Latest / Ryder Lee / Ryan Gable & Ryder Lee Discuss A Clockwork Shining

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Ryan Gable & Ryder Lee Discuss A Clockwork Shining · Ryder Lee

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Speaker 1: You are listening to The Secret Teachings Radio. I'm your host,
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Speaker 1: Ryan Cable. Ioul you'd like to reach out to the
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Speaker 1: Monday through Friday show or with best ofs from the
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Speaker 1: past or both. Thank you so much for tuning into
1:23
Speaker 1: the broadcast tonight. This week a series of one hour
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Speaker 1: shows because I am in the process of traveling back
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Speaker 1: to the United States and I don't have a lot
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Speaker 1: of time, but I do want to produce a show
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Speaker 1: for the slot on ground zero dot Radio, Aftermath dot Media,
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Speaker 1: and for of course, are archive. Tonight's episode is going
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Speaker 1: to be very very interesting, something you've maybe never heard before,
1:54
Speaker 1: but something you will learn about on the show, and
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Speaker 1: you will learn about if you watch a documentary that
2:01
Speaker 1: just came out that we're going to talk about. Our
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Speaker 1: guest tonight is a good friend of mine who has
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Speaker 1: been on the show many times, and he is back
2:09
Speaker 1: with another documentary that he has worked tirelessly on. You
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Speaker 1: may remember his documentary jfk X. I think this documentary
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Speaker 1: is no offense to that documentary, not only better, but
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Speaker 1: I think it is more thought provoking in regard to
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Speaker 1: what it addresses. The documentary is called a Clockwork Shining.
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Speaker 1: Kubrick's odyssey probably one of the most even without this
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Speaker 1: documentary and without the work of Ryder Lee, our guest,
2:44
Speaker 1: or Jay Widner, who is featured in the documentary, The
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Speaker 1: Shining is one of those movies that I think is
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Speaker 1: probably maybe the most controversial, the most talked about, the
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Speaker 1: most discussed, the most theorized movie in Hollywood history. It's
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Speaker 1: definitely in the top three of any discussion on the subject.
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Speaker 1: I went to film school and we discussed all of
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Speaker 1: Kubrick's work, but especially The Shining. People had a lot
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Speaker 1: of theories on what it actually meant. It's in a
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Speaker 1: lot of ways vastly different than the book that came
3:22
Speaker 1: out in the nineteen seventies. Nineteen seventy seven, I believe
3:26
Speaker 1: was the year. And I mean, this movie is what
3:30
Speaker 1: forty something years old. This movie came out in the
3:32
Speaker 1: early eighties, and it is talk about good filmmaking. After
3:38
Speaker 1: all these years, it's still being talked about and discussed
3:40
Speaker 1: and debated, esper what it actually meant and what it
3:43
Speaker 1: actually represented. A lot of people thought it was about
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Speaker 1: ghosts and psychological horror movie. It might just be a
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Speaker 1: different kind of psychology. It might just be a different
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Speaker 1: kind of horror. We're here now with Ryder Lee, who
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Speaker 1: went and at and put this documentary together. I know
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Speaker 1: that I talked to him during the editing process and
4:05
Speaker 1: it was a lot of time, a lot of sweat,
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Speaker 1: a lot of blood, a lot of tears, a lot
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Speaker 1: of no sleep. Writer, thanks for coming on the show
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Speaker 1: your opening comments, please, and then tell us about this
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Speaker 1: new documentary where people can watch it and certainly when
4:19
Speaker 1: they do watch it, what they should be looking for
4:22
Speaker 1: because it's not what you think.
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Speaker 2: Thanks so much for having me on, Ryan, I really
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Speaker 2: appreciate it. It's always an honor and a privilege to be
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Speaker 2: on your show. Yeah, this documentary is on Amazon Prime
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Speaker 2: Video right now, and it is currently up in the
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Speaker 2: United States and in the UK, so not in Canada
4:42
Speaker 2: or some other countries, but for sure in the United
4:45
Speaker 2: States in the UK. So if you're not in the
4:48
Speaker 2: United States or not in the UK, I'm sorry about that,
4:51
Speaker 2: but we will be getting it up on Vimeo here
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Speaker 2: soon and you'll be able to watch it all over
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Speaker 2: the world. But yeah, so the document we thought that
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Speaker 2: it I wasn't going to be out for a while.
5:02
Speaker 2: We thought that was going to take like three or
5:03
Speaker 2: four months to actually get released from the time that
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Speaker 2: we submitted it, and it came out in a little
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Speaker 2: over three weeks, so I was very excited. An interesting
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Speaker 2: thing about it was the night before it got released,
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Speaker 2: I had this dream that it got released, and then
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Speaker 2: the dream I like opened up the Amazon app and
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Speaker 2: like I was checking and then I saw it there,
5:31
Speaker 2: and then I woke up from that dream, immediately turned over,
5:35
Speaker 2: opened my phone up and it was there. A lot
5:38
Speaker 2: of weird, strange things with dreams surrounding this movie, especially
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Speaker 2: surrounding The Shining in general, And when I would watch
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Speaker 2: The Shining, I would have like some of the most
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Speaker 2: wild dreams ever, like straight up like nightmares, Like not
5:56
Speaker 2: if I watched it during the day, but if I
5:59
Speaker 2: watched it before I went to sleep, like I would
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Speaker 2: have like really strange, weird dreams. There's something subliminally going
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Speaker 2: on within the movie The Shining, and I think that
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Speaker 2: we really disclosed that in our documentary. And it's not
6:16
Speaker 2: just the documentary about The Shining and Stanley Kubrick, which
6:20
Speaker 2: that is a bulk of it. It's also a documentary
6:24
Speaker 2: about the movie industry in general, the music industry, the
6:31
Speaker 2: intelligence communities, infiltration into those industries.
6:37
Speaker 1: And which it's already well documented even outside of your movie.
6:43
Speaker 1: That infiltration, infiltration is well documented in other books, other researchers,
6:48
Speaker 1: other films. It's not just something that you guys came
6:51
Speaker 1: up with. It's something that's already pretty well documented.
6:54
Speaker 2: Yes, but it ties into what Stanley Kubrick in that time.
7:00
Speaker 2: I'm in that era of movies and like the film
7:03
Speaker 2: industry and the music industry and how they are ultimately
7:07
Speaker 2: connected in Laurel Canyon and Lookout Mountain and all the
7:13
Speaker 2: things that were going on in Hollywood in the sixties
7:16
Speaker 2: really plays a key role in later what's happening later
7:21
Speaker 2: on and actually happening right now. We're actually feeling the
7:23
Speaker 2: side effects from the counterculture movement to this very day.
7:29
Speaker 2: There's still remnants of that that is still happening right
7:32
Speaker 2: now as we're talking.
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Speaker 1: Yeah, and that's what makes it unique. That's my point
7:37
Speaker 1: of what I'm getting at. That's what makes the documentary unique.
7:40
Speaker 1: And in terms of how you guys use that information
7:44
Speaker 1: that is well documented to take a look at Kubrick's
7:47
Speaker 1: film The Shining again and apply it so that we
7:50
Speaker 1: get a different interpretation. Which, frankly, when you first told
7:55
Speaker 1: me that, like I knew what you were saying and
7:58
Speaker 1: what you were talking about, I hadn't given it much thought.
8:00
Speaker 1: I'm not really a horror movie person anyway. I'm not
8:02
Speaker 1: really a big Stephen King fan. I've seen The Shining before.
8:05
Speaker 1: It is controversial, it's debated. We talked about it in
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Speaker 1: film school, but I've only watched it maybe like once
8:11
Speaker 1: or twice throughout my life, and I don't really know
8:14
Speaker 1: much anything else about accept the theories. But then when
8:17
Speaker 1: I watched the documentary and the way you pieced it together,
8:20
Speaker 1: I was thinking, oh, oh, oh, that okay, that makes
8:24
Speaker 1: a lot more sense.
8:26
Speaker 2: Yeah, the I'm with you on the shining.
8:30
Speaker 1: Like.
8:31
Speaker 2: To be honest, the first time that I watched it,
8:33
Speaker 2: I did not like the movie. I just didn't like it.
8:36
Speaker 2: I didn't understand what the hooplaw was about. I didn't
8:38
Speaker 2: understand what people why were they were so hyped around
8:41
Speaker 2: this movie and why it's had this long lasting impact.
8:44
Speaker 2: And I'd seen it a really long time ago, watched
8:46
Speaker 2: it once, so I was like, this is garbage. I
8:48
Speaker 2: don't like it. And that's just my honest analysis of it.
