WEBVTT

1
00:00:13.039 --> 00:00:17.120
<v Speaker 1>December eighteenth, twenty twenty four, allegedly according to that thing

2
00:00:17.160 --> 00:00:20.000
<v Speaker 1>we call a calendar. This is indeed the Ocelli effect.

3
00:00:20.120 --> 00:00:22.440
<v Speaker 1>You are the listener there. Of course, most of you

4
00:00:22.519 --> 00:00:26.640
<v Speaker 1>catch this via the podcast, but we are live here

5
00:00:26.719 --> 00:00:30.960
<v Speaker 1>on a let's see, what is it? Wednesday, Wednesday, Weldnesday,

6
00:00:30.960 --> 00:00:35.280
<v Speaker 1>middle of a week, humpdays. Some people say, okay, anyway,

7
00:00:35.439 --> 00:00:38.840
<v Speaker 1>it is what it is. It's Wednesday, and that's what

8
00:00:38.880 --> 00:00:40.920
<v Speaker 1>it was, and the week that was and all that

9
00:00:40.960 --> 00:00:44.840
<v Speaker 1>good stuff. Look, I've got veteran journalists with me, Albert Lanier.

10
00:00:45.000 --> 00:00:48.479
<v Speaker 1>Now I say veteran journalist semi retired at one point,

11
00:00:48.560 --> 00:00:52.240
<v Speaker 1>maybe retired completely at another point, but blogging, going out,

12
00:00:52.359 --> 00:00:58.640
<v Speaker 1>writing new stuff, going out on substack. I think no, wait,

13
00:00:58.880 --> 00:01:01.840
<v Speaker 1>he was on medium. Maybe he was on substack. Also

14
00:01:01.960 --> 00:01:03.960
<v Speaker 1>he had a YouTube channel. He did a lot of

15
00:01:04.000 --> 00:01:10.079
<v Speaker 1>stuff anyway, a lot of different writing Albert Lanier did,

16
00:01:10.280 --> 00:01:13.599
<v Speaker 1>and examinations of writing, and a couple of times we

17
00:01:13.640 --> 00:01:16.159
<v Speaker 1>even touched on the film industry and stuff like that

18
00:01:16.280 --> 00:01:20.200
<v Speaker 1>on the show. And gotta say, though, he's got something

19
00:01:20.439 --> 00:01:24.200
<v Speaker 1>a little different this time. Maybe it's not journalism, or

20
00:01:24.239 --> 00:01:28.319
<v Speaker 1>maybe it's the art of journalism via that which you

21
00:01:28.319 --> 00:01:33.200
<v Speaker 1>can create through another medium, which is indeed film, the visual,

22
00:01:33.319 --> 00:01:38.400
<v Speaker 1>audio and other immersive experience that comes along with creating

23
00:01:38.400 --> 00:01:41.560
<v Speaker 1>a film. Oh and they write stuff for that too, folks.

24
00:01:41.959 --> 00:01:45.400
<v Speaker 1>Just saying. And I don't just watch documentaries all the time.

25
00:01:47.239 --> 00:01:50.439
<v Speaker 1>I do watch other types of movies as well. But anyway,

26
00:01:50.439 --> 00:01:54.040
<v Speaker 1>Albert Lanier, how you doing? First of all? And secondly,

27
00:01:54.599 --> 00:01:57.680
<v Speaker 1>what is going on? Are we looking for new territory

28
00:01:57.719 --> 00:01:59.120
<v Speaker 1>to conquer? Is that what's going on?

29
00:02:00.359 --> 00:02:03.480
<v Speaker 2>Oh? Hi, Chuck, how are you in terms of new

30
00:02:03.599 --> 00:02:07.359
<v Speaker 2>territory to conquer? I wasn't looking for the new territory.

