Latest / Ryder Lee / Unlocking The Mysteries of The Kubrickian Mind | A Clockwork Shining

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Unlocking The Mysteries of The Kubrickian Mind | A Clockwork Shining · Ryder Lee

0:23
Speaker 1: Writer, welcome back.
0:24
Speaker 2: How you doing doing great? Chris? Thanks for having me on.
0:28
Speaker 2: Really appreciate it.
0:29
Speaker 1: Sir, welcome back. It's great to have you. It's been
0:31
Speaker 1: a little while looking forward to this one. We're gonna
0:34
Speaker 1: be talking about you and Jay Widener's latest film, A
0:37
Speaker 1: Clockwork Shining, and this presents the possibility that Stanley Kubrick
0:43
Speaker 1: may have intentionally altered the script from being about Jack
0:49
Speaker 1: Nicholson and his family acting as caretakers to a haunted
0:53
Speaker 1: hotel to possibly exposing aspects of the CIA MK Ultra
0:59
Speaker 1: mind control program. Now, The Shining was definitely one of
1:03
Speaker 1: my favorite movies growing up. It still is, and I
1:07
Speaker 1: never really even thought about it remotely in this way.
1:11
Speaker 1: I'm definitely gonna have to go back and watch it
1:13
Speaker 1: again very closely. This is gonna be very interesting. Looking
1:17
Speaker 1: forward to getting your insights into this. It's been a
1:20
Speaker 1: while since you've been on. Remind the audience a little
1:23
Speaker 1: bit about yourself and let them know where they can
1:26
Speaker 1: find you.
1:28
Speaker 2: You can find me on Raised by Giants, on YouTube
1:31
Speaker 2: and Indian all podcast platforms. You can reach out to
1:34
Speaker 2: me personally on Twitter x Raised by a Giants eight
1:38
Speaker 2: and on Instagram at raised by a giants pod. And yeah,
1:42
Speaker 2: this movie was really a passion project because, as you know, Chris,
1:46
Speaker 2: this was the first movie that I wanted to do.
1:48
Speaker 2: I wanted to do this one before JFKX, me and
1:52
Speaker 2: Jay Wier's first documentary, and we decided to do JFKX first,
1:58
Speaker 2: and which is a good thing because I got to
2:00
Speaker 2: cut my teeth on you know, a different kind of
2:03
Speaker 2: documentary before we did this one, because this one required
2:05
Speaker 2: a lot of a lot more work. I worked on
2:08
Speaker 2: this one for like six months, and it's a really
2:12
Speaker 2: big passion project. And there's so many different theories surrounding
2:16
Speaker 2: The Shining. I mean, people have dissected the Shining over
2:19
Speaker 2: and over and over again. I mean you can get
2:21
Speaker 2: on YouTube and just like type in Shining theories and
2:24
Speaker 2: you can watch for hours and hours and hours. And
2:28
Speaker 2: that was the thing with me was when I was
2:31
Speaker 2: watching it, I was like, what can I find within
2:34
Speaker 2: this movie that people haven't already seen because they've There's
2:42
Speaker 2: theories that that it's all inside Jack's head, that it's
2:44
Speaker 2: all inside Windy's It's a crazy amount of theories and
2:48
Speaker 2: I'm watching it and I'm seeing all these continuity errors
2:52
Speaker 2: that a lot of people have already pointed out within
2:54
Speaker 2: the movie. The Shining is probably the one movie that
2:58
Speaker 2: has the most continuity eras of any other movie, and
3:01
Speaker 2: we show a lot of them in our movie at
3:04
Speaker 2: Clockwork Shining, which is available on Amazon Prime and on
3:08
Speaker 2: Apple TV if you can't get it in the country
3:11
Speaker 2: that you're from, which is only available in the UK
3:15
Speaker 2: and the United States right now, but if you can
3:17
Speaker 2: get Apple TV you can also watch it. We show
3:22
Speaker 2: a lot of the connuity airs within The Shining in
3:25
Speaker 2: our movie. One of the ones is the sticker disappearing
3:28
Speaker 2: on Danny's door, the carpet changing when Danny stands up
3:32
Speaker 2: in the hallway, a chair disappears behind Jack. Light switches
3:36
Speaker 2: just kind of you know, go missing. There's a light
3:40
Speaker 2: switches underneath the picture before Jack walks into Almon's office
3:44
Speaker 2: in the beginning of the movie. Later on, when Jack
3:46
Speaker 2: walks into the office to destroy the radio to prevent
3:49
Speaker 2: Danny and Wendy from leaving the mountain from leaving the hotel,
3:53
Speaker 2: the light switch was gone. There's another one that there's
3:56
Speaker 2: a light switch underneath the storage room when Hollerin is
4:02
Speaker 2: giving Windy and Danny a tour of the hotel, and
4:04
Speaker 2: he's like, here is the story room. And which we
4:07
Speaker 2: have a thing in our documentary that I don't think
4:10
Speaker 2: anyone has really ever picked up on, is that Hollerin
4:13
Speaker 2: doesn't really seem like he says storage room. It sounds
4:15
Speaker 2: like he says story room. Now, this is the story room.
4:21
Speaker 2: And we show that in the documentary, which is really
4:23
Speaker 2: interesting because from that point in the film, the Shining,
4:29
Speaker 2: that's when things really start to pick up and take
4:31
Speaker 2: a really dark turn within the movie. That's when you
4:34
Speaker 2: know Grady is pretty much telling Jack like that he
4:37
Speaker 2: needs to eliminate Wendy and Danny. Before it was kind
4:41
Speaker 2: of like persuasion. He was kind of like, you know,
4:44
Speaker 2: you need to correct them, sir, just like I corrected
4:48
Speaker 2: my two daughters. Blah blah. It's a horrible impression, but
4:51
Speaker 2: you get the point. And there's a light switch that's
4:54
Speaker 2: it's either an outlet or a light switch on beside
4:57
Speaker 2: the door, and then later on when Wendy is carrying
5:00
Speaker 2: body into the storage room, the light switch is gone.
5:04
Speaker 2: And there's a few other ones that I kind of
5:07
Speaker 2: forgot to put in the movie, like in the very beginning,
5:10
Speaker 2: which is the establishing shot of the Overlook Hotel there,
5:16
Speaker 2: which was filmed the Timberline Lodge in Oregon, some of
5:19
Speaker 2: the exterior shots. The rest of it was filmed in
5:21
Speaker 2: England on sets. But the first establishing shot you don't
5:26
Speaker 2: see Amaze in the background, but later on, obviously there's
5:29
Speaker 2: Amaze in the background. So there's so much to this film,
5:33
Speaker 2: and we don't explicitly say it in the movie, but
5:37
Speaker 2: it seems as if Kubrick is putting in these continuity
5:41
Speaker 2: errors on purpose, because that's been the question for a
5:44
Speaker 2: really long time with these people that have researched The
5:47
Speaker 2: Shining over and over and over again, and it's talked
5:49
Speaker 2: about all these theories are like why are these continuity
5:51
Speaker 2: eras there? They don't make any sense, especially when it
5:54
Speaker 2: comes to Stanley Kubrick being a perfectionist and you know,
5:58
Speaker 2: being a master filmmaker and wanting everything to be perfect
6:01
Speaker 2: within his movies. It seems odd that there would be
6:04
Speaker 2: so many of these continuity errors within the film. And
6:09
Speaker 2: what we kind of propose within the movie at Clockwork
6:13
Speaker 2: Shining is that Kubrick is purposefully putting these continuity errors
6:18
Speaker 2: in there to make the audience question their reality. Just
6:21
Speaker 2: as Jack is also questioning his reality within the movie.
6:26
Speaker 2: So it's not only in an experiment. And that's subliminally
6:31
Speaker 2: because the first watch through you don't really notice these
6:33
Speaker 2: continuity errors, but they're hitting you subconsciously. And that's really
6:39
Speaker 2: what we don't explicitly say that, but that's something that
6:41
Speaker 2: the audience needs to put two and two together on
6:43
Speaker 2: while they're watching our movie, while they're watching our documentary.
6:48
Speaker 2: And that's one of the things that I love the
6:50
Speaker 2: most about Stanley Kubrick is not only that he is
6:52
Speaker 2: able to you know, not only is he a great
6:55
Speaker 2: filmmaker and tell us great stories he did tell us
7:00
Speaker 2: great stories he's been passed away, but that he doesn't
7:05
Speaker 2: give the entire movie away in the exposition of the movie.