8:51
Speaker 2: Like when I first watched it, I did not like it.
8:53
Speaker 2: I thought I was boring. I didn't think anything was happening.
8:56
Speaker 2: Like they're calling this the greatest horror movie in the world,
8:59
Speaker 2: like the greatest horror movie ever made. It, Like, I
9:01
Speaker 2: don't understand that there's nothing horror about this movie. There's
9:05
Speaker 2: literally nothing that really happens in the entire movie besides
9:09
Speaker 2: the last twenty minutes. But the last thirty minutes of
9:11
Speaker 2: the movie, things actually start happening.
9:14
Speaker 1: Yeah, but it wasn't until yeah, yeah, like the Terrifier.
9:21
Speaker 2: Yes, it's definitely not like The Terrifier where it's all
9:23
Speaker 2: gore and violence and blood and it wasn't until I
9:27
Speaker 2: actually sat down and watched it because I was actually
9:30
Speaker 2: bringing Jay Wider on my show. And he had made
9:33
Speaker 2: two films prior to Stanley Kubrick, which was A Kubrick's
9:36
Speaker 2: Odyssey one in A Cubric's Odyssey two where he posits
9:39
Speaker 2: that Cubic was responsible for faking the moon landing, which
9:45
Speaker 2: he started that theory, and he doesn't get enough credit
9:48
Speaker 2: for it because he he did it, he created it,
9:52
Speaker 2: and people share that and talk about it like they
9:55
Speaker 2: didn't know where it came from. You know. It's like
9:58
Speaker 2: one of those things where you know you something and
10:00
Speaker 2: then people never really give you, you know, credit for
10:04
Speaker 2: coming up with that. But that's an important issue and
10:07
Speaker 2: an important topic. But that's not what our film A
10:09
Speaker 2: Clockwork Shining is about. That you can get on Amazon
10:12
Speaker 2: Prime right now. It's it's a different take on that,
10:15
Speaker 2: though we do mention the moon landing a little bit
10:19
Speaker 2: referencing his other films. But and I do think that
10:26
Speaker 2: it may have been plausible that something was going on
10:29
Speaker 2: with the moon landing because right in the middle of
10:33
Speaker 2: when we were going to the moon, supposedly, you know,
10:35
Speaker 2: launching a rocket to the moon. Stanley Kubrick was filming
10:40
Speaker 2: two thousand and one A Space Odyssey, So it's highly
10:44
Speaker 2: possible that they shot the moon landing while they were
10:49
Speaker 2: shooting two thousand and one A Space Odyssey and then
10:52
Speaker 2: use that extra footage and the actors were told that
10:55
Speaker 2: it was supposed to be a part of the movie.
10:58
Speaker 2: Because that's the thing that people people can't really wrap
11:01
Speaker 2: their head around when it comes to the moonlanding. They're like, oh, well,
11:03
Speaker 2: it can't be fake. There would have to be too
11:04
Speaker 2: many people in on it. Too many people would have
11:06
Speaker 2: to know about it. And that's something he's saying that
11:09
Speaker 2: we didn't actually go to the moon. I'm just saying
11:12
Speaker 2: that the footage was fake. I mean, there's so many
11:14
Speaker 2: holes that you can poke in that footage that it's
11:16
Speaker 2: like unbelievable. The photographs that were taking there, and then
11:19
Speaker 2: all of a sudden they lose all the footage and
11:21
Speaker 2: they lose the original photographs, and then they lose the
11:24
Speaker 2: technology to go back to the moon.
11:26
Speaker 1: That's like saying the White House is real. I've been
11:29
Speaker 1: to the White House, but a lot of videos and
11:31
Speaker 1: pictures of Joe Biden, especially when he was receiving his
11:37
Speaker 1: you know, medicine a couple of years ago. They did that,
11:40
Speaker 1: according to Newsweek, at a fake white House, So like
11:44
Speaker 1: the White House is real, but a lot of photos
11:46
Speaker 1: and videos of the Oval Office are actually from a
11:48
Speaker 1: fake Oval Office. Kind of the same thing. Moonlanding can
11:52
Speaker 1: be real, but photos and videos might not have been real.
11:56
Speaker 2: And that's really how you would do it. You would
11:58
Speaker 2: have this gigantic film production going on with two thousand
12:03
Speaker 2: and one of Space Odyssey with Stanley Kubrick. That is
12:06
Speaker 2: this high budget film that uses all the special effects
12:09
Speaker 2: and you know, technology that really hadn't been using any
12:12
Speaker 2: other kind of films to create this landscape of people.
12:16
Speaker 2: Then you have these actors in there, and then Cubriic
12:19
Speaker 2: just tells them that it's a part of the movie,
12:21
Speaker 2: and all along they don't know that it's not really
12:24
Speaker 2: going to be in the movie or not a part
12:25
Speaker 2: of the movie. And then he takes those clips that
12:27
Speaker 2: he took from two thousand and one of Space Odyssey,
12:30
Speaker 2: them not knowing he didn't put it in the film,
12:31
Speaker 2: and then they just broadcast that to everybody saying that
12:34
Speaker 2: it was the moon landing. I mean, it's highly possible.
12:38
Speaker 1: Yeah, I've heard that theory for years. That was one
12:41
Speaker 1: of maybe even the first conspiracies that I was I
12:45
Speaker 1: was ever conversing with people about, was about the moon
12:48
Speaker 1: landing and Stanley Kubrick. I wonder I don't remember the
12:55
Speaker 1: name of it, but I wonder if you could help
12:56
Speaker 1: help me out here and inform the listeners about. In
13:00
Speaker 1: the film that you've made, there's a document that Jay
13:04
Speaker 1: brings up pertaining to Kubrick and the US government that
13:07
Speaker 1: he sort of refers to as the smoking gun that
13:10
Speaker 1: that might have been evidence of Kubrick working with the
13:15
Speaker 1: government for this or that. Can you tell us about that?
13:18
Speaker 1: Do you know much about that document?
13:20
Speaker 2: Yes, that is a document that was that we have
13:25
Speaker 2: that lays out for different for different popular film directors,
13:33
Speaker 2: including Stanley Kubrick, as the most plausible for the government
13:40
Speaker 2: to look into for a project. Now, the project in
13:44
Speaker 2: the document isn't like they don't give you an outline
13:46
Speaker 2: of what the project is. It's just that they're looking
13:49
Speaker 2: into these filmmakers for projects in the future to work
13:52
Speaker 2: for the government. And that's how we tie in a
13:55
Speaker 2: lot of the Lookout Mountain stuff and in Laurel Canyon
13:58
Speaker 2: and how Lookout Mountain was on top of was an
14:01
Speaker 2: Air Force military base on top of Laurel Canyon that
14:05
Speaker 2: a lot of films were made there, and it's highly
14:08
Speaker 2: documented that you can just you know, google Lookout Mountain
14:12
Speaker 2: and you can actually get on YouTube and type in
14:14
Speaker 2: Lookout Mountain and you can find.
14:16
Speaker 1: News reports and pictures and videos in your documentary just
14:19
Speaker 1: mainline stuff that's been around forever about Lookout Mountain.
14:24
Speaker 2: Yeah, and it's still people don't really know exactly what
14:28
Speaker 2: was happening there or what was going on because a
14:32
Speaker 2: lot of it's still classified. There was several movies and
14:37
Speaker 2: and several things that was shot. Now they on records
14:43
Speaker 2: they say that it was, you know, for military purposes,
14:46
Speaker 2: but you're very close to Hollywood. Why would you not
14:49
Speaker 2: do some kind of Hollywood productions and big time actors.
14:53
Speaker 2: Ronald Reagan was had top secret security clearance for this place,
14:59
Speaker 2: you know, James Stewart like all these well, Marilyn Monroe
15:04
Speaker 2: all had like top secret clearance to Lookout Mountain military base. So,
15:10
Speaker 2: and then there was actually a hotel that was there
15:14
Speaker 2: before the military base came in that looks strikingly similar
15:20
Speaker 2: to the exterior of the Overlook Hotel in Stanley Kubrick's
15:24
Speaker 2: The Shining and it Burnt Down, and which is an
15:29
Speaker 2: interesting fact that we actually didn't put in the movie
15:35
Speaker 2: that I'm I'm pretty sure that at the end of
15:38
Speaker 2: Stephen King's book Doctor Sleep, which is the sequel to
15:44
Speaker 2: The Shining, the Overlook burns down.