31
00:02:07.400 --> 00:02:11.520
<v Speaker 2>It seems like the new territory is found me. So

32
00:02:11.919 --> 00:02:14.879
<v Speaker 2>what happened? Was this a little bit of a long

33
00:02:14.879 --> 00:02:21.000
<v Speaker 2>story here. So I was supposed to go to a

34
00:02:21.199 --> 00:02:25.400
<v Speaker 2>film festival in Vegas a couple of months ago. I

35
00:02:25.439 --> 00:02:29.280
<v Speaker 2>have a you know, I guess I should even backtrack

36
00:02:29.360 --> 00:02:34.000
<v Speaker 2>from that to set that up. I have gone into

37
00:02:34.080 --> 00:02:38.719
<v Speaker 2>podcasting to an extent. I have a podcast called Final Cut,

38
00:02:39.199 --> 00:02:41.479
<v Speaker 2>just part of what I'm here to promote as well

39
00:02:41.520 --> 00:02:46.360
<v Speaker 2>as well as my as well as what I'm going

40
00:02:46.439 --> 00:02:51.360
<v Speaker 2>to state next but or later on. So I have

41
00:02:51.479 --> 00:02:55.080
<v Speaker 2>a podcast called Final Cut, which has been around since

42
00:02:55.960 --> 00:03:01.639
<v Speaker 2>June of twenty twenty four, June of twenty twenty four.

43
00:03:02.319 --> 00:03:07.120
<v Speaker 2>And that, of course is an accompaniment. It's a companion

44
00:03:07.240 --> 00:03:14.759
<v Speaker 2>piece to Final Cut newsletter. That's a newsletter on Substack,

45
00:03:15.080 --> 00:03:16.800
<v Speaker 2>which is a film newsletter.

46
00:03:16.599 --> 00:03:18.960
<v Speaker 1>Okay, and.

47
00:03:20.280 --> 00:03:24.479
<v Speaker 2>It is a is my return to writing about films

48
00:03:24.479 --> 00:03:26.719
<v Speaker 2>because I used to be a film critic for about

49
00:03:26.719 --> 00:03:29.560
<v Speaker 2>two thousand and two to twenty ten, I was covering

50
00:03:29.560 --> 00:03:32.319
<v Speaker 2>film festivals as a journalist and as a film critic

51
00:03:32.919 --> 00:03:40.000
<v Speaker 2>also for about about fifteen years in general, complete and

52
00:03:41.280 --> 00:03:44.680
<v Speaker 2>it so so covering.

53
00:03:44.719 --> 00:03:48.560
<v Speaker 1>You were covering films and festivals for films in Hawaii

54
00:03:48.800 --> 00:03:52.520
<v Speaker 1>in the early ten hours, Okay, I was, yeah, you

55
00:03:52.599 --> 00:03:54.759
<v Speaker 1>know what, I vaguely remember that you wrote a couple

56
00:03:54.800 --> 00:04:00.759
<v Speaker 1>of pieces that were critic Oh I'm sorry, But the

57
00:04:00.800 --> 00:04:03.039
<v Speaker 1>thing is, I vaguely remember that you had written some

58
00:04:03.280 --> 00:04:05.800
<v Speaker 1>critiques of films. But I thought that was just, you know,

59
00:04:06.400 --> 00:04:08.520
<v Speaker 1>a general part of what you might have done. I mean,

60
00:04:08.840 --> 00:04:11.439
<v Speaker 1>a journalist is a journalist, so whatever you're reporting on

61
00:04:11.439 --> 00:04:16.120
<v Speaker 1>your reportcon But that's interesting. I didn't realize you were

62
00:04:16.120 --> 00:04:20.439
<v Speaker 1>also following around film festivals or that you know that

63
00:04:20.480 --> 00:04:22.319
<v Speaker 1>you can dedicate yourself to something like that, because I

64
00:04:22.360 --> 00:04:25.040
<v Speaker 1>don't usually think of Hawaii for film.

65
00:04:25.120 --> 00:04:29.040
<v Speaker 2>Actually, you know, well, you know, there are a number

66
00:04:29.120 --> 00:04:31.879
<v Speaker 2>of TV shows that were shot here that we're shot

67
00:04:31.920 --> 00:04:35.759
<v Speaker 2>and done here. Everybody knows Hawaii Vo and mang up

68
00:04:35.800 --> 00:04:39.120
<v Speaker 2>Yi and all that. Sure, it's a small film community

69
00:04:39.199 --> 00:04:42.759
<v Speaker 2>year because you get a modest amount of films that

70
00:04:42.879 --> 00:04:45.959
<v Speaker 2>come every year. They always want to make They always

71
00:04:46.000 --> 00:04:49.199
<v Speaker 2>want more productions to come to Hawaii, right, or work

72
00:04:49.240 --> 00:04:52.319
<v Speaker 2>for the crews that are here, more work for the filmmakers.