7:08
Speaker 2: That's where a lot of movies ruined themselves nowadays. They
7:14
Speaker 2: give everything away within the dialogue of the movie, and
7:18
Speaker 2: that leads to no mystery surrounding what you're watching. And
7:23
Speaker 2: that's the opposite of what Stanley Kubrick was trying to
7:25
Speaker 2: do with really all of his movies. And that's why
7:28
Speaker 2: he avoided doing interviews as well, because he didn't want
7:31
Speaker 2: to tell the people that were listening exactly what the
7:33
Speaker 2: movie was about. He wanted people to put two and
7:37
Speaker 2: two together on their own and create their own theories
7:39
Speaker 2: and their own ideas surrounding his work and surrounding the
7:43
Speaker 2: movies that he made.
7:44
Speaker 1: Well, speaking of Stanley Kubrick, you have films like Eyes
7:50
Speaker 1: Wide Shut A Clockwork Orange, and these are somewhat conspiratorial
7:57
Speaker 1: topics that are covered in these films, And you have
8:02
Speaker 1: discovered some interesting things about Stanley Kubrick himself through research
8:08
Speaker 1: for this film, including possible intelligence ties.
8:12
Speaker 3: Is that right?
8:14
Speaker 2: Yes, we actually did a you know, we didn't go
8:18
Speaker 2: so heavy on Stanley Kubrick. There's a lot of things
8:20
Speaker 2: that we could have put in there that would not
8:23
Speaker 2: have shined a really good light on Stanley Kubrick, but
8:27
Speaker 2: we chose not to really put any a lot of
8:29
Speaker 2: those in there because it's really a lot of speculation
8:32
Speaker 2: and theorizing when it comes to the types of things
8:35
Speaker 2: that Stanley Kubrick may or may not have been doing
8:39
Speaker 2: behind closed doors. But we do have a document in
8:45
Speaker 2: the movie at Clockwork Shining where it shows that he
8:48
Speaker 2: is being looked at for some unknown governmental project along
8:52
Speaker 2: with four other filmmakers. And in the document it says
8:58
Speaker 2: that Kubrick is being looked at and he's the most
9:02
Speaker 2: promising out of all these filmmakers. And Kubrick also lived
9:06
Speaker 2: in la for a period of time with his uncle
9:11
Speaker 2: Martin Prevlare. And so then we also bring in Lookout
9:15
Speaker 2: Mountain Air Force Base, which I think is a really
9:18
Speaker 2: important part of the documentary because there used to be
9:22
Speaker 2: a hotel that set on the grounds of where the
9:26
Speaker 2: Lookout Mountain Air Force Base was. And if people weren't
9:29
Speaker 2: familiar with Lookout Mountain Air Force Base, it was basically
9:34
Speaker 2: a studio. It was a military Air Force studio where
9:37
Speaker 2: they would shoot a lot of films and more films
9:42
Speaker 2: that were ever made in Hollywood up until that point,
9:45
Speaker 2: which is really staggering, a lot of them are classified.
9:48
Speaker 2: People had top secret clearance for the place. Marilyn Monroe
9:51
Speaker 2: had top secret clearance. Ronald Reagan, James Stewart, Carrie Grant,
9:56
Speaker 2: a lot of these famous big time actors had top
9:58
Speaker 2: secret clearance and no one know what they were doing
10:01
Speaker 2: up there. And but that is the place where the
10:06
Speaker 2: atomic test footage was shot. That's where but which was
10:14
Speaker 2: done on models. They weren't actually filming a nuclear bomb
10:19
Speaker 2: dropping and exploding. I mean, people are familiar with that,
10:23
Speaker 2: people who already know about that, but it's just you know,
10:27
Speaker 2: they don't know where it was filmed in that it
10:30
Speaker 2: was you know, done on little tiny sets and little
10:33
Speaker 2: tiny models, because like, you know, the first thing that
10:36
Speaker 2: gives that a way that it's not a real atomic
10:38
Speaker 2: bomb is like, how does the camera get destroyed? You know,
10:41
Speaker 2: you're telling me that this atomic bomb destroys an entire
10:44
Speaker 2: house and all the surrounding areas, but it doesn't destroy
10:46
Speaker 2: the camera. That give me a break. It was all
10:50
Speaker 2: filmed at Lookout Mountain Air Force Studio, but there was
10:53
Speaker 2: a hotel that's set there before the Air Force brought
10:56
Speaker 2: in and made their military base there, which had a
11:01
Speaker 2: lot of film studios, recording studios, had a nuclear bunker
11:06
Speaker 2: underneath it, a helicopter pad. It was like a state
11:09
Speaker 2: of the art military base and just so happens to
11:13
Speaker 2: be positioned directly on top of Laurel Canyon, which is
11:18
Speaker 2: where all these famous Hollywood people lived in the sixties.
11:23
Speaker 2: But there used to be a hotel that sat there
11:26
Speaker 2: that was called Lookout Mountain Hotel, and we show it
11:29
Speaker 2: in our film How Lookout Mountain Hotel looked very similar
11:33
Speaker 2: to the Overlook Hotel within Stanley Kubrick's to Shining and
11:38
Speaker 2: Lookout Mountain Hotel in Laurel Canyon burnt to the ground,
11:42
Speaker 2: and in the sequel to The Shining, Doctor Sleep, the
11:51
Speaker 2: Overlook Hotel burns to the ground. So it's like all
11:56
Speaker 2: these coincidences are just kind of like adding up here,
12:00
Speaker 2: and there's so many things that I mean, there's there's
12:05
Speaker 2: so many theories about what I mean. Jay Weiner basically
12:09
Speaker 2: created the whole, you know, idea and the theory that
12:13
Speaker 2: Stanley Kubricks The Shining was a confession for faking the
12:16
Speaker 2: moon landing, and he does provide pretty good evidence for that,
12:19
Speaker 2: with Danny standing up in the hallway, the carpet looking
12:22
Speaker 2: like the Apollo eleven launch pad, him wearing the Apollo
12:26
Speaker 2: eleven shirt, him going into room two thirty seven, two
12:31
Speaker 2: hundred and thirty seven thousand miles away was what people
12:35
Speaker 2: thought that the was the distance between the Earth and
12:39
Speaker 2: the Moon at that time. So a lot of it
12:42
Speaker 2: makes sense, but when you read it through the lens
12:46
Speaker 2: of the things that we've discovered within the movie, it
12:49
Speaker 2: really takes a but it doesn't discount the other theories
12:52
Speaker 2: that people have had about The Shining, because I think
12:57
Speaker 2: a lot of them are still correct. It's just an experiment.
13:01
Speaker 2: Stanley Kubrick is running an experiment. He's not only running
13:05
Speaker 2: an experiment while he's making the movie by rewriting the
13:09
Speaker 2: script as he's filming the movie. Nobody would ever do
13:13
Speaker 2: that ever, Like, why would you be rewriting a script
13:19
Speaker 2: while you're shooting the movie. That just causes a lot
13:22
Speaker 2: of problems and a lot of issues. But we theorize
13:24
Speaker 2: and posturized within the movie that you know Kubrick was
13:29
Speaker 2: kind of pushed to take The Shining by warnerba Well.
13:33
Speaker 1: Yeah, I was just about to say. You mentioned in
13:35
Speaker 1: the film that he was kind of forced to do
13:38
Speaker 1: the film, and it was very well known that he
13:43
Speaker 1: did not like Stephen King's work at all. You also
13:47
Speaker 1: mention how the first script he submitted was approved, but
13:52
Speaker 1: then he completely altered the entire thing as the film
13:57
Speaker 1: was being made.
14:00
Speaker 2: Yeah, and that's a really big point that we make
14:05
Speaker 2: in the movie because Warner Brothers had had a really
14:08
Speaker 2: successful movie with The Extrecist and William Freaking What's the
14:13
Speaker 2: Actressist is based off of a book and supposedly off
14:15
Speaker 2: of a true story, though that story has been debunked.
14:20
Speaker 2: That true story has been debunked several times. The person
14:22
Speaker 2: that was involved the movie was supposed to be about
14:26
Speaker 2: never even existed, so it's like the entire thing was
14:29
Speaker 2: just concocted in like a huge fabrication. But regardless, William
14:33
Speaker 2: freaking directed the movie The Extrecist and it was a
14:39
Speaker 2: smash success. It was a really big success, and Warner
14:42
Speaker 2: Brothers was kind of like, hey, you know, we have this.