15:49
Speaker 1: We don't know for sure what the program was the
15:53
Speaker 1: project that the military that the government, the government more
15:56
Speaker 1: so maybe than the military, was attempting to recruit directors for,
16:02
Speaker 1: but we know that Kubrick was one of the directors,
16:05
Speaker 1: and that sort of ties in and maybe gives a
16:07
Speaker 1: little bit of encouragement to the theory that it had
16:11
Speaker 1: something to do with the moon landing. We don't know
16:13
Speaker 1: if that's the case, but we do know that the
16:15
Speaker 1: government was looking to contract Kubrick for something that was
16:18
Speaker 1: very i would say, maybe not literally but perhaps non
16:23
Speaker 1: technically top secret, which is already suspicious considering the type
16:28
Speaker 1: of things that Kubrick was doing and his films, which
16:32
Speaker 1: most of them are pretty revolutionary and bizarre concepts and
16:36
Speaker 1: really far out there, and then looking at what was
16:39
Speaker 1: happening on Lookout Mountain with the military making films and videos,
16:43
Speaker 1: and we know, going back to World War two, that
16:45
Speaker 1: there was obviously a lot of military involvement in making
16:48
Speaker 1: propaganda films, war films which made it into Hollywood as well,
16:53
Speaker 1: but also with what you and I have discussed many
16:56
Speaker 1: times on the show in the fifties with the UFO subject,
17:00
Speaker 1: But the military was looking to utilize the UFO narrative
17:05
Speaker 1: that was developing out of the late forties, largely things
17:08
Speaker 1: in Europe, but also in the US to spread dis
17:12
Speaker 1: and misinformation about the subject of flying saucers as well.
17:15
Speaker 1: So there's a long history of that, and then there's
17:19
Speaker 1: certainly evidence that Kubrick was being looked at to work
17:21
Speaker 1: on some secret project. There are a lot of pieces.
17:25
Speaker 1: As you look at this documentary that you made, and
17:27
Speaker 1: I'm speaking more so to the listeners of course, writer,
17:30
Speaker 1: a lot of people watch this documentary, like myself. I
17:33
Speaker 1: saw a screener of it. I was lucky that you
17:35
Speaker 1: sent me that I could watch a screener of it,
17:38
Speaker 1: and as it was I'm watching it, I just want
17:40
Speaker 1: to give you props for the editing as it builds
17:43
Speaker 1: and builds and builds, and as I said, it's like,
17:46
Speaker 1: oh that's interesting, Oh that's really interesting. Oh all that
17:50
Speaker 1: makes a lot more sense. Oh wow, Okay, this is
17:53
Speaker 1: really good. There's something, There's something, There is something else
17:57
Speaker 1: going on here. I don't think that this is about
17:58
Speaker 1: Stephen King's book. I think this is about something else,
18:02
Speaker 1: especially because I think you put this in the documentary.
18:04
Speaker 1: Wasn't Kubrick rewriting the script kind of in a real
18:09
Speaker 1: time And I don't mean like changing things seen by scene,
18:12
Speaker 1: which is I mean, I went to film school. We
18:14
Speaker 1: normally did that change a little dialogue. This word sounds better.
18:17
Speaker 1: I mean he was like rewriting entire scenes during production,
18:21
Speaker 1: which is just not very common from what I understand
18:24
Speaker 1: in the movie business.
18:26
Speaker 2: No, it only makes sense that he was doing that
18:29
Speaker 2: because he needed to put things he wanted to rewrite
18:33
Speaker 2: The Shining in his vision, and he couldn't give his
18:38
Speaker 2: vision to Warner Brothers because he had just come off
18:41
Speaker 2: a Barry Linden, which Barry Linden was not a successful film.
18:45
Speaker 2: It was one of Kubrick's worst films. It was a
18:48
Speaker 2: disaster at the box office and it was critically smashed.
18:51
Speaker 2: So he kind of had to play ball with Warner
18:54
Speaker 2: Brothers on getting The Shining. So what repausit in the
18:59
Speaker 2: film is that Warner Brothers kind of came to Stanley
19:03
Speaker 2: Kubrick and was like, here, let's we'll give you the shining.
19:06
Speaker 2: We had the success with the A list director with
19:10
Speaker 2: another horror movie, which was The Extorcist, which was directed
19:14
Speaker 2: by William Freaking, and that was a huge smash success.
19:18
Speaker 2: So let's try and get another horror type movie made
19:23
Speaker 2: with another A list director, and we'll get Stanley Kubrick
19:26
Speaker 2: to make this movie. And what reposited that kind of
19:32
Speaker 2: happened was that Kubrick handed in a script to Warner
19:36
Speaker 2: Brothers that he knew that they would accept that was
19:41
Speaker 2: more in line with Stephen King's book than while they
19:45
Speaker 2: were shooting it, Stanley Kubrick was rewriting the entire script
19:51
Speaker 2: day of in this we talked about it in the documentary,
19:55
Speaker 2: and it's shown that Jack Nicholson was so frustrated with
20:00
Speaker 2: Kubrick rewriting the script every single day that he didn't
20:04
Speaker 2: study any of the lines because they would just change
20:08
Speaker 2: and that really quickly. The is a US Information Agency
20:15
Speaker 2: from the document that we were talking about previously, and
20:19
Speaker 2: another thing that's really interesting is that up a lookout
20:23
Speaker 2: mountain the military base, a lot of the footage that
20:26
Speaker 2: we see of like nuclear bomb testing, you know, like
20:29
Speaker 2: the the footage that we got back in the day
20:32
Speaker 2: where a nuclear bomb would come and it would explode
20:34
Speaker 2: and they would have like a house there and like
20:37
Speaker 2: some cars and a building or something, and then it
20:39
Speaker 2: would just demolish and destroy the entire building and then
20:42
Speaker 2: the landscape and all that all that was filmed. I'd
20:45
Speaker 2: look Out mountain on miniature.
20:47
Speaker 1: Sets, that's right.
20:48
Speaker 2: Yes, they would just do a miniature set and then
20:51
Speaker 2: they would have the explosion and they make it look
20:55
Speaker 2: like that it was all like real that they were
20:58
Speaker 2: actually dropping them in like Nevada at like a test site,
21:01
Speaker 2: but it wasn't. It was filmed that Lookout mountain in
21:04
Speaker 2: Laurel Canyon.
21:05
Speaker 1: That's a canyon that's not disputed. That's like official history. Yeah,
21:09
Speaker 1: I mean those particular scenes that those those were filmed
21:13
Speaker 1: at a in a micro sense, little models.
21:17
Speaker 2: Yeah, And that's how a lot of movies were done
21:20
Speaker 2: back in the day because they couldn't afford to just
21:23
Speaker 2: you know, do that kind of stuff. So I mean,
21:26
Speaker 2: and that's another thing is like I think it was
21:29
Speaker 2: brought up on Joe Rogan or something where they were
21:31
Speaker 2: like what happened to the camera. How's the camera still going?
21:35
Speaker 2: This big, huge blast comes in and it doesn't melt
21:38
Speaker 2: or destroy the camera. And that's another thing about the
21:42
Speaker 2: moon landing as well, Like people don't realize how how
21:45
Speaker 2: big were cameras in nineteen sixty nine. My dad had
21:48
Speaker 2: a a VHS recorder. I'm sure you remember the big,
21:53
Speaker 2: like huge, bulky, freaking things that you had to sit
21:56
Speaker 2: on your shoulder. That, yeah, your arm to be dying
22:01
Speaker 2: in like ten minutes because you had to hold this
22:03
Speaker 2: thing up and look through a freaking viewfinder that is
22:06
Speaker 2: like this big to even know what you're shooting. You're
22:09
Speaker 2: telling me that they lugged these giant ass video cameras
22:13
Speaker 2: up in a rocket to the moon. How would they
22:16
Speaker 2: even be able to see How would they even know
22:18
Speaker 2: that anything is in frame at all? They can look
22:21
Speaker 2: through a viewfinder with a space helmet on, like even
22:25
Speaker 2: you couldn't center anything up. And then when you look
22:27
Speaker 2: at how the the return shuttles lift up off of
22:33
Speaker 2: the Moon, it's the most ridiculously fake thing that you've
22:35
Speaker 2: ever seen in your life.
22:37
Speaker 1: Hey, hey, it's not as fake as the Indians going
22:40
Speaker 1: to the Moon. When the Indians went a couple of
22:43
Speaker 1: years looking like Tetris. That was Tetris, that was Atari,
22:47
Speaker 1: that was like nineteen seventies game.