73
00:04:52.360 --> 00:04:55.560
<v Speaker 2>And of course you have local filmmakers here in Hawaii.

74
00:04:55.680 --> 00:04:58.279
<v Speaker 2>It's not a hub like I think you're in Georgia, right,

75
00:04:58.360 --> 00:04:59.240
<v Speaker 2>if I'm not mistaken.

76
00:04:59.399 --> 00:05:01.959
<v Speaker 1>Yeah, see, I I was just gonna say, it's certainly

77
00:05:02.000 --> 00:05:05.720
<v Speaker 1>not like the entertainment industry that's been built here in Georgia,

78
00:05:06.000 --> 00:05:09.879
<v Speaker 1>not just in Atlanta, but throughout the state. They've actually,

79
00:05:10.000 --> 00:05:12.240
<v Speaker 1>you know, gone through a time period here where they

80
00:05:12.240 --> 00:05:15.600
<v Speaker 1>attracted a lot of productions, you know, everything from The

81
00:05:15.639 --> 00:05:18.920
<v Speaker 1>Walking Dead to the Turner Universe to you know, the

82
00:05:19.040 --> 00:05:22.839
<v Speaker 1>cartoons that made in Georgia. Cartoons and everything that has

83
00:05:22.920 --> 00:05:26.399
<v Speaker 1>been produced here in Georgia. I mean, Georgia by itself

84
00:05:26.439 --> 00:05:29.480
<v Speaker 1>competes with the entire country of Canada. When it comes

85
00:05:29.480 --> 00:05:33.279
<v Speaker 1>to you know, the film industry. Right, So again I

86
00:05:33.360 --> 00:05:35.199
<v Speaker 1>just don't think of why. It doesn't mean it doesn't

87
00:05:35.199 --> 00:05:36.639
<v Speaker 1>exist there. I just don't think of it.

88
00:05:36.920 --> 00:05:40.560
<v Speaker 2>Yeah, well again you have to understand. I was covering

89
00:05:40.600 --> 00:05:45.000
<v Speaker 2>film festivals there, so Hawaii Film Festival, Hawaii International Film Festivals,

90
00:05:45.160 --> 00:05:48.000
<v Speaker 2>and a couple of other film festivals there, and I

91
00:05:48.120 --> 00:05:50.800
<v Speaker 2>ended up becoming a film critic. Like I said, when

92
00:05:50.800 --> 00:05:54.519
<v Speaker 2>it was about thirty two, and I was online film

93
00:05:54.560 --> 00:05:57.680
<v Speaker 2>critic upuntil I was forty, and I was covering film

94
00:05:57.720 --> 00:06:00.560
<v Speaker 2>festivals before that as a journalist. I had been on

95
00:06:00.600 --> 00:06:03.079
<v Speaker 2>your show previously that I talked about how I learned

96
00:06:03.079 --> 00:06:05.839
<v Speaker 2>about filmmaking. When I was a kid. I did a

97
00:06:05.879 --> 00:06:12.720
<v Speaker 2>course the library, and I had learned basic filmmaking techniques. Essentially,

98
00:06:12.800 --> 00:06:15.839
<v Speaker 2>I learned filmmaking. I was twelve at thirteen years old, right,

99
00:06:16.160 --> 00:06:20.040
<v Speaker 2>But I came out of that course in that class

100
00:06:20.480 --> 00:06:23.360
<v Speaker 2>without you know, I didn't have a video camera. I

101
00:06:23.360 --> 00:06:25.800
<v Speaker 2>didn't have a film camera. So without a video in

102
00:06:25.800 --> 00:06:28.279
<v Speaker 2>a film camera, I couldn't really become a filmmaker. And

103
00:06:28.319 --> 00:06:30.480
<v Speaker 2>what I wound up doing was going to film festivals,

104
00:06:30.480 --> 00:06:32.680
<v Speaker 2>first when I was fifteen and then when I was seventeen.