14:46
Speaker 2: You know, we have a pre published copy of Stephen
14:49
Speaker 2: King's The Shining you know, why don't you take this
14:52
Speaker 2: and you consider it doing it for your next film,
14:55
Speaker 2: because he had just come off of Barry Lindon and
14:57
Speaker 2: Barry Linden lost a lot of It did not do
15:01
Speaker 2: well in theaters. It was not a critical success or
15:05
Speaker 2: an audience success, so they kind of Warner Brothers was
15:08
Speaker 2: kind of like, here, read this and see you know,
15:12
Speaker 2: kind of not I don't think, really telling him that
15:14
Speaker 2: he has to do it, but kind of pushing him
15:16
Speaker 2: in that direction, because that's kind of how you know,
15:18
Speaker 2: people do. They'll just kind of plan on a seed
15:21
Speaker 2: and be like here, do this and go in this direction.
15:25
Speaker 2: And so he We theorize that it's highly likely that
15:31
Speaker 2: q Briic wrote a script for Warner Brothers that was
15:35
Speaker 2: completely different than the script that he was wanting to do,
15:38
Speaker 2: because he inevitably rewrote it, and that original script was
15:43
Speaker 2: more keen to Stephen King's book The Shining with all
15:47
Speaker 2: the paranormal aspects of The Shining, and that's a big
15:50
Speaker 2: reason why Stephen King did not like it. But he
15:52
Speaker 2: did not see the things that we have seen and
15:56
Speaker 2: what this documentary is about, so he doesn't really understand it.
15:59
Speaker 2: And I feel like that if he did understand it,
16:02
Speaker 2: he would have a change of attitude, which he has
16:04
Speaker 2: kind of changed his perspective over the years, probably because
16:07
Speaker 2: Warner Brothers ended up giving him a large amount of
16:10
Speaker 2: money to shut up about it, because all he was
16:14
Speaker 2: doing was trashing it. He was like, you know, the
16:17
Speaker 2: only thing I liked about Stanley Kubrick's The Shining was
16:20
Speaker 2: Jack Nicholson's performance. The rest of it was Garby. He's
16:23
Speaker 2: just not a direct quote, but that's just the way
16:26
Speaker 2: that he, you know, would talk about The Shining and
16:28
Speaker 2: interviews and Warner Brothers is kind of like, yo, you
16:31
Speaker 2: can't be you know, trash talk in our movie like
16:34
Speaker 2: you're doing. And so that was probably influence for Kubrick
16:38
Speaker 2: to change the script, because it's been talked about how
16:44
Speaker 2: Kubrick didn't he was so sort of an atheist and
16:48
Speaker 2: he didn't really actually believe in the supernatural or believe
16:51
Speaker 2: in the paranormal. So it makes more sense that he
16:54
Speaker 2: wanted to make things realistic. And we do know that
16:56
Speaker 2: about Kubrick, that he wanted his sets in the actor
17:00
Speaker 2: and the things that he was doing a movie on
17:02
Speaker 2: to be hyper realistic. All the props that he would
17:06
Speaker 2: use in his movies weren't actually props. They were like
17:10
Speaker 2: real products. There were everything in the storage room in
17:13
Speaker 2: the shining was all like real food. And so I
17:20
Speaker 2: think that that and there's so many other things that
17:23
Speaker 2: we point out within the movie, like Catcher and the Rye.
17:26
Speaker 2: Wendy is the first time we meet Wendy and Danny
17:30
Speaker 2: in the movie. She's reading a book by an intelligence
17:33
Speaker 2: officer named Ketcher in the Rye. The Catcher and the
17:35
Speaker 2: Rye has been reported to be a mind control Manchurian
17:41
Speaker 2: candidate MK ultra trigger for assassinations. Mark David Chapman John
17:48
Speaker 2: Hinckley were both it was both found on the scene
17:51
Speaker 2: those two major assassinations that happened within a year of
17:54
Speaker 2: the release of The Shining, which was John Lennon and
17:58
Speaker 2: the attempted assassinate of Ronald Reagan. And then when you
18:03
Speaker 2: look at because Jack is really it seems like that
18:09
Speaker 2: he's like going into the he's spiraling and into these
18:12
Speaker 2: you know, types of delusions. But whenever you re whenever
18:16
Speaker 2: you watch The Shining again, and we put it in
18:19
Speaker 2: the documentary when the first ten minutes of The Shining
18:23
Speaker 2: between Olmen, Bill Watson and Jack Torrence within The Shining
18:29
Speaker 2: really kind of give away the entire plot of the
18:33
Speaker 2: movie between that interaction there, and a lot of people
18:36
Speaker 2: think that that's the most like boring part of the movie,
18:39
Speaker 2: but they're they're telling you that exactly what's going to happen.
18:43
Speaker 2: I mean Almond which Alman looks identical to JFK in
18:47
Speaker 2: the movie, which excuse me, I don't think was an accident.
18:51
Speaker 2: I think Stanley Kubrick purposefully made him look like JFK.
18:57
Speaker 2: And the thing is that Olman is to Jack like,
19:01
Speaker 2: this isn't a physically demanding job, this is more of
19:05
Speaker 2: a psychological job. Because of the isolation and a lot
19:09
Speaker 2: of people can't handle the isolation up here at the
19:12
Speaker 2: overlook during the winter season. And then he goes on
19:15
Speaker 2: to tell him about Charles Grady. And which is a
19:20
Speaker 2: really interesting thing that was just brought up on a
19:22
Speaker 2: show that I was doing previously, is that Charles Grady's
19:25
Speaker 2: name changes within the movie. First it's Charles Grady when
19:31
Speaker 2: Ollman is talking about it, but then when Jack and
19:35
Speaker 2: Grady are talking in the bathroom, his name is Delbert Grady.
19:39
Speaker 2: So very interesting there something that I didn't really catch
19:44
Speaker 2: another Mark Dovlin. We just did an interview with Mark
19:48
Speaker 2: Devlin the other day, me and Jay Wider, and Mark
19:52
Speaker 2: brought that up, which I thought was really interesting. Maybe
19:54
Speaker 2: his full name is Charles Delbert Grady, and then they
19:57
Speaker 2: just but they didn't say Charles Brady, but Ollman says
20:01
Speaker 2: Charles Grady. Later on he's referred to as Delbra Grady.
20:04
Speaker 2: It's just a really interesting thing that I don't think
20:07
Speaker 2: that a lot of people really notice.
20:09
Speaker 1: While we're on some of the strange symbolism in the
20:13
Speaker 1: film that may indicate that Kubrick is signaling to a
20:17
Speaker 1: mind control program. What else did you guys show in
20:22
Speaker 1: the film that may point to this.
20:27
Speaker 2: Well, there are several things that I saw that no
20:29
Speaker 2: one has ever seen before, and it has never talked about.
20:32
Speaker 2: Like when Jack is in the Gold Room for the
20:36
Speaker 2: second time and he's talking to Lloyd the bartender, and
20:40
Speaker 2: there's that party that's going on there with all the people.
20:43
Speaker 2: Whenever Jack gets up and he turns around before Grady
20:48
Speaker 2: spills the alcohol on Jack, there's a lady that walks past.
20:52
Speaker 2: It looks like she has a bloody handprint on her ass.
20:54
Speaker 2: Now people have disputed this and said that it's not
20:57
Speaker 2: really a bloody handprint, but it looks like a bloody handprint.
20:59
Speaker 2: So regardless if it's a part of the dress or
21:01
Speaker 2: not a part of the dress, it looks like a
21:03
Speaker 2: bloody handprint. Okay, so give me a break. So she's
21:06
Speaker 2: actually the person that bumps in to Grady that makes
21:11
Speaker 2: him spill the alcohol on Jack. Another thing that we
21:17
Speaker 2: seen was the first time that they were in the
21:20
Speaker 2: Gold Room, when Olmen is giving a tour to Danny
21:24
Speaker 2: and not Danny, Jack and Wendy, you know, around the overlook,
21:30
Speaker 2: and they walk into the Gold Room. On the very
21:32
Speaker 2: back wall, there's a there's a Nazi swastika that's in
21:38
Speaker 2: the that's like kind of like blended into the back
21:44
Speaker 2: wall that no one has ever seen, which then correlates
21:48
Speaker 2: to what others have already pointed out about the shining,
21:52
Speaker 2: which is at the very end of the movie, when
21:58
Speaker 2: the far away picture phase to the close up picture
22:01
Speaker 2: of Jack, there's for a split second you can see
22:03
Speaker 2: a tiny little Hitler mustache on Jack's face. And also
22:07
Speaker 2: Jack is typing on a German typewriter, So there's a
22:12
Speaker 2: lot of you know, because with Project paper Clip in
22:16
Speaker 2: the German nazis coming over into the United States and
22:20
Speaker 2: basically forming NASA and like all these other and basically
22:24
Speaker 2: taking the you know, experiments from the United States and
22:27
Speaker 2: then putting them, i mean from Germany and putting them
22:30
Speaker 2: into the to the United States. Germany was among the
22:33
Speaker 2: first group of people that were trying to you know,
22:37
Speaker 2: figure out mind control. So all of that kind of
22:41
Speaker 2: adds up. And then there's also not something that I seen,
22:46
Speaker 2: but that somebody else seemed, but they interpreted it wrong.