22:49
Speaker 2: No, that was so bad, didn't We launched a something
22:54
Speaker 2: to the moon recently though, where it landed and it
22:57
Speaker 2: fell over, so we couldn't get any of the footage, right.
23:00
Speaker 2: I think a private a private company launched something to
23:03
Speaker 2: the moon, like I don't know, six or seven months
23:06
Speaker 2: ago or something. It was like right around the time
23:09
Speaker 2: that India launched THEIRS. But we launched one soon after
23:12
Speaker 2: as by like a private US company, and when it landed,
23:15
Speaker 2: it tipped over so and it destroyed all the footage
23:19
Speaker 2: or any of the pictures that we could have got
23:20
Speaker 2: from it.
23:22
Speaker 1: I think that there's a lot of both misconceptions and
23:26
Speaker 1: confusion and then also utilizing those misconceptions to intentionally lead
23:31
Speaker 1: people as well. Within within like astronomy, like I can
23:36
Speaker 1: look up in the sky. We can see lights in
23:40
Speaker 1: the sky. The ancients called them eyes in the heavens,
23:43
Speaker 1: the realm beyond the planets, And if I look up,
23:47
Speaker 1: I can see that, you know, I can define that
23:50
Speaker 1: as real as real as it can be. It's something
23:52
Speaker 1: I can see, I can perceive But then if I
23:56
Speaker 1: take if I take a Google search engine and I
24:00
Speaker 1: type in you know, Mars or Jupiter or stars, I'm
24:04
Speaker 1: going to maybe get some photographs people have taken, but
24:08
Speaker 1: usually i'll get admittedly computer generated images of what planets
24:13
Speaker 1: or stars look like. It doesn't necessarily mean that the
24:16
Speaker 1: people that are generating those images, whether for NASA, some university,
24:21
Speaker 1: or whatever it might be, doesn't necessarily mean that they're
24:25
Speaker 1: doing that to lie to us. It's just a conception
24:27
Speaker 1: of what it might look like. But people can use
24:32
Speaker 1: those images to lie to people, to mislead people, and
24:35
Speaker 1: those images can be generated to lie to people and
24:38
Speaker 1: to mislead people. I don't necessarily think it's all a conspiracy.
24:41
Speaker 1: I think a lot of times it's just a misconception.
24:43
Speaker 1: Not reading underneath of the image where it specifically, you know,
24:47
Speaker 1: lists where this photo was or where this image was generated,
24:51
Speaker 1: and what it's supposed to be an image of. It's
24:53
Speaker 1: like this is an artist's renditioning, like a blueprint for
24:56
Speaker 1: a building, right, it's not the real building, it's just
24:58
Speaker 1: a blueprint. Just to clarify, I just have a thought
25:02
Speaker 1: on that. I want to clarify that I don't think
25:03
Speaker 1: it's always a conspiracy. A lot of times, I think
25:05
Speaker 1: it's just misconceptions of what we're actually looking at. But
25:09
Speaker 1: still in relation to the camera and the moon, that is.
25:12
Speaker 1: I think that's a very good point, and those weird
25:16
Speaker 1: things like you can do so many weird things with cameras.
25:20
Speaker 1: I remember looking at Et the famous scene where ET's
25:24
Speaker 1: walking around for Halloween. All that is was like a camera,
25:28
Speaker 1: a bot, like a camera box for the lens, and
25:31
Speaker 1: they just put like a sheet over the camera and
25:34
Speaker 1: then they just move the camera around like Et walking.
25:37
Speaker 1: You can do so much with a camera. A little
25:40
Speaker 1: trick here, a little trick there. It's like audio, right,
25:43
Speaker 1: you want to get the sound of rain, you just
25:45
Speaker 1: fry some bacon on the stove. If you go record
25:48
Speaker 1: actual rain, it doesn't sound like actual rain. That's why
25:51
Speaker 1: they call it movie magic. You can do a lot
25:53
Speaker 1: with a camera, and you can do a lot with
25:54
Speaker 1: a microphone, and what you think it is it might
25:57
Speaker 1: not actually be that. And what you don't think it is,
26:00
Speaker 1: it might actually be that. It's a very very magical thing,
26:04
Speaker 1: which is again why we call it movie magic. That's
26:07
Speaker 1: why we call it the television, we call it programming.
26:09
Speaker 1: We call it broadcasting and so on and so forth.
26:13
Speaker 1: But anyway, back to your documentary. We're at the halfway
26:16
Speaker 1: point of the show, so please let people know the
26:19
Speaker 1: name of it and where they can watch it, and
26:22
Speaker 1: let's get back into Kubrick and some of the theories
26:25
Speaker 1: and what the documentary actually explores. Writerer Lye as our guest,
26:28
Speaker 1: this is the secret teachings. I'm Ryan Gable writer.
26:31
Speaker 2: Go ahead, you can watch a Clockwork Shining on Amazon
26:36
Speaker 2: Prime Video now, and I highly recommend it if you're
26:41
Speaker 2: not even even if you don't like the Shininger, you
26:43
Speaker 2: don't like Stanley Kubrick, there's so much stuff in there
26:45
Speaker 2: that will pique your interest and I couldn't recommend it
26:50
Speaker 2: more in you know, supporting independent filmmakers is where it's
26:55
Speaker 2: at because Hollywood is basically dead. They're putting on nothing
26:58
Speaker 2: but garbage. So please support my work and independent filmmakers
27:03
Speaker 2: as well.
27:04
Speaker 1: Yeah, how much is it?
27:05
Speaker 2: It's a nine to rent in ten ninety nine to buy,
27:12
Speaker 2: And you don't have to take my word for it.
27:14
Speaker 2: You're gonna want to watch it again. You can take
27:16
Speaker 2: Ryan's word for it because I sent it to him
27:18
Speaker 2: over a month ago and I'm pretty sure if you
27:21
Speaker 2: just rent it, you're gonna you're gonna want to watch
27:24
Speaker 2: it again. So I would highly recommend just purchasing it.
27:27
Speaker 2: And that's not me trying to make more money or whatever.
27:31
Speaker 2: I'm just telling you that's the way that it's going
27:33
Speaker 2: to be. You're gonna watch it and you're gonna miss
27:35
Speaker 2: some things, and you're gonna want to go back and
27:37
Speaker 2: see it again. So it's, uh, it would be you're.
27:39
Speaker 1: Just a it's a long film. It's not like an
27:43
Speaker 1: hour or ninety minutes. It's about two hours or so.
27:46
Speaker 2: Yeah, it clocks in at around an hour and fifty minutes.
27:50
Speaker 2: It's a long, longer form documentary. So it's in my
27:55
Speaker 2: opinion not just the person that Well, let me let
27:58
Speaker 2: me ask you, Ryan, do you think that it's worth
28:01
Speaker 2: nine ninety nine to buy and own and watch?
28:06
Speaker 1: Well consider, and I've spent twenty twenty five dollars on
28:09
Speaker 1: a movie before. Yeah, I think I think ten dollars
28:11
Speaker 1: is pretty fair, especially for independent filmmaking. And it's not
28:16
Speaker 1: like you filmed this thing on a cell phone. It's
28:17
Speaker 1: all grainy. It's like a it's a really good documentary.
28:21
Speaker 1: It looks like something I would like a normal documentary.
28:23
Speaker 1: Like there's things that I've seen on Netflix before. I'll
28:25
Speaker 1: click on them and watch them and it's like really
28:29
Speaker 1: bad production, really bad film work, like camera work, really
28:34
Speaker 1: bad editing. This is really good, Like I if I
28:37
Speaker 1: didn't know you made this, I would think it was
28:40
Speaker 1: some big production company that made It's it's really good,
28:44
Speaker 1: is the bottom line.
28:45
Speaker 2: Thank you. I really appreciate that's a that's a really
28:48
Speaker 2: big compliment. Makes me happy. Thank you.
28:51
Speaker 1: Yeah, you're welcome. And I again, I went to film school,
28:53
Speaker 1: so I like, I studied this stuff and it looks
28:56
Speaker 1: it looks really really good. And when I watched it,
28:59
Speaker 1: you sent me screener and I watched it. I to
29:03
Speaker 1: coroborate what you said about the Shining itself, about Kubrick's movie.
29:08
Speaker 1: I had watched it so long ago, I didn't remember
29:11
Speaker 1: parts of it, but you have all these clips in
29:14
Speaker 1: the documentary. And I went to bed that night. I
29:17
Speaker 1: watched the whole thing before bed, and I had horrible dreams,
29:22
Speaker 1: I mean like nightmares. And I woke up and I
29:24
Speaker 1: hadn't and I went back to sleep. I had another
29:26
Speaker 1: dream and I woke up and went back I woke
29:27
Speaker 1: up three or four times, and I had horrible dreams
29:30
Speaker 1: all night and I told you that, and you said, well,
29:33
Speaker 1: you know, I did too when I watched The Shining.