105
00:06:33.680 --> 00:06:37.199
<v Speaker 2>I was with the film festivals prior to becoming a

106
00:06:37.240 --> 00:06:40.360
<v Speaker 2>journalist in nineteen ninety four. I did from about the

107
00:06:40.360 --> 00:06:42.240
<v Speaker 2>time I was seventeen at the time I was twenty three.

108
00:06:42.920 --> 00:06:44.759
<v Speaker 2>So that was sort of like my grad school if

109
00:06:44.800 --> 00:06:49.000
<v Speaker 2>my class in the library was my undergrad the class,

110
00:06:49.120 --> 00:06:52.120
<v Speaker 2>you know, going to the festival, meeting filmmakers and watching

111
00:06:52.199 --> 00:06:55.519
<v Speaker 2>movies and learning there was kind of like grad school.

112
00:06:56.680 --> 00:06:59.319
<v Speaker 2>And I used to say film school if I call

113
00:06:59.399 --> 00:07:05.240
<v Speaker 2>it grad school. So when I became a journalist in

114
00:07:05.360 --> 00:07:08.240
<v Speaker 2>ninety four, I started covering film festivals and I did

115
00:07:08.279 --> 00:07:12.439
<v Speaker 2>that up until I was about forty. And so I

116
00:07:12.480 --> 00:07:16.480
<v Speaker 2>say all this because I want to I want people

117
00:07:16.519 --> 00:07:19.040
<v Speaker 2>to understand that I have a background. I have a

118
00:07:19.079 --> 00:07:22.240
<v Speaker 2>certain kind of background in regards to film, so I'm

119
00:07:22.279 --> 00:07:26.399
<v Speaker 2>not just someone who's a film fan. Really, I was

120
00:07:26.439 --> 00:07:29.720
<v Speaker 2>never really a pure film buff. Like even when I

121
00:07:29.800 --> 00:07:35.319
<v Speaker 2>was a young kid, I wasn't really into films other

122
00:07:35.399 --> 00:07:39.040
<v Speaker 2>than oh that looks good, let's go watch that, or

123
00:07:39.399 --> 00:07:43.040
<v Speaker 2>wanting to see movies. Okay, see, I wasn't into movies

124
00:07:43.079 --> 00:07:45.199
<v Speaker 2>per se. It wasn't until I was twelve or thirteen

125
00:07:45.240 --> 00:07:46.879
<v Speaker 2>and I took the course of the library.

126
00:07:47.040 --> 00:07:48.920
<v Speaker 1>So you weren't engaged in.

127
00:07:49.000 --> 00:07:51.040
<v Speaker 2>A bad into filmmaking.

128
00:07:51.160 --> 00:07:54.079
<v Speaker 1>Okay, you weren't into filmmaking. And you also weren't engaged

129
00:07:54.160 --> 00:07:57.639
<v Speaker 1>in any particular type of fandom where you know, you

130
00:07:57.720 --> 00:08:01.319
<v Speaker 1>were just a fan of say, air genre or something

131
00:08:01.360 --> 00:08:04.079
<v Speaker 1>like that. You didn't do that. You just kind of

132
00:08:04.319 --> 00:08:06.079
<v Speaker 1>you want to be entertained once in a while, and

133
00:08:06.120 --> 00:08:08.000
<v Speaker 1>a film was a good idea and it was a

134
00:08:08.040 --> 00:08:10.439
<v Speaker 1>good thing to cover and you could enjoy a film

135
00:08:10.519 --> 00:08:13.360
<v Speaker 1>or two. I get it right and fine. And the

136
00:08:13.399 --> 00:08:15.959
<v Speaker 1>Final Cut, by the way, is that available just pretty

137
00:08:16.000 --> 00:08:18.399
<v Speaker 1>much where any podcast is available. The Final Cut?