22:50
Speaker 2: Whenever Danny first sees the twins in the movie, there's
22:55
Speaker 2: a poster on the wall on the left hand side,
22:58
Speaker 2: and if you zoom in underneath the poster says the
23:02
Speaker 2: word Monarch. And again, I wasn't the first person to
23:07
Speaker 2: notice the poster, but everybody that has noticed it before
23:12
Speaker 2: relates it to Monarch Mountain in Colorado. They relate it
23:18
Speaker 2: to this minotaur, this quebrick stare. None of them have
23:23
Speaker 2: ever mentioned before Monarch MK ultra mind control, which we
23:28
Speaker 2: have Kathy O'Brien one of the probably the most credible
23:32
Speaker 2: survivor of Monarch MK ultra mind control in the movie,
23:37
Speaker 2: and she talks about her experiences. So when you add
23:40
Speaker 2: all of these things together with the psychic driving that
23:45
Speaker 2: is going on with Jack, Jack has been made to
23:49
Speaker 2: you know, he thinks, well, Wendy thinks that he's, you know,
23:55
Speaker 2: writing a novel this entire time, but he's really not
23:58
Speaker 2: writing a novel. It's one of the most fain scenes
24:00
Speaker 2: in the movie when Wendy comes into the lobbying and
24:05
Speaker 2: is looking through Jack's all of his you know, his
24:08
Speaker 2: work and all that, and she sees that he is
24:11
Speaker 2: He's just writing the same sentence over and over and
24:14
Speaker 2: over again. That is a form of psyche driving. That's
24:19
Speaker 2: an MK ultra technique that was done by Hugh and
24:22
Speaker 2: Cameron in Canada. That was one of the things that
24:25
Speaker 2: he was most famous for, and it's to put a
24:29
Speaker 2: certain phrase or idea or thought into somebody's head to
24:34
Speaker 2: make to convince them to do whatever they want them
24:37
Speaker 2: to do. And this is a real life manifestation because
24:43
Speaker 2: in nineteen sixty eight, when Sir Hans Sirhan killed RFK,
24:48
Speaker 2: that exact same thing was done in real life. Sir
24:52
Speaker 2: Hans Sirhan's notebook was discovered and all it had written
24:56
Speaker 2: all over it was RFK Must die, RFK Must die.
24:59
Speaker 2: RFK Die, over and over and over again. So Jack
25:03
Speaker 2: within the Shining is writing out his own version of
25:07
Speaker 2: psychic driving, just like Sir Hans sir Han was doing
25:11
Speaker 2: whenever before he killed RFK.
25:15
Speaker 1: In the film, you also discussed the Laurel Canyon scene
25:20
Speaker 1: and the mega music acts to come out of that scene,
25:24
Speaker 1: and possibly some sort of mind control programs that some
25:30
Speaker 1: of these mega artists may have been subjected to, along
25:34
Speaker 1: with the fact that many of them have family members
25:38
Speaker 1: or parents with very high military connections.
25:44
Speaker 2: It's not just some of them, it's all of them,
25:46
Speaker 2: all of them in the sixties, and that's the shock
25:50
Speaker 2: and wild factor that I'm getting from a lot of
25:52
Speaker 2: people that have seen it because and I was even
25:56
Speaker 2: shocked and wild with it whenever I was first watching Chris,
26:00
Speaker 2: whenever I was making the movie, I was kind of
26:03
Speaker 2: shocked by it because I'm like, man, this really explains
26:09
Speaker 2: why that no matter how good you are at any
26:13
Speaker 2: given thing, no matter how great you could possibly be,
26:16
Speaker 2: it's more possible that you're never going to make it
26:21
Speaker 2: because you don't have the right connections, you don't have
26:23
Speaker 2: the right people behind you, you don't have the right
26:25
Speaker 2: people backing you. Your family is not a part of
26:31
Speaker 2: the right group of people. And that's what we find
26:34
Speaker 2: with so many of the musicians that came up in
26:39
Speaker 2: the sixties out of Laurel Canyon, all of their they
26:45
Speaker 2: all had a family member or mostly their dad, their father,
26:50
Speaker 2: like Jim Morrison's dad was responsible for the Gulf of
26:55
Speaker 2: Tonkin incident, false flag that got us into Vietnam War,
26:58
Speaker 2: that killed thousands of And that really makes sense because
27:03
Speaker 2: the way that Jim Morrison was acting, Jim Morrison was
27:06
Speaker 2: just like a loose cannon. He was just kind of
27:07
Speaker 2: doing whatever he wanted to do. And the reason that
27:10
Speaker 2: he was able to do that and anytime that he
27:12
Speaker 2: ever got arrested, he was immediately let out because he
27:15
Speaker 2: knew that any trouble that he would get into, he
27:18
Speaker 2: would automatically be gotten out of because his dad is
27:20
Speaker 2: this high up military naval intelligence officer. Several of them,
27:25
Speaker 2: Sharon Tate's dad was also a high up military intelligence officer.
27:30
Speaker 2: We know that the CIA was responsible for, you know,
27:34
Speaker 2: giving you know, making LSD popular and going through different
27:38
Speaker 2: channels to spread LSD into the public, and then they
27:43
Speaker 2: were responsible for creating that monster and then they were
27:46
Speaker 2: like okay, well, which was to completely destroy the anti
27:49
Speaker 2: war movement of that time. And then when everything's got
27:52
Speaker 2: out of hand with the hippie movement, they're like, oh no,
27:54
Speaker 2: what do we do? How do we get out of
27:55
Speaker 2: this scenario? Well, I know what we'll do. We'll just
27:58
Speaker 2: inject some serious and some murderers and crime into this
28:02
Speaker 2: whole thing and then make it to where people don't
28:04
Speaker 2: want to be a part of it anymore because it's
28:06
Speaker 2: associated with crime, destruction, murder, serial killers. And that's what
28:10
Speaker 2: they did with the Sharon Tate Manson murders.
28:14
Speaker 1: It's also speculated not only in your film, but with
28:17
Speaker 1: many researchers that I've spoken with that a lot of
28:21
Speaker 1: the famous serial killers from our recent history may have
28:26
Speaker 1: been subjects of some of these mind control programs.
28:31
Speaker 2: But serial killers are starting to become super popular and
28:34
Speaker 2: hyper popular right now. I've watched three movies in the
28:36
Speaker 2: past week that are brand new movies that are about
28:40
Speaker 2: serial killers, and of course serial killer are documentary and
28:44
Speaker 2: true crime is soaring right now. It's heavily popular. And
28:51
Speaker 2: it makes sense that they were that they could have
28:53
Speaker 2: been responsible for the creation of at least a lot
28:58
Speaker 2: of these types of serial killers, and which stands the
29:04
Speaker 2: reason that they could do that and then just kind
29:05
Speaker 2: of set back and be like, Okay, well somebody is
29:08
Speaker 2: going to come out and mimic this, so there, so
29:10
Speaker 2: really they only have to push a couple of people
29:12
Speaker 2: in that kind of direction to commit these types of crimes,
29:16
Speaker 2: and then they just set back, and then other people
29:17
Speaker 2: are going to get that idea in their head and
29:19
Speaker 2: they're going to go out and do it as well.
29:21
Speaker 2: So that's a little, you know, nibbet of how these
29:27
Speaker 2: things work and how agents work. They're not there to
29:30
Speaker 2: actually completely fabricate an entire thing to the point that
29:33
Speaker 2: every little detail is measured out. They're they're they're just
29:37
Speaker 2: there to push you in a certain direction, to plan
29:39
Speaker 2: a seed in order for you to capitalize. They're they
29:44
Speaker 2: just capitalize on people that they want to be able
29:51
Speaker 2: to push into a certain direction. And that's what I think.