29:36
Speaker 1: I think that's a pretty common thing. People watch The
29:38
Speaker 1: Shining and have those really bad dreams. So there is
29:40
Speaker 1: something in it. And even just using clips of it
29:44
Speaker 1: in your movie, it has that profound unconscious effect. So
29:49
Speaker 1: there's there. It's more than just about Stephen King. It
29:52
Speaker 1: clearly is about something as something else. It's not just
29:56
Speaker 1: about psychological horror in the way that it's kind of marketed.
30:00
Speaker 1: It's a different kind of psychological work.
30:02
Speaker 2: And you're not the only one either. I just found
30:04
Speaker 2: out yesterday because I did a show with Jay Wiener
30:08
Speaker 2: on the release of the movie. We did one on
30:11
Speaker 2: his channel, and he said that he did a little
30:14
Speaker 2: screener at his house. He invited five people over and
30:19
Speaker 2: they watched it, and he called them up like two
30:23
Speaker 2: or three days later, and they were like shocked. One
30:27
Speaker 2: thing that they said that was like, you know, I
30:31
Speaker 2: can't believe that I've been, you know, lied to about
30:33
Speaker 2: all this because we have so many different topics in there,
30:37
Speaker 2: but they all meshed together in a really grand way.
30:41
Speaker 2: I personally believe, but they were like, one, I can't
30:45
Speaker 2: believe that I've been you know, basically psyoped by the
30:50
Speaker 2: military and industrial complex and the CIA and these intelligence
30:55
Speaker 2: communities in the music industry from the sixties. Like that
30:58
Speaker 2: whole thing is like a giant lie. All these people
31:00
Speaker 2: that we thought were you know, good people and were
31:05
Speaker 2: a part of the counterculture and rebellious people were a
31:09
Speaker 2: part of the op Like, it's crazy, and I don't
31:12
Speaker 2: want to give too much away because it's a really
31:14
Speaker 2: integral part of the documentary, but really, when you look
31:18
Speaker 2: into all these bands and all the people, and Mark
31:20
Speaker 2: Devlin talks about this in the documentary, they're all they
31:25
Speaker 2: all have ties to the military and the military industrial
31:28
Speaker 2: complex and these intelligence communities, and that is a big
31:32
Speaker 2: reason why that they just didn't care. They just kind
31:36
Speaker 2: of did whatever they wanted to do because they knew
31:39
Speaker 2: that they were never really going to get into any
31:41
Speaker 2: kind of big trouble, especially when it comes to like
31:43
Speaker 2: Jim Morrison of The Doors, he was just out doing
31:46
Speaker 2: whatever he wanted to do. He was you know, naked
31:50
Speaker 2: on stage, flashing people in stage, drunk on stage. Do
31:53
Speaker 2: you know all the things that he was doing and yeah,
31:55
Speaker 2: he got arrested a couple of times, but he was
31:57
Speaker 2: always let out almost immediately. But the reason that he
32:00
Speaker 2: was doing those things is because his dad was a
32:02
Speaker 2: high ranking military officer.
32:05
Speaker 1: His dad was the admiral, right that staged or helped
32:09
Speaker 1: the stage and concoct the story of the Gulf of
32:11
Speaker 1: Tonkin incident.
32:12
Speaker 2: Which got us into the Vietnam War and killed thousands
32:15
Speaker 2: of people.
32:16
Speaker 1: And if it just stopped there, that would be maybe coincidental.
32:20
Speaker 1: But then you've got all these other names. You got Zappa.
32:24
Speaker 1: Zappa's father worked military biological weapons. I believe Dave McGowan
32:28
Speaker 1: broke all this down. Mark Devlin, who you have in
32:30
Speaker 1: the film, I thought he was one of the best
32:32
Speaker 1: parts of the film. I mean he that guy is articulate.
32:35
Speaker 1: I mean he just gave you a bullet point history
32:38
Speaker 1: off the top of his head. Boom boom boom boom,
32:40
Speaker 1: boom boom boom. That really tied the documentary together very well.
32:44
Speaker 1: It's not like that they weren't fighting the man. They
32:47
Speaker 1: were the sons and the daughters of the many. Look
32:50
Speaker 1: at it that way.
32:51
Speaker 2: That's right. Bob Marley's father a navel military.
32:57
Speaker 1: Did I learned that in the film. I did not
32:58
Speaker 1: know that until I watched your film. Did not know
33:00
Speaker 1: that his dad was also part of that.
33:03
Speaker 2: And the and Sharon Tates dad was also a high
33:06
Speaker 2: ranking military which was such a wild thing that because
33:10
Speaker 2: the intelligence community basically created the counterculture and then they
33:14
Speaker 2: also destroyed the counterculture. So they brought this monster up,
33:19
Speaker 2: you know, from the depths, right, and then they squashed
33:24
Speaker 2: the monster with the Manson Tate murders. Like it was
33:27
Speaker 2: just a pretty much over the sixties was over after
33:31
Speaker 2: those murders, and it's just wild. There was a lot
33:34
Speaker 2: of other things that I really wanted to add in
33:37
Speaker 2: there that but they just didn't fit with what we
33:41
Speaker 2: were trying to convey in the documentary. Other things that
33:44
Speaker 2: Mark said in the in the movie that I have
33:47
Speaker 2: access to, but one, I didn't want to make it
33:50
Speaker 2: a three hour long documentary, and I also wanted to
33:53
Speaker 2: tie other things in there. And that's another thing about,
33:55
Speaker 2: you know, being a filmmaker and being an editor, you
33:58
Speaker 2: got to know when to like cut certain things and
34:01
Speaker 2: let certain things go because it just doesn't there has
34:06
Speaker 2: to be a good flow, and if there's not a
34:08
Speaker 2: flow and things don't make sense, like that that's the
34:11
Speaker 2: most important thing when it because making this long of
34:14
Speaker 2: a documentary, I've watched it so many times, like hundreds
34:18
Speaker 2: of times, over and over again, and if it doesn't
34:21
Speaker 2: make sense to the person that made it, then it's
34:24
Speaker 2: not going to make sense to the audience, like the
34:27
Speaker 2: people that it's going to be watching it. So that's
34:28
Speaker 2: a very important key thing and filmmaking is that it
34:33
Speaker 2: has to make sense to you and things have to connect.
34:36
Speaker 2: But I like what you said earlier is in the
34:38
Speaker 2: way that it's like a it's an intelligent movie that
34:43
Speaker 2: things are set up before and then there's a payoff
34:46
Speaker 2: later on, and you kind of have to connect two
34:48
Speaker 2: and two together on your own with some of the
34:51
Speaker 2: stuff that's in the movie.
34:53
Speaker 1: What I told you on the phone when we talked
34:54
Speaker 1: about it. Yeah, but it's just that it was I
34:59
Speaker 1: said it it was kind of like my radio show
35:02
Speaker 1: in the sense that it's long form, and we start
35:05
Speaker 1: out with an idea or a lot of ideas, and
35:07
Speaker 1: we kind of talk about them, what they might mean,
35:11
Speaker 1: or what the theories are the idea, and then you
35:13
Speaker 1: put all together and then you start to build on
35:14
Speaker 1: it and build on it, and you get to the
35:16
Speaker 1: halfway point, and you're thinking, what does this have, what
35:19
Speaker 1: does any of this mean? What does this have to
35:20
Speaker 1: do with anything else? I thought this was about whatever
35:22
Speaker 1: the show title was, and then you get further into it,
35:26
Speaker 1: and then by the end of the you're like, all
35:27
Speaker 1: this all makes sense in context. That is the impression
35:31
Speaker 1: I got from it. Like the halfway point, I knew
35:33
Speaker 1: what you were saying, I know what, knew what the
35:35
Speaker 1: film was saying and suggesting, but I was thinking, like,
35:38
Speaker 1: why is this interview here and what And as it
35:41
Speaker 1: went on, I realized, Oh, that this makes a lot
35:44
Speaker 1: more sense now. So it's one of those films that
35:46
Speaker 1: you need to watch and really pay attention through the
35:50
Speaker 1: entire thing, and by the end you'll have a moment
35:53
Speaker 1: of oh, this makes a lot of sense. I think
35:56
Speaker 1: that's what The Shining was all about.
