then they can craft it as much
52:58
as they want for whatever, you know, however they want. But if
53:05
you're going to buy someone's script, you should at least you know, have
53:07
it, you know, similar to how the screenwriter wrote it. Otherwise why
53:12
bother right, have someone else write another script? Yeah, And I have
53:22
heard of in some cases where the script was bought and it may have been
53:25
produced, but they had somebody take the script terror apart and then rewrite it.
53:31
Right. Yeah, it's called the page one page one rewrite. Yeah,
53:37
you know. So they liked the concept, but when it came down
53:42
to it, you know, they wanted to have I also met someone who
53:47
at one point who claimed that he was writer twenty seven out of twenty eight
53:52
on the original Batman, you know, and that film was basically torn apart
53:59
by the critic because just it didn't hold together. So yeah, I mean
54:02
it's this is just part of the Hollywood soup that we're in. Yeah.
54:07
You know, people will buy a script and we'll have it rewritten and rewritten
54:10
and rewritten until the original script is like the barebone skeleton. At that point,
54:17
it's like, you know, why haven't why have you even bothered,
54:22
you know, buying the script, Just have have someone write, you know,
54:27
the script that you want. You know, this is uh, this
54:30
is part of the limitation of Hollywood. Yeah, and that's why, you
54:35
know, I have wanted to sell one of my scripts because I still am
54:40
hoping that I can create generate enough money so that I can produce and direct
54:50
it and have at least the majority of the story locked into the script,
54:58
not have a watered down you know for content, and not have it change
55:00
into something completely different and basically trashing the original attendant content. Yeah, well
55:12
that kind of makes sense, you know, especially since you're trying to produce
55:15
the work to create a higher energy, right, And that's why I'm doing
55:21
the adaptations. You know, I figured out several years ago that if I
55:25
can't get the money in order to be able to script produced, yeah,
55:30
do the novel adaptations. You know, then you have chip properties. You
55:32
know, you have the novel, you also have the script. And then
55:36
if hopefully the novel starts selling, which you know, I haven't done all
55:39
the promotion and marketing I should have. When the novel starts selling, then
55:45
hopefully that will attract money to the project. Yeah. So we should have
55:50
you back when you when you have the the the novel ready ready for release
55:57
after it's been published, and we'll I mean I've already released two of them,
56:04
we will have you come back and we'll talk. Let's talk specifically about
56:08
that particular novel. Yeah, I mean, both The Nothing Personal and Shadows
56:14
of the Light were released. Shadows and the Light was the last one and
56:17
it was released on or Halloween last year. So yeah, so what what
56:28
kind of what kind of universe do you think we could evolve if human beings
56:35
to be in imagination? Is the limit? Limits? Not the speed of
56:45
light. Imagination is the limit. Imagination, if you open up to it,
56:52
can take you far, much farther than you could ever hope to imagine
56:59
your current life. You know, I believe that there are civilizations that are
57:05
so advanced that they have it's been centuries or even tens of centuries since they
57:12
were at our level. Life is always advancing, Life is always evolving.
57:22
We don't come into this world, you know, sprung from the head of
57:25
a god, you know, fully grown. We come into this world barely
57:30
able to take care of ourselves, and we evolve and grow into hopefully people
57:36
that adults that can take care of themselves. Yeah, so hopefully humankind,
57:42
it is evolving to the point where we can take care of ourselves, not
57:47
continue trashing the planet, and not continue flinging ourselves towards the next ecological catastrophe,
57:58
the next stage of evolution where we don't move beyond that evolution. Yeah,
58:07
imagination is the speed limit. I like that. Imagination is a speed
58:13
climent. Well, somebody wanted to work with you? Is the best way
58:15
to get hold of you? Okay, my All three of my books are
58:22
on Amazon. You can look them up under my uh my name. I
58:29
can also be reached at Robin at twenty first century Davenci dot com. And
58:37
I also have one eight hundred number which is one eight three three three one
58:43
nine two thousand and three, so any of those can be uh can reach
58:49
me? Okay, be happy to find other people to collaborate with and move
58:59
much further into to the dreams that I've had for a while. Awesome,
59:05
Well, great talking to you, Thank you, Thank everybody for listening today.
59:10
And hey, if you want to dive into one of Robin's scripts or
59:16
one of his books, read his books, look in the in the show
59:22
notes and all of his contact and links will be right there, all right.
59:27
I can also put my LinkedIn or link tree information and as a QR.
59:34
Okay, awesome, So thank everybody for listening today, and we'll talk
59:40
to you later. I don't know, so I wish you from a match.
1:00:14
So w that s this? He says, I'm reason said me back,
1:00:37
cho SHOs you can't tru wait, so will pass ye go to st
1:01:30
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