Speaker 1: They didn't even have time to take a shower. It's good.
Speaker 2: There's no smell in the in the camera, the smell vision. Smell,
Speaker 2: no smell vision this time. Okay, so thanks Jay for
Speaker 2: joining us here. You know, in our house where we
Speaker 2: moved four years ago. We were in Mississippi, coming from
Speaker 2: Los Angeles. We put this festival together, all films against
Speaker 2: the Machines. We just finished it last night and thought
Speaker 2: it was great. And then we you know, we had
Speaker 2: you and that brought a lot of people, which was
Speaker 2: really really cool. And I was so pleased yesterday to
Speaker 2: see all these young guys coming and they were like really,
Speaker 2: I mean they drove from far to come and see you,
Speaker 2: and that was like very.
Speaker 1: That was great.
Speaker 3: We haven't forgot how to tap into the young ladies yet,
Speaker 3: like we're trying to get that with Jamie, but like, yeah,
Speaker 3: I always have like a bunch of dues this show,
Speaker 3: which is which is cool.
Speaker 4: I appreciate that.
Speaker 3: But it was a lot of fun. In fact, we've
Speaker 3: done a few film festivals. This was the most fun.
Speaker 3: I was telling Jamie because the other ones, they're a
Speaker 3: little more corny, they're a little more tongue in cheek,
Speaker 3: I enjoyed that this had, you know, some serious films,
Speaker 3: some serious ideas, and as your wife was saying, this
Speaker 3: is art. It's not just comedy, it's not just satire.
Speaker 2: I mean originally, so we showed this movie The Vampire
Speaker 2: Project here a few years ago, and then that was
Speaker 2: finally the premiere. We thought we could do just the premiere. Oh,
Speaker 2: we can try to make it bigger and instead of
Speaker 2: just advertising one movie, let's advertise a way of making movies.
Speaker 2: And the general or goal of the festival was to
Speaker 2: have films with meanings. And what's important is that the
Speaker 2: actors have something to say.
Speaker 5: Little by little, the couple starts getting suspicious that he's
Speaker 5: actually murdering people in the camper.
Speaker 6: Oh okay, but what's the angle? What's the angle?
Speaker 7: What do you mean? What's the angle? It sounds like
Speaker 7: a big dated.
Speaker 6: It needs to be more inclusive.
Speaker 3: You know, there are a lot of convicts who are
Speaker 3: transitioning into women while they're in prison.
Speaker 7: Right, what does that have to do with my story.
Speaker 3: I'm just saying that transgenders are very trendy right now.
Speaker 6: It would really help with the.
Speaker 2: Festivals because nowadays, when you see all these movies you
Speaker 2: can nearly see that they have absolutely nothing to say
Speaker 2: besides I want more money.
Speaker 7: What if the couple is a gay couple who moved
Speaker 7: to the countryside, That could work.
Speaker 5: This is a horror movie, not a Hallmark rom com.
Speaker 2: We also had Mike Smith who made that documentary Out
Speaker 2: of Shadows and I'm sure you've seen Out of Shadows,
Speaker 2: but not the new one.
Speaker 1: Into the Right.
Speaker 2: It's a very important movie, and then we played it
Speaker 2: to open the festival because it was kind of covering
Speaker 2: all bases of everything we wanted to talk about.
Speaker 1: Doing the festival.
Speaker 3: We touched on psychological operations and Out of Shadows, but
Speaker 3: we've gone deeper. These types of operations didn't just go away.
Speaker 3: They continue to evolve in step with technology.
Speaker 8: It's the most insidious type of warfare because it's designed
Speaker 8: to change a person's entire perspective, short term or long term.
Speaker 4: That's not to be reversed.
Speaker 6: Cruising sho.
Speaker 4: Most people like all care about what's fifty feet from
Speaker 4: their door.