29:56
Speaker 1: It's like, these high impact psychological events, including serial killers,
30:01
Speaker 1: they have this effect on the collective consciousness and it
30:05
Speaker 1: causes the collective to be steered in certain directions and
30:10
Speaker 1: for certain agendas to be able to be pushed through
30:14
Speaker 1: just a little bit easier. You have to look at
30:17
Speaker 1: a bigger picture of a lot of this stuff to
30:19
Speaker 1: even be able to understand the possibility that this could
30:23
Speaker 1: be happening.
30:26
Speaker 2: Yeah, I would really recommend Dave McGowan's books. I'm trying
30:34
Speaker 2: to find the name of that. We show it in
30:37
Speaker 2: our movie. It's like Program to Kill is the name
30:41
Speaker 2: of the book, Program to Kill, and Mark Devlin within
30:45
Speaker 2: the movie has a really big study on Dave McGowan's work.
30:50
Speaker 2: He actually went to Laurel Canyon with Greg Carlwood from
30:55
Speaker 2: The Higher Side Chance. They did like a whole episode
30:59
Speaker 2: of you know, traveling through Laurel Canyon and going up
31:01
Speaker 2: there and stuff, and me and Jay Widener actually went
31:04
Speaker 2: up in there too, and it's like a it's kind
31:07
Speaker 2: of a dump up in there now. It's like it's
31:10
Speaker 2: not a good place to be, which all of la
31:13
Speaker 2: is kind of like a dump, which is why we
31:16
Speaker 2: need to support independent filmmakers and people that are doing
31:20
Speaker 2: this independently. You know that now is our time to
31:23
Speaker 2: really create new things and putting new things out there
31:27
Speaker 2: and hopefully people will support and hopefully people will check
31:30
Speaker 2: it out.
31:32
Speaker 1: You mentioned Catcher in the Rye earlier. This has been
31:38
Speaker 1: such a strange connection with many assassinations throughout our recent history,
31:45
Speaker 1: and you speculate in the film that it may be
31:48
Speaker 1: possible that this could be some sort of trigger or
31:53
Speaker 1: at least associated heavily with these programs.
32:00
Speaker 2: Joe Atwell, which is also in the movie. We have
32:03
Speaker 2: Walter Bosley, which is an AFOSI Air Force special agent
32:07
Speaker 2: in the movie. We have Joe Otwell, which was a
32:10
Speaker 2: author and researcher. We have Kathy O'Brien which is a
32:14
Speaker 2: monarch MK ultra survivor, and we have Mark Devlin which
32:18
Speaker 2: is an author and a researcher, and myself and Jay
32:20
Speaker 2: Widener in the movie as well. So Catcher in the
32:25
Speaker 2: Rye has been associated with two major assassinations, John Lennon,
32:31
Speaker 2: then the attempted assassination with Ronald Reagan.
32:34
Speaker 4: And I actually have a.
32:36
Speaker 2: Book here that Mark David Chapman after he had killed
32:42
Speaker 2: John Lennon. Here's the book, one hundred Most Famous Criminals.
32:49
Speaker 2: After he had shot and killed John Lennon, he sat
32:53
Speaker 2: on the street and started reading Catcher in the Rye
32:56
Speaker 2: until the police showed up. And then in his defense
33:00
Speaker 2: in court, he stood up he said, if you want
33:03
Speaker 2: to know the reason why I committed this act, then
33:06
Speaker 2: all you got to do is read Catcher in the Rye.
33:10
Speaker 2: And then a few years later a psychologist or a
33:13
Speaker 2: psychiatrist went in to meet with Mark David Chipman in prison,
33:19
Speaker 2: and he was still reading Catcher in the Rye. So
33:25
Speaker 2: this in Catching the Rye, is one of the most
33:28
Speaker 2: popular books in American history. It's required reading for if
33:34
Speaker 2: you were in public school, which is insane when you
33:38
Speaker 2: think about it. Bit Joe Atwell within our movie at
33:41
Speaker 2: Clockwork Shining, he has a different interpretation of what was
33:45
Speaker 2: going on with Catcher in the Rye. He believes that
33:49
Speaker 2: it's he's decoded it to the point to where he
33:53
Speaker 2: thinks that it's a it's telling the story of the
33:58
Speaker 2: Masonic trajectory, a member going through the ranks and going
34:02
Speaker 2: through the lodge because it has a lot of the
34:04
Speaker 2: same types of symbolism within there, and Kubrick has a
34:09
Speaker 2: lot of Freemasonic symbolism and a lot of his movies
34:16
Speaker 2: as well. So if you want to get the full
34:19
Speaker 2: interpretation of what Joe at Well believes is going on
34:23
Speaker 2: within Catcher in the Riot, then you're gonna have to
34:25
Speaker 2: watch our movie on Amazon Prime.
34:29
Speaker 1: Going back to the possibility of some sort of mind
34:33
Speaker 1: control experiment going on at the Overlook Hotel, do you
34:37
Speaker 1: speculate in the film that, like in the MK Ultra experimentation,
34:43
Speaker 1: there could have been some sort of psychedelic substance like
34:48
Speaker 1: LSD distributed to the family somehow.
34:54
Speaker 2: Yes, there's real life examples of LSD being used on unknown,
35:04
Speaker 2: unwitting subs, you know, unwitting people, entire groups of unwitting
35:09
Speaker 2: people that have no idea that they're being dosed with LSD.
35:12
Speaker 2: And this goes back to some of the very first
35:15
Speaker 2: MK Ultra experiments that were done on the Army, which
35:20
Speaker 2: they were kind of just told that they were going
35:22
Speaker 2: to be a part of, you know, biological weapons testing.
35:27
Speaker 2: They didn't know that they were going to be pumped
35:28
Speaker 2: up with a lot of this, uh, these hallucinogenic drugs,
35:31
Speaker 2: and one of those drugs is called b Z, which
35:34
Speaker 2: BZ is like one hundred times more powerful than LSD.
35:37
Speaker 2: It would make people lose their minds for long periods
35:41
Speaker 2: of time, like weeks at a time. And they would
35:43
Speaker 2: also do open air testing with this. They would like
35:45
Speaker 2: simulate an entire military operation and then they would just
35:50
Speaker 2: spray this BZ on all of the soldiers that were
35:55
Speaker 2: a part of this simulated operation and they would like
35:58
Speaker 2: lose their minds for long periods. And that's the thing
36:02
Speaker 2: with you know, taking LSD or some kind of psychedelic
36:07
Speaker 2: Whenever you knowingly take it, you can expect that you're
36:12
Speaker 2: going to have some kind of change, some kind of
36:14
Speaker 2: head change. You're going to expect some sort of physiological
36:18
Speaker 2: change within your body and within your mind. But if
36:22
Speaker 2: you're unknowingly dosed with some sort of hallucinogenic drug, you're
36:26
Speaker 2: going to think that you're losing your mind. And what
36:29
Speaker 2: we theorize and talk about within the movie is that
36:34
Speaker 2: it's a high possibility that Lloyd the Bartender dosed Jack's
36:41
Speaker 2: drink with LSD and this is a very known thing.
36:46
Speaker 2: Operation Midnight Climax was this very thing they did, this
36:51
Speaker 2: exact same thing. They had this brothel set up where
36:55
Speaker 2: they would hire the prostitutes to unknowingly do these John's
37:01
Speaker 2: alcoholic drinks with LSD. And then you have Frank Olsen
37:07
Speaker 2: as well that we talk about in the documentary where
37:10
Speaker 2: Sidney got leave the head of the MK Ultra programs
37:13
Speaker 2: unknowingly spiked his alcoholic drink with LSD and then he
37:17
Speaker 2: jumped out of the window of his hotel room and died.
37:21
Speaker 2: So there's so many real life examples of LSD in
37:25
Speaker 2: these different psychedelic drugs being used on the public unknowingly.
37:29
Speaker 2: And then there's also even an instance where the CIA
37:32
Speaker 2: sprayed in an LSD aerosol and a whole CIA party unknowingly.