36:00
Speaker 2: And I think that because I've sent it to a
36:03
Speaker 2: few people. You were one of the first people that
36:05
Speaker 2: I sent it to. So it's it's incredible that I'm
36:09
Speaker 2: on your show talking about it. You're my first person
36:11
Speaker 2: that I've talked about it with other than Jay Winer,
36:14
Speaker 2: but he doesn't really count because he's in the movie.
36:17
Speaker 2: But somebody that's separate from the actual movie. I've sent
36:22
Speaker 2: it to a few other people that have watched it,
36:24
Speaker 2: and they're like, like, once you start in on it, it's
36:27
Speaker 2: hard to not finish it.
36:30
Speaker 1: Was that your experience too, Yes, if you're interviewing me now, yes,
36:35
Speaker 1: that was definitely a nice experience. No, No, it definitely was.
36:39
Speaker 1: In fact, I think that was the first thing I
36:40
Speaker 1: told you was that I it was late and I
36:44
Speaker 1: was I was debating if I should go to bed,
36:47
Speaker 1: and I thought, now I'll watch a little bit of
36:48
Speaker 1: it and I'll watch the rest in the morning. And
36:51
Speaker 1: then I got to it was like midnight here in Japan.
36:54
Speaker 1: I was thinking, no, you know, I got to finish
36:57
Speaker 1: watching this thing. I can't stop. It was hard, Honestly,
36:59
Speaker 1: it was hard or for me to even push pause
37:01
Speaker 1: to go to the bathroom. Like I was really really
37:03
Speaker 1: into it.
37:06
Speaker 2: And that means a lot to me because that's what
37:07
Speaker 2: I was trying to really do and it's it was
37:11
Speaker 2: kind of I didn't really know how that if it
37:15
Speaker 2: was going to be like that or not, because it's
37:17
Speaker 2: such a long movie that I was kind of worried
37:20
Speaker 2: there for a minute. I was like, how am I
37:22
Speaker 2: going to keep these people's attention for this long amount
37:27
Speaker 2: of time, and I'm glad that I've successfully, you know,
37:32
Speaker 2: pulled that off. So that's a really big compliment.
37:36
Speaker 1: Thank you. You're welcome. Writer. Let me ask you a
37:38
Speaker 1: serious question. I mean, it kind of sounds like a joke,
37:41
Speaker 1: but it's a serious question. Let's just do this on
37:45
Speaker 1: my show. Let me ask you this on my show,
37:47
Speaker 1: so then if anybody else asks you, you can just
37:49
Speaker 1: defer the secret teachings. So if someone's going to watch
37:54
Speaker 1: this and then have bad dreams and say Rider Lee
37:59
Speaker 1: and Jay put subliminals in their movie to give me
38:02
Speaker 1: bad dreams, I'm sure someone is going to ask you
38:05
Speaker 1: that at some point, could you respond to that.
38:10
Speaker 2: I did not put anything subliminally in there. There isn't
38:13
Speaker 2: anything coded in the movie. There's not any frequencies like
38:18
Speaker 2: supposedly there is in that movie that a Barack Obama
38:21
Speaker 2: movie that we did a show on what was the
38:23
Speaker 2: name of that movie where they said they're supposed to
38:25
Speaker 2: have the yell yell f frequencies in it, the super
38:29
Speaker 2: low harmonic frequencies. Do you remember that movie? Leave the
38:33
Speaker 2: World Behind? Leave the Rod Behind was the name of
38:35
Speaker 2: that Enough that.
38:37
Speaker 1: I thought it was just Obama was a producer. I
38:40
Speaker 1: didn't know that there were frequencies in it.
38:42
Speaker 2: Yeah, people did an analysis of it and broke down
38:46
Speaker 2: the different audio layers, and they found that there was
38:49
Speaker 2: a yell frequency within the within the movie.
38:54
Speaker 1: Well, if we talked about it, that must have my
38:56
Speaker 1: brain must have been fried from the waves and I
38:58
Speaker 1: don't remember.
39:00
Speaker 2: But there's nothing subliminally in there. But there is a
39:03
Speaker 2: lot of heart and passion and determination from me as
39:09
Speaker 2: a filmmaker. This was my passion project and it took
39:13
Speaker 2: me a really long time. I worked on it endlessly
39:16
Speaker 2: all day, all night, from the moment that I woke
39:20
Speaker 2: up would I would go to work on it, then
39:23
Speaker 2: go to sleep, then dream about it, then wake up
39:26
Speaker 2: and keep working on it until I was ready to
39:29
Speaker 2: go to sleep. I mean, I can't put it down.
39:30
Speaker 2: I'm one of these people that I don't stop doing
39:34
Speaker 2: something until it's complete, you know, and it's the only
39:40
Speaker 2: thing that I can think about. Like, there would literally
39:42
Speaker 2: be times that I would be kind of stuck on
39:47
Speaker 2: a part or something and then like I would you know,
39:51
Speaker 2: end up going to sleep, and then I would dream
39:53
Speaker 2: about how to fix that part, and then I would
39:56
Speaker 2: wake up and fix the part.
39:57
Speaker 1: It's consuming every level of your your mind and your being.
40:02
Speaker 1: But when you watch the Shining itself without the movie,
40:05
Speaker 1: you watch the Shining itself, not your documentary. People, you
40:09
Speaker 1: and other people have really bad dreams when watching that.
40:12
Speaker 1: If there's anything subliminal, it's in the Shining movie itself, right,
40:16
Speaker 1: that's right, Yeah, it's not. But you also said when
40:20
Speaker 1: you watch it during the day, you don't necessarily have
40:22
Speaker 1: those dreams at night, so that that could contribute to it.
40:24
Speaker 1: I mean, I watched your documentary which has clips of
40:27
Speaker 1: the Shining, but I watched it at like eleven o'clock.
40:31
Speaker 1: It's like eleven to one o'clock in the morning, and
40:34
Speaker 1: I was already exhausted, and then I went to bed
40:36
Speaker 1: after watching it. And that's a recipe for horrible nightmares already.
40:42
Speaker 2: Yeah, it has nothing to do with our movie. In
40:45
Speaker 2: the movie that I made, A Clockwork Shining, it has
40:48
Speaker 2: everything to do with Stanley Kubricks movie. And I think
40:53
Speaker 2: that it has something to do with the the visuals
40:57
Speaker 2: of the Shining, because that's the only reason that you
41:01
Speaker 2: would get it. And if you were to watch our
41:04
Speaker 2: movie A Clockwork Shining, is from the visuals because the
41:10
Speaker 2: music is mostly removed. There's really no music from Stanley
41:15
Speaker 2: Kubrick's The Shining in our movie. It's just visual representation
41:20
Speaker 2: and of course the music that I've added in there
41:23
Speaker 2: and that I've put in there, and the sound effects
41:25
Speaker 2: and stuff. But that's just normal, like music that I've
41:30
Speaker 2: listened to that I feel fits what's being talked about.
41:34
Speaker 2: There's no there's nothing like all I'm gonna put this,
41:39
Speaker 2: put this frequency in here to make people, you know,
41:43
Speaker 2: get freaked out or pay attention more, not pay attention more.
41:46
Speaker 2: It's just it's just hard work and putting things in
41:50
Speaker 2: there that I think as a filmmaker is best suited
41:53
Speaker 2: for what's being talked about at that time and how
41:57
Speaker 2: the flow of the documentary.
42:00
Speaker 1: So no frequencies, no elf waves, didn't work with the Obamas,
42:03
Speaker 1: no mk ultra, which is now a verb. People say
42:07
Speaker 1: I was mk ultrad. I guess that's a verb. Now.
42:10
Speaker 1: None of that's in the film. Just a lot of
42:12
Speaker 1: hard work. But if you get any of that, it's
42:14
Speaker 1: probably because you watch it late at night you go
42:17
Speaker 1: to sleep. It could be because you watch a film
42:21
Speaker 1: like this and if you don't know about the music
42:23
Speaker 1: industry or the film industry, the military's involvement, which is
42:27
Speaker 1: we learned that in film school the Pentagon still reviews
42:30
Speaker 1: scripts like for the for example, for transformers to use
42:34
Speaker 1: aircraft carriers for shots in the movie, things like that helicopters,
42:38
Speaker 1: military bases. But if you don't know any of that stuff,
42:41
Speaker 1: your sense of reality might be shaken and you don't
42:46
Speaker 1: feel safe anymore. Then you go into a dream like
42:49
Speaker 1: state and you're unconscious on loads and you get all
42:52
Speaker 1: of these horrible images because you realize, I can't trust
42:55
Speaker 1: the military, I can't trust the government. I can't trust
42:57
Speaker 1: my favorite celebrity. I like Jim Morrison, he was working
43:01
Speaker 1: for the million. You might have that kind of unconscious
43:04
Speaker 1: reaction that might contribute to it too. I wanted to
43:07
Speaker 1: ask you. One of the more I don't know if
43:10
Speaker 1: it's mundane, but just kind of random, sort of mundane
43:14
Speaker 1: things in the film that doesn't make any sense is
43:17
Speaker 1: that Kubrick was a probably one of the best directors.