Speaker 2: His festival was important to us is to bring people together,
Speaker 2: and what was fascinating is that we had people actually
Speaker 2: coming from all sides because we had a good selection
Speaker 2: of short films as well, and there were some interesting movies,
Speaker 2: but you could feel like the writers or directors were
Speaker 2: more like from the the liberal side. And we were
Speaker 2: able to have actually conversations with Mike Smith, who's, you know,
Speaker 2: hardcore Christian conservative, and I know I shouldn't say that
Speaker 2: actually because it's not is way more open minded that
Speaker 2: He is an amazing guy, so I don't want people
Speaker 2: to pigeon hole him in that. But you talk a
Speaker 2: lot about the same stuff, So I hope maybe maybe
Speaker 2: we can organize like a lot of talk the first
Speaker 2: time we do a podcast. As I was telling you earlier,
Speaker 2: I'm not a guy who's usually in front of the camera.
Speaker 2: I don't necessarily enjoy it, but I love to talk.
Speaker 2: I love to talk about movies, and I love to
Speaker 2: talk how important they are in the cultural aspect of things,
Speaker 2: especially in America. And I feel saddened by the fact
Speaker 2: that it feels like the younger audience are like not
Speaker 2: that much interested in movies anymore. They are more like
Speaker 2: in too short form and stuff that's like two three
Speaker 2: minutes and they can watch like little videos for hours.
Speaker 2: I'd love to hear you take on that, and what
Speaker 2: could be a way to bring back this younger audience
Speaker 2: to the to the not only to watch movies, but
Speaker 2: to come see them in movie theater.
Speaker 7: Right.
Speaker 3: It reminds me of the story where David Lanche always
Speaker 3: tells it when he was on an airplane and he
Speaker 3: saw somebody watching his movie on a phone, and he said,
Speaker 3: why the hell are you watching my movie on a phone?
Speaker 4: Yeah, it's like, it's not made for that. It doesn't
Speaker 4: make any sense. Right. It would be like, I don't know,
Speaker 4: you know.
Speaker 3: I went to the louver, but I watched it on YouTube,
Speaker 3: so I've been It doesn't make any sense. You didn't
Speaker 3: actually go there, you didn't actually do it. So one
Speaker 3: problem is that the Internet is creating this idea of abstraction,
Speaker 3: that everything is and can be done not in person
Speaker 3: or not in reality, but through the screen. And even
Speaker 3: though movies are a screen, it's still meant to be
Speaker 3: done in an audience in a theatrical setting. That's the
Speaker 3: whole purpose I think of film. It needs to be
Speaker 3: long form. It's always been long form for the most part,
Speaker 3: except for like the earliest films, but that was just
Speaker 3: due to limitations of the technology. But even some of
Speaker 3: the earliest like long form projects. You know, we're very popular,
Speaker 3: but I think.
Speaker 4: That the reason for this is that people have had
Speaker 4: their attention spans intentionally destroyed.
Speaker 3: My wife did a podcast on one of the top
Speaker 3: Silicon Valley programmer guys, Jaron Lanier, the dude with the dreads.
Speaker 3: He doesn't look like a Silicon Valley guy, but he
Speaker 3: wrote a book and ten years ago talking about how
Speaker 3: the purpose of the infinite scroll is to just addict you,
Speaker 3: and it's an a dopamine like trap. But they found
Speaker 3: that the shorter form content was the means to do that,
Speaker 3: and so when TikTok and things like the reels came out.
Speaker 4: That's intentionally there to addict you.
Speaker 3: But I think they also knew that it would have
Speaker 3: the effect of destroying the attention span, so that people
Speaker 3: couldn't even read a book, much less set through a
Speaker 3: two hour film. And now we're at the point where
Speaker 3: people have to have the constant simulation. And it's exactly
Speaker 3: what Orwell said, where you destroy the language, you destroy
Speaker 3: the attention span. Bert and Russell, many of these other
Speaker 3: sort of technocratic minded people said the exact same thing.
Speaker 4: So it's absolutely by design.
Speaker 2: Yes, And also, like we are talking about that yesterday,
Speaker 2: like the fact that we went from a widescreen format
Speaker 2: aspect ratio where it broadens your views of things, and
Speaker 2: now everything is becoming to the point where people are
Speaker 2: watching on tyle movies vertical movies to me, and it's
Speaker 2: so symbolic the fact that now things look so so
Speaker 2: narrow and then everything is said there, you know, like
Speaker 2: what can you you You don't see beyond everything because
Speaker 2: now you have the main guy or girl or else.
Speaker 4: The guy, the girl in the third possession.