138
00:08:19.439 --> 00:08:22.639
<v Speaker 2>Yeah, Final Cut is available on Spotify. You can check

139
00:08:22.680 --> 00:08:26.279
<v Speaker 2>out the first season. Hopefully there'll be a second. First

140
00:08:26.279 --> 00:08:31.399
<v Speaker 2>season is ten episodes. So it's very easy because, strangely enough,

141
00:08:31.639 --> 00:08:35.559
<v Speaker 2>it's a combination of interviews. I interview a screenwriter, indie

142
00:08:35.559 --> 00:08:39.240
<v Speaker 2>screenwriter who's a friend of mine, and also an actress

143
00:08:39.600 --> 00:08:43.080
<v Speaker 2>slash filmmaker who's also his new friend of mine, so

144
00:08:43.120 --> 00:08:47.960
<v Speaker 2>I interview both of them. I also read their audio

145
00:08:48.039 --> 00:08:51.919
<v Speaker 2>versions of some of my reviews and some of my esseys.

146
00:08:52.279 --> 00:08:55.519
<v Speaker 2>So it's pretty easy. I mean, I have to admit

147
00:08:55.639 --> 00:08:58.559
<v Speaker 2>some of the episodes are easy because it's like eight

148
00:08:58.679 --> 00:09:03.639
<v Speaker 2>nine minutes, so because I'm reading you know, uh, you know,

149
00:09:04.080 --> 00:09:07.399
<v Speaker 2>reading my articles. So that's the reason I did it.

150
00:09:07.480 --> 00:09:10.159
<v Speaker 2>I never wanted to be a podcast, totally shouldn't have

151
00:09:10.159 --> 00:09:11.399
<v Speaker 2>mind that, but I am a podcast.

152
00:09:13.879 --> 00:09:16.639
<v Speaker 1>It seems like everybody, it seems like everybody ends up

153
00:09:16.679 --> 00:09:19.639
<v Speaker 1>making a podcast at this point to this video. And

154
00:09:19.679 --> 00:09:22.720
<v Speaker 1>the funny thing is that when I started podcasting, because

155
00:09:22.720 --> 00:09:27.120
<v Speaker 1>I'm kind of a podcast veteran at this point, it uh,

156
00:09:27.279 --> 00:09:30.919
<v Speaker 1>there there were no seasons, there were there weren't none

157
00:09:30.960 --> 00:09:34.159
<v Speaker 1>of these plans. People just did what they did and

158
00:09:34.240 --> 00:09:36.039
<v Speaker 1>you know, they had theme music or whatever, and that

159
00:09:36.159 --> 00:09:40.159
<v Speaker 1>was about it, right, and you know, so okay, anyway

160
00:09:40.240 --> 00:09:42.960
<v Speaker 1>back to it though, because those things are available, and

161
00:09:43.000 --> 00:09:46.039
<v Speaker 1>that's on Spotify, and again there's there's a substance and

162
00:09:46.080 --> 00:09:47.279
<v Speaker 1>on substat.

163
00:09:47.039 --> 00:09:49.200
<v Speaker 2>You can go to for final Cut, you can go

164
00:09:49.240 --> 00:09:51.360
<v Speaker 2>to I don't say it at the end of the program,

165
00:09:51.399 --> 00:09:54.240
<v Speaker 2>of course, but right now I want to mention that

166
00:09:54.600 --> 00:09:59.960
<v Speaker 2>Final Cut can be found at Alanier dot substat dot com.

167
00:10:00.080 --> 00:10:04.480
<v Speaker 2>That's Alanier dot subsect dot com and also on Spotify.

168
00:10:04.720 --> 00:10:06.519
<v Speaker 1>Great, and I'll put the links to both of those

169
00:10:06.559 --> 00:10:08.519
<v Speaker 1>in the show notes for you guys, so you can

170
00:10:08.720 --> 00:10:11.480
<v Speaker 1>scroll down to the show notes on this podcast and

171
00:10:11.720 --> 00:10:13.519
<v Speaker 1>go ahead and click on them and go check out

172
00:10:13.600 --> 00:10:18.240
<v Speaker 1>Albert's work there, mister Lanier's work there. Anyways, back to it, though,

173
00:10:19.039 --> 00:10:23.279
<v Speaker 1>So we got this going, and uh, this is of interest,

174
00:10:23.360 --> 00:10:25.879
<v Speaker 1>But what what is happening here? I mean, now you're

175
00:10:25.879 --> 00:10:28.639
<v Speaker 1>getting into the inner workings though it's not just film review,

176
00:10:28.759 --> 00:10:30.759
<v Speaker 1>although you're you're doing some film review.