43:22
Speaker 1: You put him on a list. He's one of the
43:23
Speaker 1: best directors ever in my opinion, and yet he had
43:28
Speaker 1: like the most unbelievable, ridiculous issues with continuity in this film,
43:39
Speaker 1: maybe because he kept changing the script. I don't think
43:41
Speaker 1: that's what it was. I mean, it was so obvious
43:44
Speaker 1: that I think it was intentional. What's the reasoning behind that?
43:46
Speaker 1: Like the light switch on the wall like just gone,
43:51
Speaker 1: I mean, that's really obvious. Continuity experts don't miss that
43:55
Speaker 1: more than once. They certainly don't miss it over and
43:58
Speaker 1: over and over again. Continuity issues that are really obvious
44:02
Speaker 1: that anybody could point out. What's the deal with that?
44:05
Speaker 2: Yeah, there are several in the movie, and I'm pretty
44:10
Speaker 2: sure that we did a really good job pointing out
44:13
Speaker 2: all of those. The first one that we show is
44:16
Speaker 2: whenever Danny is on his tricycle or the big wheel
44:20
Speaker 2: or whatever and he's driving around the writing around the overlook,
44:25
Speaker 2: there's a if you zoom in to the top right
44:29
Speaker 2: hand side of the frame, there's like this this plastic
44:35
Speaker 2: scalfloting scalfloting. I'm pryn of seeing that, right, It's like
44:39
Speaker 2: like weird plastic thing like for like a set, you
44:42
Speaker 2: know what I mean, And that's draped over the handrail there.
44:47
Speaker 2: Then the other ones that we show are the light
44:50
Speaker 2: switches outside of Olmen's office before Jack goes in there's
44:56
Speaker 2: one there, and then later on in the film, whenever
44:58
Speaker 2: he goes in to destroy the radio to prevent Wendy
45:01
Speaker 2: from calling the police, it's gone. Whenever Windy, whenever Hallerin
45:07
Speaker 2: is taking Wendy around, they overlooking, giving them a tour
45:10
Speaker 2: of the kitchen and showing them the pantry. The storage room,
45:16
Speaker 2: which we also talk about in the movie, which it
45:19
Speaker 2: doesn't really sound like he says storage room. It sounds
45:22
Speaker 2: like he says the story room. But we get into
45:25
Speaker 2: that in the documentary. There's a there's like a light
45:28
Speaker 2: switch like slash plug in thing like an outlet there.
45:34
Speaker 2: And then whenever Wendy is carrying Jack's body into the
45:39
Speaker 2: storage room, it's missing. There's a chair that disappears behind
45:47
Speaker 2: Jack whenever he's talking to Windy, whenever Wendy comes in
45:50
Speaker 2: to kind of like confront not really not confront him,
45:53
Speaker 2: but ask him if he wanted anything to eat or whatever,
45:56
Speaker 2: and he's, no, I'm in here working. When you see
45:58
Speaker 2: me in this chair in his room, you know that
46:01
Speaker 2: I am working. There's a chair that disappears behind Jack
46:05
Speaker 2: when Danny stands up in the hallway to go into
46:07
Speaker 2: room two thirty seven. The carpet which switches angles. Uh.
46:11
Speaker 2: And then in the very first one is the there's
46:15
Speaker 2: a sticker on Danny's door before the doctor comes to
46:23
Speaker 2: examine Danny that disappears in the next shot. So there's
46:28
Speaker 2: a lot of these types of continuity airs and within
46:33
Speaker 2: the movie, and I think that some of them are
46:39
Speaker 2: continuity airs like he had to have been that he
46:45
Speaker 2: wasn't so much concentrated on like the filming aspects and
46:51
Speaker 2: getting everything precisely incorrectly right, because he did a lot
46:57
Speaker 2: of takes. Like Stanley Kubrick was a notorious for doing
47:01
Speaker 2: hundreds of takes.
47:02
Speaker 1: Yeah, like hitching off the actors, a lot of takes.
47:06
Speaker 2: Yeah, hundreds of takes. It was reported by Shirley Duvall
47:11
Speaker 2: that they did. I would have to look it up,
47:13
Speaker 2: and I think it's around in the one hundred and
47:15
Speaker 2: twenty range of the famous staircase scene.
47:20
Speaker 1: That's a lot. That's a lot of takes. Yeah, that's
47:23
Speaker 1: like a joke in another a joke in a movie
47:26
Speaker 1: or a TV show where you just can't get it right.
47:27
Speaker 1: They're like, all right, I can SpongeBob, Like, all right,
47:29
Speaker 1: take two thousand, seven hundred and thirty six. You know,
47:32
Speaker 1: take three thousand kubric did a ton of takes. Do
47:36
Speaker 1: you think that maybe, okay, some of them are maybe
47:39
Speaker 1: legitimate continuity issues we just missed. Maybe some was because
47:42
Speaker 1: he was trying to film it quick to get the content,
47:46
Speaker 1: because he was changing things and they have to send
47:49
Speaker 1: dailies to the studio and they have to look at it,
47:51
Speaker 1: and he wanted to get what he wanted done and
47:53
Speaker 1: filmed and cut. Do you think maybe some of it
47:57
Speaker 1: has to do with I remember what this show called Evil,
48:01
Speaker 1: and the main character in this TV show Evil, she's
48:05
Speaker 1: having this dream about an incubus coming into her room,
48:09
Speaker 1: the male demon trying to have sex with her, and
48:13
Speaker 1: she goes and talks to If I remember this correctly,
48:15
Speaker 1: I think she talks to her psychologist and he says,
48:18
Speaker 1: to tie a string around your wrist. And when you
48:21
Speaker 1: tie the string around your wrist, he said in the dream,
48:24
Speaker 1: look down to see if the string is still there,
48:26
Speaker 1: and if it is, you'll know you're awake, and if
48:29
Speaker 1: it's not, you'll know that you're dreaming. And I've heard
48:32
Speaker 1: that also in terms of people that are having nightmares,
48:35
Speaker 1: to look around the room, see if there's anything that
48:37
Speaker 1: looks bizarre or look at yourself. Do you look normal?
48:40
Speaker 1: Is there something weird about you? Are you missing a
48:43
Speaker 1: ring or a necklace or something like that. I thought,
48:46
Speaker 1: maybe that's what it could be. If it's making it
48:48
Speaker 1: so obvious that there are these issues and that the
48:51
Speaker 1: background is changing, that maybe it has something to do
48:53
Speaker 1: with the mind. Maybe it has something to do with
48:55
Speaker 1: it with different levels of awareness by the characters in
48:59
Speaker 1: the movie, and that the consciousness of the individual is
49:04
Speaker 1: shifting from conscious to unconscious something along. I mean, I
49:08
Speaker 1: can't adequately maybe explain my point of view on it,
49:11
Speaker 1: but it might have something to do with like switching
49:13
Speaker 1: between different states of reality. And since the film is
49:17
Speaker 1: I think your documentary proves it quite clearly about the
49:20
Speaker 1: mind and psychological experimentation, in essence, not being able to
49:25
Speaker 1: figure out what is real and what is not real,
49:28
Speaker 1: which is what good programming and psychological trauma does to
49:32
Speaker 1: a person. They can't figure out what's real and what's
49:34
Speaker 1: not real. Was the light switched there? I don't remember?
49:37
Speaker 1: Was the chair there? I don't remember? Maybe it has
49:40
Speaker 1: something to do with that.
49:42
Speaker 2: I think that's very plausible that it does, because throughout
49:45
Speaker 2: the movie, when you watch the shining on its own.