37:40
Speaker 2: So we have all these real life examples of this,
37:43
Speaker 2: and it only makes sense when you look at the
37:45
Speaker 2: way that the Shininess set up and when Jack first
37:49
Speaker 2: experiences what could be considered supernatural or paranormal things, it's
37:57
Speaker 2: only after he takes that alcoholic drink from Lloyd the bartender,
38:01
Speaker 2: and Wendy comes into the Gold Room, it was like
38:03
Speaker 2: Danny was attacked by a woman upstairs in one of
38:08
Speaker 2: the empty rooms. So he goes upstairs in the room
38:10
Speaker 2: two thirty seven, and when you walk into room two
38:13
Speaker 2: thirty seven, when you see it in the movie, it's
38:15
Speaker 2: unlike anything else that you had seen in the entire movie.
38:19
Speaker 2: Everything is super psychedelic. The collars of the carpet are
38:22
Speaker 2: very vivid. It's different than anything else any of the
38:25
Speaker 2: other sets that you see around the inside of the
38:29
Speaker 2: Overlook Hotel. And he sees the very attractive woman, which
38:34
Speaker 2: the attractive woman then turns into an elderly lady. He
38:38
Speaker 2: kind of freaks out and goes out of the room
38:40
Speaker 2: and then goes to his room with Wendy, his little
38:43
Speaker 2: apartment room, and walks in and Wendy asked him, did
38:45
Speaker 2: you see anything? Did you find anything? See anything? And
38:49
Speaker 2: he's like, no, I didn't see anything. So it's like
38:54
Speaker 2: it's like he either knows that this is some kind
38:57
Speaker 2: of an experiment. And again, Kubrick is not only doing
39:02
Speaker 2: an experiment within the movie. As he's rewriting the movie,
39:08
Speaker 2: he's doing an experiment on the actors and the way
39:10
Speaker 2: that he treated Chlly Duval, which is very reminiscent of
39:15
Speaker 2: a way that you would tear somebody down in some
39:18
Speaker 2: sort of mk ultra experiment. But it's also an experiment
39:23
Speaker 2: on the audience, so it's a triple whammy. He's not
39:27
Speaker 2: only hitting you with he's hitting you from all directions.
39:32
Speaker 1: As you said earlier, you had Kathy O'Brien on, and
39:36
Speaker 1: she also discussed how these programs would initiate trauma on
39:45
Speaker 1: the victims until they would disassociate, and it would also
39:51
Speaker 1: involve LSD often times, but trauma was the key to
39:57
Speaker 1: getting the person to dissociate it enough to where they
40:01
Speaker 1: may even be able to have some sort of psychic abilities, right.
40:07
Speaker 2: Yeah, And that's what we theorize within the movie because
40:09
Speaker 2: it's speculated that between the doctor that comes to check
40:13
Speaker 2: out Danny in the beginning of the film at Wendy
40:15
Speaker 2: and Jack's apartment in Boulder, she's basically like, this is
40:19
Speaker 2: due to a like some sort of self hypnosis that
40:22
Speaker 2: Danny is, you know, developing these kinds of abilities. And
40:26
Speaker 2: then the doctor asked when doy when did he start
40:29
Speaker 2: experiencing these types of abilities and these types of visions
40:33
Speaker 2: in these problems, and she said, well, it was after
40:38
Speaker 2: Jack broke Danny's arm. So the abuse by Jack toward
40:44
Speaker 2: Danny has inadvertently created these types of psychic abilities that
40:49
Speaker 2: Danny has within the shiny and the trauma is always
40:58
Speaker 2: the key when trying to unlock these certain psychic abilities.
41:04
Speaker 2: And we know this for a fact that several MK
41:07
Speaker 2: Ultra programs subprojects were interested in these types of psychic abilities.
41:14
Speaker 2: They were trying to break down the mental psyche of
41:17
Speaker 2: people to try and unlock or discover or bring to
41:22
Speaker 2: the forefront of the consciousness of the individual to be
41:25
Speaker 2: able to tap in to these certain psychic abilities. So
41:32
Speaker 2: it's not and then you know, Jacket later admits that
41:36
Speaker 2: later on in the film when he's talking to Lloyd
41:39
Speaker 2: the bartender for the first time, and he says that, yeah,
41:42
Speaker 2: I did hurt Danny. I did break Danny's arm. And
41:47
Speaker 2: there's this weird tension between Jack and Danny throughout the
41:51
Speaker 2: entire movie, like some kind of weird, creepy tension that's
41:55
Speaker 2: going on there, and also which we didn't put in
41:58
Speaker 2: the movie, but other people have pointed out. In the beginning,
42:01
Speaker 2: when Jack is waiting for Bill Watson, which Bill Watson
42:08
Speaker 2: is it's so interesting because Bill Watson really doesn't do
42:12
Speaker 2: anything in the entire movie. He says like maybe one
42:15
Speaker 2: or two words. It's like why is he even in there?
42:17
Speaker 2: And it seems like his character is kind of the
42:22
Speaker 2: he's kind of the director of the operation, like the experiment,
42:26
Speaker 2: the CIA experiment that's going on up at the overlook,
42:30
Speaker 2: and his resemblance to Sidney Gottlieb, which is the head
42:33
Speaker 2: of the m K Outra programs, are it's uncanny what's
42:37
Speaker 2: going on there. And we didn't put that in the
42:39
Speaker 2: movie because there really wasn't any place to kind of
42:44
Speaker 2: fit it in. There is already almost a two hour
42:46
Speaker 2: long movie, which I could have made it like three
42:48
Speaker 2: or four hours, but didn't think that anybody wanted to
42:51
Speaker 2: watch three hour four hour long documentary. Which is another
42:57
Speaker 2: thing about being an editor. You got to know when
42:59
Speaker 2: to take certain things out and when to put certain
43:02
Speaker 2: things in in the run time on any given topic.
43:06
Speaker 2: But I think that that worked out for the best.
43:08
Speaker 2: But you got this operation with Whenever Jack is waiting
43:12
Speaker 2: for Olman and Bill Watson to come and get their backs,
43:16
Speaker 2: Jack is reading a playgirl magazine out in the open.
43:23
Speaker 2: He's reading a playgirl magazine.
43:27
Speaker 1: Yeah, yeah, I'm definitely gonna have to go other.
43:29
Speaker 2: People at Yeah, and uh, you know what type of
43:36
Speaker 2: person you know reads a playgirl magazine?
43:39
Speaker 1: I don't, yeh man.
43:41
Speaker 2: So there you go. That kind of connects the uh,
43:45
Speaker 2: the nature of Jack and you know, but what he's doing.
43:51
Speaker 1: I found it very interesting you mentioned the somewhat abusive
43:56
Speaker 1: treatment of Shelley Duval by Stanley Kubrick, and you also
44:00
Speaker 1: showed that in interviews with Jack Nicholson and others, he
44:05
Speaker 1: wasn't treating them that way. I find it strange that
44:08
Speaker 1: he singled out a woman to be somewhat abusive to
44:12
Speaker 1: during the film. Any thoughts on that, Well.
44:17
Speaker 2: His excuse was is that he was trying to get
44:22
Speaker 2: a better performance out of Shelley Duval, that he didn't
44:28
Speaker 2: think that she was that great of an actor. And
44:33
Speaker 2: there's several times within the behind the scenes footage of
44:37
Speaker 2: The Shining, which we show some of in our movie,
44:41
Speaker 2: that Stanley Kubrick thinks that Shelley Duval's a lot of
44:46
Speaker 2: her acting looks fake. He's mentioned that several times to
44:52
Speaker 2: Shelley Duvall. He's like, you can't jump on every time
44:55
Speaker 2: he hits a line because it looks to fake Shelley,
44:57
Speaker 2: you know. Then we have the whole scene in our
45:00
Speaker 2: movie where he's basically berating Shelley duval for, you know,
45:05
Speaker 2: not being there on time and not doing what she's
45:07
Speaker 2: supposed to do, and the how she's holding everybody up,
45:10
Speaker 2: and that it's that it's kind of like making it
45:13
Speaker 2: not worth it for him, and Shelley Duvall was really
45:17
Speaker 2: affected by that. Her Her acting career was pretty much
45:21
Speaker 2: over after that movie came out. She was in a
45:24
Speaker 2: few other things afterwards, but it never never took off.
45:29
Speaker 2: And that's a real life example of something affecting reality
45:35
Speaker 2: that's within a movie, and there's tons of examples of
45:41
Speaker 2: that with Stanley Kubrick's movie, A Clockwork Orange did that
45:44
Speaker 2: same thing. After A Clockwork Orange got released overseas and
45:48
Speaker 2: in the UK and a few other different countries, crimes skyrocketed.