Speaker 2: And all the others and in the center, and then
Speaker 2: you don't have room for anything else to see what's
Speaker 2: beyond that, what's behind and and and.
Speaker 1: All the layers are gone. You have that thing and
Speaker 1: that's it.
Speaker 2: I think it's extremely sad to see that they're really
Speaker 2: pushing for people to get addicted to that format with
Speaker 2: the new the new micro dramas they call them. And
Speaker 2: when I heard about that that it's becoming a gigantic
Speaker 2: market in China right now, you're talking about billions of dollars.
Speaker 2: It's it's extremely depressing and everything that can be done
Speaker 2: to to I mean, I wouldn't say reverse that because
Speaker 2: it's but to to try to to move away from
Speaker 2: that trend.
Speaker 3: I think it's really only like the art hew the
Speaker 3: theater is like we have one in Nationale called the
Speaker 3: Bellcourt and they will often play thirty five millimeter and
Speaker 3: sort of the longer frame, wider frame films in the
Speaker 3: old real style, the way.
Speaker 4: That they're supposed to be played.
Speaker 3: I saw if they live there in that format, and
Speaker 3: it was really cool.
Speaker 4: It was great.
Speaker 3: But that's being lost with this almost omnipresent takeer this
Speaker 3: of this ridiculous smartphone.
Speaker 4: I absolutely hate the smartphone.
Speaker 3: I don't know what we can do to stop it,
Speaker 3: but if you destroy the attention spans, then they're not
Speaker 3: going to be able to do it. It's actually I
Speaker 3: think psychologically it's like brain damage to because you can't
Speaker 3: focus even on I think I read something like attention
Speaker 3: spans are down to like eight seconds in the younger people. Yeah,
Speaker 3: so I mean that's it's dystopian. I mean it's Orwellian explicitly.
Speaker 3: So I don't know what the healing of it is
Speaker 3: other than too. I always tell people like basic principles.
Speaker 3: I mean, you have the right idea. I think you
Speaker 3: guys left the big city. You know, you came out
Speaker 3: to the country. That's a good thing to do. Home
Speaker 3: setting is what a lot of people are doing. This
Speaker 3: is that's great, this is what you're doing. I recommend
Speaker 3: people look into bitcoin, look into gold, alternative ways to
Speaker 3: you know.
Speaker 4: Store value.
Speaker 3: I keep trying to tell young guys, because we have
Speaker 3: a lot of young guys in our audience, to like
Speaker 3: start to draw down your Internet time, get off of TikTok,
Speaker 3: especially in those kinds of things, and cut your Internet
Speaker 3: time down to maybe maximum an hour hour or two
Speaker 3: hours a day. If you're going to use the internet,
Speaker 3: only do it for productive purposes. Only try to do
Speaker 3: like audio. So like when we do podcasts, because we're
Speaker 3: when we listen to podcasts on the road, it's almost
Speaker 3: always just audio format, and we try to avoid we
Speaker 3: don't watch stuff on our phone like movies or anything
Speaker 3: like that. So I would try to encourage people to
Speaker 3: continue to do that because everyone else is just sort
Speaker 3: of stepping into the matrix.
Speaker 4: Yeah.
Speaker 3: In fact, all the Silicon Valley people themselves don't let
Speaker 3: their kids live on the internet, have iPads, They fast
Speaker 3: from the Internet for like extended periods of time. Also,
Speaker 3: I would say, you know, like you said, get into
Speaker 3: alternative information. Don't listen to mainstream media. It's a largely
Speaker 3: psychological operations propaganda anyway. Yeah, and you know, I believe
Speaker 3: in finding a good church, or Orthodox church in my case,
Speaker 3: so finding some good spiritual balance in your life as well.
Speaker 3: All of those things can contribute, I think to healing.
Speaker 3: As we go into a really.
Speaker 2: Dark time, people only, I think, start to react once
Speaker 2: they already feel the pain. And that's also one of
Speaker 2: the the purpose of these phones is to ease the pain.
Speaker 2: So people are don't really feel the pain as long
Speaker 2: as they have the iPhones and they have the undepamine
Speaker 2: and stuff, so that then they don't find a good
Speaker 2: reason to change really anything.