177
00:10:31.639 --> 00:10:35.759
<v Speaker 2>I mean, what, what's a little bit Yeah, okay, there's

178
00:10:35.799 --> 00:10:38.559
<v Speaker 2>a retro review section and I did that reluctantly. I

179
00:10:38.559 --> 00:10:42.039
<v Speaker 2>didn't want to review movies again, but I'm open to

180
00:10:42.080 --> 00:10:45.039
<v Speaker 2>being a film critic again. People want, you know, a

181
00:10:45.159 --> 00:10:48.799
<v Speaker 2>reviewer if the if the price is right, you know.

182
00:10:49.919 --> 00:10:53.240
<v Speaker 1>Look, totally totally understand, but we need some honest film

183
00:10:53.279 --> 00:10:56.559
<v Speaker 1>reviewers here because I mean, I'm seeing some awful crap already.

184
00:10:56.919 --> 00:10:59.879
<v Speaker 1>I mean I'm looking at previews of Gladiator two and one.

185
00:11:00.200 --> 00:11:01.200
<v Speaker 1>What the hell happened?

186
00:11:02.080 --> 00:11:04.840
<v Speaker 2>You know? Well, let me just basically speak to that

187
00:11:04.960 --> 00:11:06.399
<v Speaker 2>where I get to it, because I'm not here to

188
00:11:06.440 --> 00:11:11.080
<v Speaker 2>talk about film reviewing and film sure critics, but I

189
00:11:11.200 --> 00:11:13.639
<v Speaker 2>stopped being a reviewer and a critic in twenty ten

190
00:11:13.720 --> 00:11:16.960
<v Speaker 2>while I was about forty and recently what I found

191
00:11:16.960 --> 00:11:19.360
<v Speaker 2>out when I came back to writing about film this

192
00:11:19.480 --> 00:11:22.600
<v Speaker 2>year with Final Cut. It's what's occurred with all of

193
00:11:22.639 --> 00:11:27.679
<v Speaker 2>these YouTube reviewers and movie talkers and all of these people.

194
00:11:28.279 --> 00:11:33.519
<v Speaker 2>You have a bunch of young and dumb people. And

195
00:11:34.000 --> 00:11:36.240
<v Speaker 2>that makes out harsh. I don't care I'm being harsh.

196
00:11:36.559 --> 00:11:38.879
<v Speaker 2>You have a bunch of young and dumb people who

197
00:11:38.960 --> 00:11:42.799
<v Speaker 2>know nothing about movies, who know absolutely nothing about filmmaking,

198
00:11:43.360 --> 00:11:46.200
<v Speaker 2>and who are basically a number of them are paid

199
00:11:46.320 --> 00:11:50.000
<v Speaker 2>minions from the major studios. They're basically bought and sold

200
00:11:50.000 --> 00:11:55.399
<v Speaker 2>by the majors to essentially be kind of human billboards

201
00:11:56.360 --> 00:12:03.080
<v Speaker 2>or human ads, or human basically human radio ads. That

202
00:12:03.120 --> 00:12:09.360
<v Speaker 2>seems like a contradiction, but basically they're just walking advertisements

203
00:12:09.480 --> 00:12:13.440
<v Speaker 2>or sitting advertisements for movies. They're not real reviewers, right,

204
00:12:13.879 --> 00:12:15.480
<v Speaker 2>And some of them don't even want to be called

205
00:12:15.519 --> 00:12:17.120
<v Speaker 2>critics that goodness, because.

206
00:12:16.879 --> 00:12:18.879
<v Speaker 1>They're not well, but they're not.

207
00:12:18.960 --> 00:12:24.559
<v Speaker 2>They're basically completely workless and useless people in regards to

208
00:12:24.600 --> 00:12:28.159
<v Speaker 2>the film industry. And it's a it's a demonstration of

209
00:12:28.200 --> 00:12:33.559
<v Speaker 2>what's occurred. It's a deterioration in the standards of looking

210
00:12:33.600 --> 00:12:36.320
<v Speaker 2>at movies. Well, unfortunately, that's occurred.