45:54
Speaker 2: There's more burglaries, there's murders that was associated with The
45:59
Speaker 2: Clockwork Orange so far to the point that Stanley Kubrick
46:04
Speaker 2: hold it he pulled a movie from several countries. And
46:09
Speaker 2: then we also talk about Sue Lyon within the movie,
46:12
Speaker 2: which has to do with Lolita and Lolita being a
46:19
Speaker 2: movie that is essentially about pedophilia, and then in real life,
46:26
Speaker 2: Sue Lyon, the person that's a star in Stanley Kubrick's
46:30
Speaker 2: movie that is about her being sexually abused by an
46:35
Speaker 2: older man, is actually being sexually abused by an older
46:39
Speaker 2: man in real life. One of Kubrick's producers in the
46:44
Speaker 2: movie as Wow. There's so many of these echoing effects
46:49
Speaker 2: between Stanley Kubrick's movies and real life. I mean, we
46:54
Speaker 2: just mentioned Catcher in the Rye. Catcher in the Rye
46:57
Speaker 2: the Shining came out in nineteen eighty two. Assassinations with
47:01
Speaker 2: the one attempt on Ronald Reagan and the other one
47:03
Speaker 2: on the one that actually went through on John Lennon
47:08
Speaker 2: was around a year after the movie came out. So
47:12
Speaker 2: how did Stanley Kubrick know to put Catcher in the
47:14
Speaker 2: Rye in the Shining. How did he know that this
47:17
Speaker 2: was going to be a big controversy and that these
47:20
Speaker 2: assassins were going to be continuously reading Catcher in the Rye.
47:25
Speaker 1: Not to give too much away, but you also discussed
47:29
Speaker 1: briefly about a missing scene that could have further clues
47:33
Speaker 1: to the real meaning of the film.
47:37
Speaker 2: Yes, Stanley Kubrick had a completely different ending to The
47:42
Speaker 2: Shining that was filmed and was released to some of
47:47
Speaker 2: the first test screenings of The Shining, and the excuse
47:53
Speaker 2: was by Stanley that the audience reactions weren't what he
47:59
Speaker 2: wanted them to be. When the movie ended, the audience
48:05
Speaker 2: would just get up and immediately leave and not sit
48:08
Speaker 2: around with their friends and with their family to try
48:11
Speaker 2: and discuss what the movie meant, which you know, Kubrick
48:14
Speaker 2: was really well known for doing that. He wanted to
48:17
Speaker 2: create a mystery within his movies, and he wanted people
48:20
Speaker 2: to discuss his movies and create their own theories and speculations.
48:23
Speaker 2: He wanted it to be a mystery because he didn't
48:26
Speaker 2: treat the audience like they were stupid like many people
48:29
Speaker 2: do nowadays. And so he decided to have his editor
48:38
Speaker 2: go to the theaters and splice the real to cut
48:43
Speaker 2: out this original ending of the movie. And we know
48:47
Speaker 2: for a fact that there was a different ending, because
48:50
Speaker 2: there are photographs of the original ending, and we also
48:54
Speaker 2: have the script of the original ending, and this original
49:00
Speaker 2: ending to the movie we believe was cut out because
49:05
Speaker 2: it completely reveals the entire plot of the movie and
49:09
Speaker 2: really hammers home the fact that this is not what
49:13
Speaker 2: we think that it is. It is something completely different.
49:16
Speaker 2: This is a psychological operation that's happening up at the overlook.
49:23
Speaker 2: This doesn't have anything to do with ghost or paranormal
49:27
Speaker 2: or supernatural things. This is these people that are portrayed
49:33
Speaker 2: as ghosts that we think our ghosts are really actors.
49:36
Speaker 1: They're LARPers.
49:38
Speaker 2: Have you seen the movie Shutter Island.
49:39
Speaker 4: Yeah, okay, so if you remember Shutter Island, the entire
49:46
Speaker 4: premise of the movie is that Leonardo DiCaprio's character is
49:50
Speaker 4: an investigator, so he shows up on this island at
49:54
Speaker 4: this insane asylum to investigate.
49:58
Speaker 2: A murder on the property.
50:00
Speaker 4: And spoiler alert for.
50:02
Speaker 2: You know Shutter Island. As you haven't seen it, then
50:04
Speaker 2: you know it's been out for a long time. It
50:11
Speaker 2: turns out at the end of the Shutter Island that
50:12
Speaker 2: all of the people within the movie are LARPing their positions.
50:19
Speaker 2: They're actors, and Leonardo DiCaprio's character within the movie is
50:24
Speaker 2: actually a patient at the hospital. So that's essentially what's
50:30
Speaker 2: going on with the shining. These people that are there
50:35
Speaker 2: are really actors, and they're they're real, physical human beings
50:45
Speaker 2: other than some of the hallucinations that Jack might be
50:48
Speaker 2: going through and some of the hallucinations that Danny might
50:52
Speaker 2: be going through. And that's why we bring in the
50:54
Speaker 2: LSD aerosol and we show the examples of that happening
50:57
Speaker 2: in real life. So it's a possibility that there is
51:02
Speaker 2: some kind of aerosol that's also being sprayed in room
51:06
Speaker 2: two thirty seven and that might have been how Danny.
51:11
Speaker 2: But Danny is also a psychic. He has psychic abilities,
51:16
Speaker 2: intuitive abilities, whatever you want to call them. He receives
51:19
Speaker 2: visions or he's able to remote view or whatever you
51:23
Speaker 2: want to classify it as. But it makes sense that
51:27
Speaker 2: Danny would be able to see these things because he's
51:31
Speaker 2: really young and he's a psychic ability. He has psychic abilities.
51:35
Speaker 2: But they're actors in this movie. They're not ghosts, they're
51:40
Speaker 2: not apparitions, they're not ghouls and goblins. And that is what,
51:45
Speaker 2: you know, I think really pissed off Stephen King within
51:50
Speaker 2: the movie because he wanted this to be you know,
51:51
Speaker 2: about the paranormal aspects and the hauntings and the Maze
51:56
Speaker 2: coming alive and being a monster in the back and
51:59
Speaker 2: grabbing them and all that. But we see how that
52:01
Speaker 2: turned out with you know, his Shining mini series that
52:06
Speaker 2: he did, it was gone awful. I can't even watch it.
52:09
Speaker 2: I can't even watch the first episode of it. It's
52:11
Speaker 2: just it's freaking horrible. And another reason might be too,
52:14
Speaker 2: is because people thought that Stanley Kubrick was going to
52:21
Speaker 2: maybe film The Shining at the Stanley the Stanley Hotel
52:25
Speaker 2: in Colorado, but then he decided not to do so.
52:29
Speaker 2: But hey, they got Stephen King's version of The Shining
52:34
Speaker 2: in that mini series film that the Stanley Hotels.
52:37
Speaker 1: Still one of the best movies of all time. When
52:40
Speaker 1: it comes to Kubrick himself, and I know we'll never
52:43
Speaker 1: really know this, the man is no longer with us,
52:46
Speaker 1: But do you think he was really trying to bring
52:49
Speaker 1: attention to this or may he have been part of
52:53
Speaker 1: some sort of more sinister program.
53:00
Speaker 2: Well, he would have had to have known about the
53:03
Speaker 2: CIA's MK Ultra programs, just based on the fact that
53:07
Speaker 2: he made a Clockwork Orange, Like that entire movie is
53:13
Speaker 2: about MK ultra and mind.
53:15
Speaker 1: Can straight up.
53:18
Speaker 2: Yeah, it's just saying it. There's also a part in
53:23
Speaker 2: Clockwork Orange where it says it almost says the word
53:29
Speaker 2: a drenochrome. It says a dream chrome. It's on the
53:32
Speaker 2: top of a like a header of like a building
53:38
Speaker 2: that says a dream chrome. Uh. So he had to
53:42
Speaker 2: have been aware at least of some of these programs,
53:48
Speaker 2: and it's quite possible that he was trying to expose
53:52
Speaker 2: it to a certain degree. But it just shows you
53:54
Speaker 2: the long lasting symbolic nature of his movies that it's
54:02
Speaker 2: just now being discovered.
54:06
Speaker 1: Let's close on this. Do you think that it's possible
54:10
Speaker 1: that these mind control programs are still being carried out
54:15
Speaker 1: in any capacity? I often wonder if they even need to.
54:20
Speaker 1: With technology we have, social media, the ease of access
54:25
Speaker 1: to pharmaceutical drugs that people have, I'm sure that they
54:31
Speaker 1: have the knowledge and know how to in a way
54:34
Speaker 1: control them remotely with the level of our technology these days.