Speaker 3: I recommend people get back to reading books. Read the
Speaker 3: classics of Western civilization and read philosophy. Read these kinds
Speaker 3: of texts, get into good literature. Literature is something that
Speaker 3: people think is like, oh, that's what chicks read or whatever. No, no, no,
Speaker 3: like Oprah's book list is not literature, right. You need
Speaker 3: to read the classics. You need to be familiar with Shakespeare,
Speaker 3: you need to be familiar with Homer, with Dante. You know,
Speaker 3: all these things should be part of a well rounded
Speaker 3: man's education and all that's been lost so by design.
Speaker 3: By the way, Berts and Russell said that we'll have
Speaker 3: to get rid of reading the classics because the classics
Speaker 3: might inspire you to be adventurous, and he says, you
Speaker 3: can't be adventurous in the dystopia and the technocracy.
Speaker 1: So books.
Speaker 2: That's why we want to also create this publishing company
Speaker 2: to publish, like you know, public domain, very very important
Speaker 2: books like I don't know, top of my head, like
Speaker 2: even read the car March, because you know the notion
Speaker 2: of communism. It's interesting that you know, everybody you know
Speaker 2: in America communist is the enemy, but most.
Speaker 1: People they don't even know what it means.
Speaker 2: You talk about communism in France means something completely different,
Speaker 2: and of course you go to Russia it means something
Speaker 2: completely different, and in China it means something completely different.
Speaker 2: And the only way to understand the soblety is which
Speaker 2: not even subleties at this point, because some people see
Speaker 2: something completely different in their mind because they don't know.
Speaker 2: It's important that people start reading to go to the
Speaker 2: root of things and try to understand. But the problem
Speaker 2: that does so much, you know, so where to start.
Speaker 2: So that's why I think I really like this French
Speaker 2: thinker and Soil because he's doing a lot of the
Speaker 2: educational thing with his publishing company. But in France, the
Speaker 2: thing is that people read more. In general, I think
Speaker 2: on culture. Like I was telling my wife the other day,
Speaker 2: like culture is part of the culture in France.
Speaker 4: Here.
Speaker 2: I mean, we discover in the festival that it wasn't
Speaker 2: really that. When I see a movie. Now I don't
Speaker 2: see the movie anymore. I see why the movie was made,
Speaker 2: you know, That's what I was saying earlier, like that
Speaker 2: film is just the reflection of its financing. And we
Speaker 2: were playing a very interesting movie about art that was
Speaker 2: made by a friend, and then it's about an artist,
Speaker 2: and what the movie says is that the piece of
Speaker 2: art is the reflection of who the author is. And
Speaker 2: now for movies, it's not really true anymore because it's
Speaker 2: the reflection of who financed the movie. Talking about Zionism,
Speaker 2: for example, when I saw recently Rebel Moon.
Speaker 1: You've seen that it's a film.
Speaker 2: About Hollywood Jewish power controlling the narrative.
Speaker 1: It's a movie. Watch it because it's a case study. Almost.
Speaker 2: It's so blatant in your face that that you know
Speaker 2: you have the bad dad is the white people, and
Speaker 2: then the the diversity to push. All the good people
Speaker 2: are all the colors of Bennetta and and.
Speaker 3: They are the good guys, the rainbow coalition as who
Speaker 3: overthrows And then you can see all this agenda and
Speaker 3: then you know it's made by entirely that that power.
Speaker 2: That was like fascinating, And then very few people actually
Speaker 2: see that narrative. When they watch the movie, they see
Speaker 2: they see the work aspect of it, but they don't
Speaker 2: go beyond beyond.
Speaker 4: They say it's walk.
Speaker 2: But the way it works, in my opinion, is that
Speaker 2: the work aspect is everywhere, so people don't even pay
Speaker 2: attention to it anymore. I think the time factor. People
Speaker 2: don't usually take it into consideration, and everything takes a
Speaker 2: lot of time to get to where it's going.