211
00:12:36.000 --> 00:12:39.039
<v Speaker 1>Okay, but they're not useless to the industry, mister Linear,

212
00:12:39.080 --> 00:12:39.399
<v Speaker 1>There's no.

213
00:12:39.519 --> 00:12:42.360
<v Speaker 2>No, They're useful. They're useful idiots to the industry.

214
00:12:42.440 --> 00:12:44.600
<v Speaker 1>Exactly. Okay, that's all you were saying. They're useless to

215
00:12:44.639 --> 00:12:45.600
<v Speaker 1>the industry because.

216
00:12:45.360 --> 00:12:49.720
<v Speaker 2>They're useful liss to everyone else, right, they're useful to

217
00:12:49.759 --> 00:12:52.799
<v Speaker 2>the industry. They're useful idiots to the industry.

218
00:12:52.840 --> 00:12:54.639
<v Speaker 1>Well, let me let me see if I can describe

219
00:12:54.639 --> 00:12:57.120
<v Speaker 1>what it is that I've seen and and see if

220
00:12:57.200 --> 00:13:00.320
<v Speaker 1>if you and I are seeing the same thing, because

221
00:13:00.960 --> 00:13:03.799
<v Speaker 1>I recognize that what has happened here with some of

222
00:13:03.840 --> 00:13:05.679
<v Speaker 1>these YouTube people is they get a little bit of

223
00:13:05.759 --> 00:13:10.159
<v Speaker 1>traction as sort of like a superfan. You know, the

224
00:13:10.279 --> 00:13:15.559
<v Speaker 1>guy who's got the all the merch behind him, who's

225
00:13:15.600 --> 00:13:18.600
<v Speaker 1>got shelves and shelves of the action figures or whatever

226
00:13:18.639 --> 00:13:22.000
<v Speaker 1>it is that's attached to a particular grouping of movies

227
00:13:22.120 --> 00:13:25.000
<v Speaker 1>or a universe of movies or whatever, and they're a

228
00:13:25.039 --> 00:13:28.720
<v Speaker 1>superman on YouTube and they get an audience going. And

229
00:13:28.799 --> 00:13:31.960
<v Speaker 1>the next thing, you know, is they get cooperation from

230
00:13:32.039 --> 00:13:34.519
<v Speaker 1>the product that they're buying that they are a super

231
00:13:34.639 --> 00:13:38.600
<v Speaker 1>fan from, and that's what they really are. They become

232
00:13:38.679 --> 00:13:41.000
<v Speaker 1>that walking billboard, Like you said, almost you have to

233
00:13:41.039 --> 00:13:44.679
<v Speaker 1>picture the guy walking around with the sandwich board advertising

234
00:13:44.799 --> 00:13:48.799
<v Speaker 1>that product, because that's all he's doing is advertising the product,

235
00:13:48.840 --> 00:13:52.840
<v Speaker 1>because he's a superman of the product. And that's all

236
00:13:52.879 --> 00:13:56.639
<v Speaker 1>there is. It's not a critique, it's not informative. He's

237
00:13:56.919 --> 00:14:01.320
<v Speaker 1>just a twenty minute or fifteen minute as for the film.

238
00:14:01.360 --> 00:14:04.080
<v Speaker 1>Really and oh, by the way, they stack more ads

239
00:14:04.080 --> 00:14:07.039
<v Speaker 1>into it. And when they have a new part of

240
00:14:07.039 --> 00:14:09.879
<v Speaker 1>the universe that comes out, or they have a new

241
00:14:09.879 --> 00:14:13.639
<v Speaker 1>television show that's an offshoot. Star Wars is probably the

242
00:14:13.639 --> 00:14:15.279
<v Speaker 1>best example of this. I mean, the only way you

243
00:14:15.279 --> 00:14:18.360
<v Speaker 1>can keep track of whatever Apple is releasing next in

244
00:14:18.399 --> 00:14:23.080
<v Speaker 1>the Star Wars universe, right, or Disney is in Disney

245
00:14:23.120 --> 00:14:25.039
<v Speaker 1>I mean to say, the only way to keep track

246
00:14:25.080 --> 00:14:27.320
<v Speaker 1>of what Disney's gonna pump out next out of that

247
00:14:27.399 --> 00:14:31.919
<v Speaker 1>you know, ridiculous Star Wars factory is to keep track

248
00:14:31.960 --> 00:14:35.759
<v Speaker 1>of the super fans. Because if you start watching a

249
00:14:35.759 --> 00:14:37.840
<v Speaker 1>guy now, or if you start watching him six months

250
00:14:37.840 --> 00:14:41.000
<v Speaker 1>from now, they're going to insert the new commercials in there.