54:40
Speaker 1: What do you think?
54:44
Speaker 2: Yeah, I think that. I mean, I don't want to
54:47
Speaker 2: be a broken record here or beat a dud horse.
54:53
Speaker 2: But they pretty much figured it out on an individual level,
54:56
Speaker 2: and then they just expanded it to a worldwide thing.
54:59
Speaker 2: But you're right, they no longer really need to do
55:02
Speaker 2: this on an individual level anymore because they can just
55:06
Speaker 2: basically control and manipulate the population through social media by
55:12
Speaker 2: curating what people see, what they can find, and what
55:14
Speaker 2: they can know, and it seems like that it's just
55:21
Speaker 2: one large MK ultra operation that's being just run on
55:27
Speaker 2: everyone collectively, and that causes so much confusion within people
55:34
Speaker 2: that they no longer know what to believe. And that's
55:37
Speaker 2: also a part of our documentary as well, with the
55:41
Speaker 2: Yuri besman Off clip that we put in there from
55:44
Speaker 2: the early eighties. After Kathy O'Brien talks talking about the
55:49
Speaker 2: MK ultra being put into our school systems, we then
55:54
Speaker 2: show a clip of Uri bezman Off talking about that
55:57
Speaker 2: if you can pump enough Marxist Leninism ideology into the
56:04
Speaker 2: soft heads of young people, then those people are going
56:10
Speaker 2: to grow up in eighteen years and those kids are
56:15
Speaker 2: now going to be the ones that will be influencing policy.
56:20
Speaker 2: They'll be the ones they'll be the leaders of the country,
56:22
Speaker 2: They'll be the ones that are in positions of power,
56:25
Speaker 2: they will be the political cabinet members, they will be
56:31
Speaker 2: the ones that are essentially in control of the country.
56:33
Speaker 2: And he said that that's one of the main ways
56:38
Speaker 2: to completely ideologically subvert an entire country is you have
56:45
Speaker 2: to control the educational system.
56:48
Speaker 1: Well, I really enjoyed the film before you head out,
56:52
Speaker 1: let the audience know once again where they can get
56:54
Speaker 1: the movie and all of your content.
57:00
Speaker 2: Yes, you can get the movie A Clockwork Shining on
57:03
Speaker 2: Amazon Prime Video. You can also get it on Apple
57:06
Speaker 2: TV Plus. Please help support my work and independent filmmakers work.
57:12
Speaker 2: You know, like I was mentioning earlier, Hollywood is basically dead.
57:17
Speaker 2: They're not putting out good work. They're done, they're fried,
57:21
Speaker 2: they're burnt. And please support independent filmmakers and purchase our
57:28
Speaker 2: movie A Clockwork Shining on Amazon Prime And if you're
57:30
Speaker 2: in another country that it's not available in, if you
57:34
Speaker 2: click the link, hopefully we can get a link in
57:35
Speaker 2: the description for the movie. Planning on posting it on
57:41
Speaker 2: my end as well, so the link will be in
57:43
Speaker 2: the description. If you can't get it in your country,
57:48
Speaker 2: it's not available on Amazon Prime if you click the link. Sometimes,
57:51
Speaker 2: if you're in the UK in the United States, you'll
57:53
Speaker 2: be able to get it for sure, But if you're
57:54
Speaker 2: anywhere else then you're probably not going to be able
57:57
Speaker 2: to get it. But if Apple TV Plus is available
58:00
Speaker 2: in your country, you can get it on there, and
58:02
Speaker 2: if it's not, then we will be figuring out a
58:06
Speaker 2: way to make it available for people everywhere in the
58:11
Speaker 2: world here soon, hopefully in a couple of months. But
58:14
Speaker 2: if you would like to figure out listen to some
58:17
Speaker 2: more of my work, you find me a Raised by
58:20
Speaker 2: Giants on YouTube and and all podcast platforms, and if
58:24
Speaker 2: you would like to reach out to me personally on
58:26
Speaker 2: ex Twitter, Raised by Giants eight and on Instagram at
58:30
Speaker 2: Raised by a Giant spot. Thanks so much, Chris, really
58:32
Speaker 2: appreciate your time, and thanks for watching my movie.
58:34
Speaker 1: Brother really appret Yes, sir, thanks again for coming on.
58:38
Speaker 1: We'll do it again, of course, and until next time, everyone,
58:41
Speaker 1: have a wonderful evening. We'll talk again tomorrow. We'll see
58:44
Speaker 1: you then.
58:45
Speaker 5: Hallucinogenic drugs, hypnosis, electric shocks to the brain some of
58:53
Speaker 5: the methods used in secret CIA mind control experiments.
58:57
Speaker 2: There are many theories as to what the Shining is
58:59
Speaker 2: really about, from the faking of the Moon landing to
59:03
Speaker 2: Native American genocide and the Holocaust.
59:05
Speaker 6: Now, if he did fake the Apollo landing, then he
59:07
Speaker 6: probably has really deep connections into the intelligence world. Why
59:13
Speaker 6: are there these gigantic continuity airs in this movie?
59:17
Speaker 7: The occulted meeting has to be comprehensible it's just hidden,
59:22
Speaker 7: usually in a very systematic way, so that it could
59:25
Speaker 7: be understood by someone coming along later on. Who knows
59:28
Speaker 7: what the real meaning is supposed to be.
59:30
Speaker 2: We believe that there's something even more sinister lurking beneath
59:35
Speaker 2: the surface of this masterful film.
59:37
Speaker 6: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
59:43
Speaker 3: You realize there's no such thing as coincidences like.
59:46
Speaker 2: That, As Lookout Mountain studios ran by the Air Force.
59:50
Speaker 4: And told the story of nuclear weapons testing by the
59:53
Speaker 4: United States of.
59:55
Speaker 1: The Army Navan Air Force.
59:57
Speaker 5: The Air Force was known to be the most excited,
1:00:01
Speaker 5: the most turned on by mk ultran its prospects.
1:00:04
Speaker 3: Reportedly, there were more films made at Lookout Mounting than
1:00:09
Speaker 3: at all the other film studios in Hollywood.
1:00:13
Speaker 6: We really don't know what these famous film directors were
1:00:16
Speaker 6: being recruited for. What project or whatever was it? The
1:00:19
Speaker 6: Moon Landing.
1:00:24
Speaker 2: The CIA's mk Ultra programs were admitted to the public
1:00:28
Speaker 2: in nineteen seventy, five, years before the release of The Shining.
1:00:33
Speaker 8: These experiments were done without the informed consent of the patients.
1:00:38
Speaker 5: Look at some UFO cases and the things that are reporting.
1:00:42
Speaker 4: Tells me that mk Ultra is likely being applied.
1:00:47
Speaker 8: My mk ultra mind control experience, I was taken to
1:00:50
Speaker 8: various military, NASA, and DARPA installations for sophisticated mind control programming.
1:01:01
Speaker 3: Walk Disney, Marilyn Monroe, James Stewart, Carry Grant, Ronald Reagan.
1:01:08
Speaker 3: Nobody really knows what they were doing.
1:01:10
Speaker 4: Up there, as well as high ranking military and Department
1:01:13
Speaker 4: of Defense personnel.
1:01:14
Speaker 6: But people don't realize is that many of the people
1:01:17
Speaker 6: that worked with Kubrick also worked with Kennedy. This is
1:01:21
Speaker 6: actually the smoking gun proving that Kubrick was working.
1:01:24
Speaker 7: With the government.
1:01:26
Speaker 3: These were all CIA sponsored experiments.
1:01:30
Speaker 2: I said, I'm not gonna hurt I'm just gonna bash.
1:01:33
Speaker 3: Your brains and putting little symbolic cryptic clues and Easter
1:01:39
Speaker 3: eggs pertaining to the fact that they're still doing it.
1:01:43
Speaker 2: His clues include a hidden swastika in the background of
1:01:48
Speaker 2: the Bard room.
1:01:49
Speaker 8: What was the set up? What it was being told?
1:01:52
Speaker 8: And realized that it was a.
1:01:55
Speaker 3: Lie all along, But right there in the narrative in
1:01:58
Speaker 3: the dialogue that telling you that this was a very
1:02:02
Speaker 3: real program coming out of those nice folks with the
1:02:05
Speaker 3: c I.
1:02:05
Speaker 6: A h.
1:02:16
Speaker 7: Stumping down Califonia.
1:02:21
Speaker 2: Here's Johnny
1:02:30
Speaker 5: M