Speaker 3: Yeah, I wrote and as Ali with three, which is
Speaker 3: about to come out a rot a whole section kind
Speaker 3: of analyzing Black Mirror in depth, because Black Mirror moved
Speaker 3: from being a very potent critique of technocracy in the
Speaker 3: first couple of seasons to becoming more and more woke,
Speaker 3: and then it turned into basically almost like a racial
Speaker 3: resentmt revenge narrative where black people oppressed people could then
Speaker 3: sort of enact their fantasies upon their oppressors, especially in
Speaker 3: one of the later episodes, which is just totally like
Speaker 3: deviated away from you know, the original sort of what
Speaker 3: was his name, Charlie Brooker's critiques of like Tony Blair
Speaker 3: and uh David Cameron government that then turned into everything
Speaker 3: being totally woke. So now the idea, I think is that,
Speaker 3: you know, Schpengler talked about if you open the borders
Speaker 3: and you let everyone come in, what happens is eventually
Speaker 3: the people that come in take over, and that can
Speaker 3: be by design.
Speaker 1: So it can be it is right.
Speaker 3: Well, I think when he was writing he was kind
Speaker 3: of like, I don't think he knew necessarily how bad
Speaker 3: it could get, I think, but I mean his prediction
Speaker 3: about the Client the West was pretty accurate in terms
Speaker 3: of how it would happen. And what's funny is that
Speaker 3: that text, which is a kind of a formative historical
Speaker 3: geopolitical text, people like Kissinger wrote dissertations on that book
Speaker 3: that kind of became a game plan because early on
Speaker 3: at Tavistok they studied decline of the West as a
Speaker 3: way to actually.
Speaker 4: Decline the West.
Speaker 3: It wasn't written as a manual, but then they figured
Speaker 3: out actually what he's talking about could be a means,
Speaker 3: and then you get people like Kundenhof Kolergi. In his
Speaker 3: book Practical Idealism, he says basically the same pattern of
Speaker 3: how massive open borders could could totally change the entire
Speaker 3: demographic of all of the West. So that's a big
Speaker 3: part of it, and the films have to promote that.
Speaker 3: For example, in America, we've had so many films promoting
Speaker 3: the idea that all of the immigrants are sort of heroic,
Speaker 3: noble savior people.
Speaker 4: And then everybody who.
Speaker 3: Wants to have like a wall or a border or
Speaker 3: anything like that the oppress of Nazi, fascist, et cetera,
Speaker 3: which is just crazy because I mean, China has a
Speaker 3: giant wall around it, like they built a wall. Does
Speaker 3: that make them fascist? I mean, it's just it doesn't
Speaker 3: make any sense. Everything's divorced from its actual historical.
Speaker 4: Context and meaning. But that's postmodern, right.
Speaker 3: I Mean, I was having a conversation the other day
Speaker 3: with some people about symbols and memes, and they were
Speaker 3: pointing out that the meme magic is actually in the
Speaker 3: same applies to cinema as iconography, like you can now
Speaker 3: through the postmodern deconstructionist attitude, like you can give it
Speaker 3: its own meaning. Meaning isn't something that you're studying and getting.
Speaker 3: You're just importing your own meaning into it. And that
Speaker 3: means that they can retool the archetypes to socially engineer.
Speaker 3: I'm reading Changing Image as a Man right now, and
Speaker 3: there's a whole chapter on retooling archetypes for the culture.
Speaker 3: So it's like cultural Marxist studies in retooling the culture
Speaker 3: to make everybody complacent, masculated, you know, all the stuff
Speaker 3: that the left wants is actually a social engineering weapon.
Speaker 4: Yeah, as you know.
Speaker 3: But I mean it's just like it's crazy to see
Speaker 3: textbooks actually kind of.
Speaker 4: Describe the process.
Speaker 3: Yes, so it's not just us theorizing about it, Like, no,
Speaker 3: there's an actual textbook that tells.
Speaker 1: To go back to the movies.
Speaker 2: I remember that year when they gave the Oscar for
Speaker 2: Best Picture to Parasite, and it's like it shows the
Speaker 2: total nonsense of Hollywood because it's a Korean movie that
Speaker 2: has absolutely nothing to do as the best picture in
Speaker 2: an American competition.
Speaker 1: My theory on.
Speaker 2: That is that I believe that there are most likely
Speaker 2: deals and the oscars and affection there are deals from
Speaker 2: countries to countries like Korea.
Speaker 1: Maybe has helped America.
Speaker 2: America says okay, we're gonna yeah, let's give an oscar.
Speaker 4: It becomes propaganda for preser.
Speaker 1: Yeah exactly.