49:49
Speaker 2: Jack is slowly going into what could be considered a
49:56
Speaker 2: a psychosis. Now we pausited that it's something, is that
50:01
Speaker 2: it's an experiment that's being ran at the Overlook Hotel,
50:04
Speaker 2: and that's the calls of him going into these kinds
50:09
Speaker 2: of delusions. But it would make sense that would actually
50:12
Speaker 2: even make more sense Ryan if that was the case,
50:15
Speaker 2: because he would not only want to do that within
50:19
Speaker 2: the characters of the movie, but he would also want
50:21
Speaker 2: to do that to the audience. So as Jack is
50:24
Speaker 2: going further and further into these delusions, he would want
50:27
Speaker 2: to make it seem like the audience is sort of
50:32
Speaker 2: going down this road with him by removing certain things
50:36
Speaker 2: and putting things in one scene and then not having
50:39
Speaker 2: them there, and the next scene changing the carpet and
50:43
Speaker 2: subliminally giving that to you. Now, there are other things
50:48
Speaker 2: within the movie that I have seen personally that nobody
50:51
Speaker 2: else has ever seen. And one of those is a
50:57
Speaker 2: swastika is on the wall in the background of the
51:02
Speaker 2: gold room. No one has ever seen that before. I'm
51:06
Speaker 2: the first person that I know of that. I didn't
51:09
Speaker 2: read it anywhere, I didn't see it anywhere, I didn't
51:12
Speaker 2: hear anyone talking about it. I literally seen it because
51:15
Speaker 2: I saw the shining.
51:17
Speaker 1: Was that you pointed it out to J two You
51:19
Speaker 1: showed Jay Jay Widener.
51:23
Speaker 2: And I saw that because I went to the theater
51:26
Speaker 2: and actually watched the shining in the theater. They did
51:31
Speaker 2: like a special Halloween showing of the Shining in Wyoming
51:37
Speaker 2: or around a year ago, and I watched it, and
51:41
Speaker 2: I seen that in the movie, and I'm like, holy shit,
51:45
Speaker 2: this connects with my entire hypothesis of what the movie
51:50
Speaker 2: actually is about.
51:51
Speaker 1: And there might have been toward the end where jackets frozen.
51:59
Speaker 1: It's kind of like the mustache, the Hitler mustache you
52:02
Speaker 1: pointed out. Is that correct? Or am I misremembering that?
52:06
Speaker 2: Yeah? There is a And I'm not the person to
52:10
Speaker 2: talk about this. They talked about this and another several
52:14
Speaker 2: people have seen the Hitler mustache on Jack. I wasn't
52:18
Speaker 2: the first person to see that. They've been talking about
52:22
Speaker 2: that for a really long time. But it's at the
52:23
Speaker 2: end of the movie whenever the frame the picture frame
52:26
Speaker 2: on the wall fades from the far out view into
52:29
Speaker 2: the close up view of Jack. In a split second.
52:33
Speaker 2: Within that fade, the top of Jack's head in the
52:37
Speaker 2: smaller picture, you can forms a Hitler mustache on Jack's
52:43
Speaker 2: face whenever it fades into the bigger picture of it.
52:46
Speaker 1: And that connects to your swastika that you saw, which
52:49
Speaker 1: also connects to mind control experiments, because I mean, in
52:52
Speaker 1: the I think the mainline history of mind control experimentation,
52:57
Speaker 1: a lot of that came from Whilston, came from the
52:59
Speaker 1: Soviet Union, but a lot of I also came from
53:01
Speaker 1: Nazi Germany quite famously. So that is another piece of
53:06
Speaker 1: very intentionally subliminal proof that the movie is more about
53:11
Speaker 1: mind control and driving people into psychosis and altered states
53:16
Speaker 1: of awareness and consciousness through drugs and maybe through frequencies.
53:21
Speaker 1: But you didn't put any in the movie, so don't
53:23
Speaker 1: worry and things like that. I think it's a fantastic film.
53:28
Speaker 1: We only have a few minutes here, maybe two minutes
53:31
Speaker 1: before we have to bring up the music. So Rider
53:34
Speaker 1: Lee did the editing. I mean, I know he worked
53:37
Speaker 1: very hard. I'm good friends with writer and we talk
53:40
Speaker 1: a lot, and he worked very hard on this documentary.
53:42
Speaker 1: So if you get a chance, please go watch it.
53:45
Speaker 1: If you don't have a chance, make a chance, make
53:47
Speaker 1: some time to go watch this film. If you're scared
53:50
Speaker 1: about subliminal things, watch it during the daytime. So it's
53:53
Speaker 1: like what three dollars on Amazon to rent ten ninety
53:58
Speaker 1: nine to buy make any money off of it? And
54:01
Speaker 1: I know that writer, you know he gets a percent.
54:05
Speaker 1: It's not like he makes one hundred percent of the
54:07
Speaker 1: profit from it. So support independent filmmakers at the very least.
54:12
Speaker 1: This movie will freak you out. Even if you don't
54:14
Speaker 1: like the shining, I mean what it says about the
54:16
Speaker 1: government and the military take notes. I want to watch
54:20
Speaker 1: it again. I normally never watch documentaries a second time,
54:23
Speaker 1: but I'm definitely going to watch it again Amazon A
54:27
Speaker 1: Clockwork Shining Writerly, thank you so much about a minute
54:31
Speaker 1: and a half. Tell us anything else that we might
54:34
Speaker 1: need to know or any other interesting details about the film,
54:37
Speaker 1: go ahead.
54:39
Speaker 2: Yes, thanks so much for having me on, Ryan, I
54:42
Speaker 2: really appreciate it. It was a lovely conversation. It's always great
54:45
Speaker 2: to be on your show. Always an honor and a privilege. Yeah,
54:49
Speaker 2: if people would just hope maybe we can get a
54:53
Speaker 2: link in the description or however you want to do it,
54:55
Speaker 2: or if not, they can just go to Amazon Prime
55:00
Speaker 2: Video and you can just download the app, or you
55:03
Speaker 2: can if you already have the app on your TV
55:05
Speaker 2: or whatever, just type in A Clockwork Shining and you
55:07
Speaker 2: can rent it or buy it off of there. And
55:10
Speaker 2: I really hope people enjoy it. And if you have
55:14
Speaker 2: any weird experiences after you watched it, weird dreams or whatever,
55:18
Speaker 2: please please contact me and let me know, because I
55:21
Speaker 2: feel like that is a reoccurring thing. The four people,
55:24
Speaker 2: five people that Jay did a screening for, had the
55:26
Speaker 2: same thing happened to them. Ryan had it happened to him.
55:30
Speaker 2: I've had it happen with watching the Shining, So let
55:33
Speaker 2: us know if you experience anything strange or weird. And yeah,
55:38
Speaker 2: thank you for having me on. And please support independent
55:42
Speaker 2: filmmakers because this is the way that it's going. Streaming
55:47
Speaker 2: services are the way that it is. And you know,
55:50
Speaker 2: Hollywood is not putting out good original content. They just
55:54
Speaker 2: want to remake everything, reboot it and turn it into
55:58
Speaker 2: recognizable IP And we did something very original here with
56:05
Speaker 2: this movie A Clockwork Shining on Amazon Prime Video. Thank
56:09
Speaker 2: you guys very much, and thank you again, Rain.
56:12
Speaker 1: You're welcome. Writer Raised by Giants is also Writer's show
56:15
Speaker 1: you can find on YouTube the link where both his
56:18
Speaker 1: show and for the documentary are in the description of
56:21
Speaker 1: this episode of The Secret Teachings Radio Monday through Friday,
56:25
Speaker 1: ground zero Dot Radio, and of course in the archive
56:27
Speaker 1: the Secret Teachings at Info. I'll say one last thing
56:30
Speaker 1: is I bring the music up here. Writer. The only
56:32
Speaker 1: thing that would have made your documentary better if you
56:35
Speaker 1: would have put a chick in it and made her
56:37
Speaker 1: lame and gay, that would have made it much better.
56:42
Speaker 2: Put a chicken in macergate.
56:45
Speaker 1: This linguini is. It doesn't taste good, but it's pasta.
56:50
Speaker 1: I believe I told the chef to put a chick
56:52
Speaker 1: in it and make her gay, make her lame. Writer,
56:56
Speaker 1: had a great night. Okay, thank you brother, all right,
56:59
Speaker 1: bye bye. This is the Secret Teaching. Stay safe, stay inform,
57:01
Speaker 1: stay healthy, and I will talk to you on the
57:04
Speaker 1: next broadcast. If you're listening on ground zero tomorrow night
57:09
Speaker 1: Friday night, we will hear the sphere Bean. What do
57:13
Speaker 1: I call it? Dark Fleet sphere Bean Alliance of Blue
57:17
Speaker 1: Chickens and Super Soldier Secret Space Programs. That's tomorrow night's show.
57:20
Speaker 1: You don't want to miss it. Brown zero Dot Radio