Speaker 2: And it helps, you know, because at this point and
Speaker 2: we're very close to all the film markets. They had
Speaker 2: to understand because it's also part of why film films
Speaker 2: get made or not. And it's interesting to see like
Speaker 2: it gave a huge boost to Korean movies because of that,
Speaker 2: and so that was great for the whole Korean industry. Interesting,
Speaker 2: and people don't understand that the Oscars, they are not
Speaker 2: giving the oscar to the best act it's for the
Speaker 2: They're awarding people who are the best soldiers for the
Speaker 2: established system. The systems right, They're there to promote this
Speaker 2: and that, and actors, some of them they really believed
Speaker 2: that they were the best actors.
Speaker 4: And that's always what was it last year?
Speaker 3: I mean, I don't really care for musicals, but I
Speaker 3: mean I could recognize that the trans musical was was
Speaker 3: I mean, I heard some of the singing.
Speaker 4: It was preposterous.
Speaker 3: But they gave the word to that over Wizard of Oz,
Speaker 3: which had you know, like actual singers, and which is
Speaker 3: again it's only done right for like the oppression Olympics
Speaker 3: to give awards, right, who's the most oppressed.
Speaker 4: So yeah, that's all by design.
Speaker 3: I mean all of these awards, all of these things,
Speaker 3: including Nobel, I mean all that stuff is really given
Speaker 3: to Remember they gave the Nobel to Obama and what
Speaker 3: he was like he was doing like drone attacks, and
Speaker 3: they're giving.
Speaker 4: The Peace Prize.
Speaker 3: So yeah, it's all that's all propaganda. But I didn't
Speaker 3: even know or about about the whole relationship between you know,
Speaker 3: the Korean film market. I remember when Parasite one and then.
Speaker 2: Because why would this movie, Yeah, it's a decent movie,
Speaker 2: I think it was. It was a pretty good movie.
Speaker 2: That yeah, I don't think it was as good as
Speaker 2: they was saying. But but why would they suddenly out
Speaker 2: of nowhere give Best Picture to a film that's from Korea?
Speaker 4: You know, it's a kind of globalism already, right, I mean, like, but.
Speaker 1: There is a selection for so why you know?
Speaker 2: To me, like they did the same with the artist,
Speaker 2: I think not did he want the artists. I think
Speaker 2: it did same thing, so there's probably like some deals
Speaker 2: with I mean, that's what I suspect to be wrong.
Speaker 2: Have you seen this movie called American Maid with some cruise.
Speaker 4: Yeah, we did the podcast.
Speaker 2: Yeah, the year it was released. I thought that was
Speaker 2: probably one of the best themes of the year. That's
Speaker 2: great and it was completely on the radar. That movie
Speaker 2: was not that should have been nominated for an oscar
Speaker 2: in my opinion.
Speaker 3: Yeah, based on real real you know, espionage US.
Speaker 2: And it's completely crazy, very when you know that actually happened.
Speaker 2: I mean it's probably not exactly like that, but you know,
Speaker 2: a general concept that happens, what's going on.
Speaker 1: This movie should have.
Speaker 2: Been a huge success and people should be learning from
Speaker 2: that movie, so we don't do the same ever again.
Speaker 1: And yet yeah, we are.
Speaker 4: To under the radar area. I thought it was great.
Speaker 3: Remember we did a podcast at the time, and I
Speaker 3: actually had the guy that wrote a couple of books
Speaker 3: on very Seal. When that movie came out, he mailed
Speaker 3: me his books on very Seal.
Speaker 4: Yeah.
Speaker 3: Yeah, I really enjoyed the film.
Speaker 4: I thought it was a lot of fun. I like
Speaker 4: Kevin Sorbo, never met him, so it was nice to
Speaker 4: talk to him. Yeah, I enjoyed your approach.
Speaker 3: It's it's satire, it's meta, it's it's playing with you know, reality,
Speaker 3: and it's almost surrealist in a way. I enjoyed the
Speaker 3: influences that you have have some you know, your influences
Speaker 3: are a lot of directors that I really enjoy. So
Speaker 3: Jamie and I talked about we're going to do a
Speaker 3: podcast on your movie and other films like it, so
Speaker 3: I kind of group it together thematically. When we do
Speaker 3: podcasts on film, we usually put them in a thematic framework,
Speaker 3: so we'll have that in there and you know, have
Speaker 3: you guys on.
Speaker 4: If you want to come on and do an interview
Speaker 4: or something.
Speaker 1: Yeah, yeah, of course.
Speaker 7: Yeah.
Speaker 4: I enjoyed the film. I want to promote it. I think.
Speaker 3: The way Kevin Sorbo that had that great line, you know,
Speaker 3: how will they know what's real?
Speaker 4: You know, they don't know what reality is. How are
Speaker 4: they going to know? So the film is playing with reality,
Speaker 4: and that's perfect.
Speaker 3: Because we don't know what reality is, especially through this
Speaker 3: mainstream media matrix, and people are given a false reality,
Speaker 3: so they don't know what reality is. Yeah, and that
Speaker 3: character in the film is basically saying we can give
Speaker 3: people a fake reality.
Speaker 5: Okay, so in the story, the writer named Chris, I
Speaker 5: thought some of the characters could have real life names
Speaker 5: like us to keep it a bit more authentic and
Speaker 5: grounded in reality. We could even say at the beginning
Speaker 5: of the film that this movie is based on real events?
Speaker 6: But is it?
Speaker 7: Is it? What?
Speaker 6: Based on reality?
Speaker 7: Yeah? Yeah, I mean kind of.
Speaker 8: But how will the audience know it's based on reality
Speaker 8: if they don't know what reality you're talking about?
Speaker 5: Well, because the reality of the story is based on
Speaker 5: our reality, which then becomes the reality of the movie. Sorry,
Speaker 5: you've got me a fitm.
Speaker 6: It's my fault. I'm sorry. Please please continue.
Speaker 2: And we didn't even have time to touch up about
Speaker 2: the topic of AI. But it's two or two as
Speaker 2: we'll do that next time.
Speaker 3: Well, I was going to say on the topic of AI,
Speaker 3: I did read you know to and lecture through a
Speaker 3: couple of Jacques Attalie books, who's you know, the Kissinger
Speaker 3: of France. He's a total globalist, but his books are
Speaker 3: really interesting because they admit so much. I tell you
Speaker 3: everything you need to know everything, right, So in Brief
Speaker 3: History of the Future, he actually says, we will create
Speaker 3: the global brain. Everybody will be sort of integrated with AI.
Speaker 3: It'll be a giant hes A column. Yeah, he says,
Speaker 3: it's a column. So he's telling you quite a bit.
Speaker 2: And we have a line about that even in Vampire Project,
Speaker 2: when at some point he said, if you listen carefully,
Speaker 2: people tell you everything you need to know.
Speaker 4: I'm just messing with you.
Speaker 1: My mom is not alive.
Speaker 6: It's just my wife and I live here.
Speaker 7: See, if you listen carefully, sometimes people will tell you
Speaker 7: everything you want to know.
Speaker 1: It's like and we have so many lines.
Speaker 2: One was recorded here actually, when when he brings the
Speaker 2: dress and he says.
Speaker 5: When you think about it, how else could this have happened?
Speaker 5: Somebody snuck in and hit it in our bed?
Speaker 2: Are you telling me it happened that way because it
Speaker 2: happened that way, or because he told you it happen
Speaker 2: that way, because you can explain why just about anything
Speaker 2: like that. And there's a lot of lines in the
Speaker 2: movie that talk about like a lot of different things
Speaker 2: that should resonate. And I think we're still going to
Speaker 2: add on the movie that it's happened in twenty twenty
Speaker 2: or twenty twenty one to because there are lines that
Speaker 2: resonated much better about the whole natural causes when people die,
Speaker 2: you know the recapitation and say, yeah, it was said
Speaker 2: it was natural causes.
Speaker 6: She was found dead on despair.
Speaker 5: Okay, that's pretty typical, right, Old folks die in their
Speaker 5: sleep all the time. It's actually not a bad way
Speaker 5: to go. You go to sleep alive, you wake up
Speaker 5: to bed.
Speaker 9: Take The only difference is they never have found her
Speaker 9: head when she died. Oh my bad, that he's dead.
Speaker 5: What do you mean they never found her head.
Speaker 6: She was found dead on this bed.
Speaker 9: At least found the body, but no one had She
Speaker 9: had no family, so no one knew she had died.
Speaker 7: That qualifies as murder, then, doesn't it.
Speaker 5: I mean, people naturally die in their sleep all the time,
Speaker 5: but nobody gets natural decapitated in their sleep.
Speaker 6: Well, I know that no one she was performed because
Speaker 6: she had no family, and the.
Speaker 9: Death certificate it says that she just died of natural causes.
Speaker 6: Officially, it's not a manda. Natural causes.
Speaker 2: Yeah, at the time, the world's natural causes. At the
Speaker 2: time of COVID, they had a you know, the different
Speaker 2: meaning and the movie a few years later we kind
Speaker 2: of lose that a little bit.
Speaker 4: I think people can still like I still got it.
Speaker 1: Yeah you got what it was.
Speaker 6: Yeah, but.
Speaker 3: Yes, very timely and I really enjoyed it and it
Speaker 3: was great to be here, and yeah, we should talk
Speaker 3: about more of the more of what Jacquetta Lee talks
Speaker 3: about his text and all that. I think it was
Speaker 3: a French Canadian watcher viewer of my stuff that actually said, hey,
Speaker 3: this is maybe five or six years old, said you
Speaker 3: should read Brief History of the Future because Alto wrote
Speaker 3: this in two thousand and six and it basically predicts
Speaker 3: everything in terms of where we are now.
Speaker 2: If you read The Great Reset by clouds Now the
Speaker 2: French guy actually and if you read that, they tell
Speaker 2: you everything in exactly and then that's time to do
Speaker 2: something about it.
Speaker 4: That's exactly. That's why we're here. Absolutely, Thank you so great,
Speaker 4: Thank you so much day.
Speaker 2: We appreciate it, and it's and let's continue that next time.
Speaker 1: Thank you.
Speaker 7: Done.
Speaker 6: So what's next?
Speaker 7: We go get some money and make a movie. I
Speaker 7: wish it would let you be.
Speaker 6: It could be best friend's calling. Ali has good timing.
Speaker 7: How's everything going in Mississippi? The Happy you moved out?
Speaker 7: Of La couldn't be happier.
Speaker 6: I received a call yesterday from this gentleman.
Speaker 7: He used to live in LA but recently.
Speaker 6: Then not too far from you.
Speaker 7: I believe he wants to finance a horrible.
Speaker 5: This is where they shot the film The Vampire Project.
Speaker 7: The plot thickens.
Speaker 6: You must speak this.
Speaker 9: I am recently, but some properties in the area, they
Speaker 9: would be a perfect place to shoot a.
Speaker 6: Help or to film it.
Speaker 7: Oh like what they did here.
Speaker 6: It's more complicated place. Looks like they need an extracism
Speaker 6: like for these houses. These two properties were scenes of
Speaker 6: violent murders.
Speaker 5: I'm not saying anything about a murder that happened in
Speaker 5: that house, Philip, this guy is just full of shit most.
Speaker 9: Likely, but is our best bet at getting some money
Speaker 9: short term.
Speaker 6: Okay, why don't you put in your wife?
Speaker 7: How does he know that I'm married? Where is he
Speaker 7: taking us? Is this a castle?
Speaker 6: Such a pleasure to me?
Speaker 7: Janey, did you say somebody was killed in us? Why
Speaker 7: don't we write a script based on some of the stories?
Speaker 6: He told me, thinking motivate vampire moment.
Speaker 7: He wore a mask during the day, he takes it
Speaker 7: off at night. He's told me about a million times,
Speaker 7: how much he likes vampires.
Speaker 6: Do not tell me you actually believe he's a vampire.
Speaker 7: Doesn't it seem a little strange? What's going on? Man?
Speaker 7: How's the pitch?
Speaker 6: You'll see it's a vampire story, right.
Speaker 7: I had a different idea to go in a different direction.
Speaker 7: It's based in reality.
Speaker 8: How can the audience know it's based on reality if
Speaker 8: they don't know what reality you're talking about?
Speaker 9: Please make vampire have no idea where this is going?
Speaker 1: What was that?
Speaker 6: How does it end?
Speaker 7: Not one under sure yet?
Speaker 4: Sounds complicated.