251
00:14:41.559 --> 00:14:44.519
<v Speaker 1>And that's all it is is a vehicle for the

252
00:14:44.559 --> 00:14:48.919
<v Speaker 1>commercials and for the product itself. It's like product placement

253
00:14:48.960 --> 00:14:49.799
<v Speaker 1>within the product.

254
00:14:50.639 --> 00:14:54.799
<v Speaker 2>Okay, right, Yeah, Well, like what they've done, I think

255
00:14:55.279 --> 00:15:00.440
<v Speaker 2>you explain that very effectively. What they've done is somebody

256
00:15:00.440 --> 00:15:02.840
<v Speaker 2>who used to be a contributor to the film website

257
00:15:02.879 --> 00:15:04.960
<v Speaker 2>in a cool news and like I said, I was

258
00:15:05.000 --> 00:15:08.960
<v Speaker 2>a reviewer on that site for that site for about

259
00:15:08.960 --> 00:15:13.559
<v Speaker 2>eight years. What they've done is the studios have colonized

260
00:15:13.679 --> 00:15:18.399
<v Speaker 2>the online film world. So what they've done is they

261
00:15:18.440 --> 00:15:23.559
<v Speaker 2>are able to take the people on YouTube, the individual units,

262
00:15:23.639 --> 00:15:26.879
<v Speaker 2>so to speak, and they can co opt them. And

263
00:15:26.960 --> 00:15:30.679
<v Speaker 2>so they're co opting all these online entities, all these

264
00:15:30.759 --> 00:15:35.559
<v Speaker 2>online channels, all these online shows, and they're co opting them.

265
00:15:35.639 --> 00:15:41.360
<v Speaker 2>And they're basically either giving them flights to premieres where

266
00:15:41.399 --> 00:15:43.879
<v Speaker 2>they can sit down with stars of the film or

267
00:15:43.919 --> 00:15:46.840
<v Speaker 2>do stand up meaning stand up interviews with stars of

268
00:15:46.879 --> 00:15:51.799
<v Speaker 2>the film, or giving them merch or giving them or

269
00:15:52.159 --> 00:15:56.320
<v Speaker 2>outright paying them. And so what they've done is colonize

270
00:15:56.600 --> 00:16:01.879
<v Speaker 2>and co opt and completely emotivate the online world into

271
00:16:02.440 --> 00:16:05.840
<v Speaker 2>the studio. I call it a new studio system, not

272
00:16:05.919 --> 00:16:09.000
<v Speaker 2>the old studio system. But that's what they done exactly.

273
00:16:09.000 --> 00:16:12.320
<v Speaker 2>So that's why you have these fools like Chris Stuckman,

274
00:16:12.799 --> 00:16:17.240
<v Speaker 2>and you have the critical drinker. You have these personalities

275
00:16:17.639 --> 00:16:23.440
<v Speaker 2>who are waste of spaces. Well, and here's something like

276
00:16:23.519 --> 00:16:26.919
<v Speaker 2>Chris Duckman has said he didn't want to do negative reviews. Well,

277
00:16:26.960 --> 00:16:29.799
<v Speaker 2>no reviewer, no filk critic in their right mind whatever

278
00:16:29.879 --> 00:16:33.320
<v Speaker 2>announce that to you would never say that. But this

279
00:16:33.399 --> 00:16:35.639
<v Speaker 2>is because these people don't really want to be reviewers.

280
00:16:35.639 --> 00:16:37.279
<v Speaker 2>Those two don't want to be reviewers. They want to

281
00:16:37.279 --> 00:16:40.360
<v Speaker 2>be filmmakers. They're working on films as we speak. So

282
00:16:40.399 --> 00:16:47.080
<v Speaker 2>they don't want to cut off the pipeline to where

283
00:16:47.120 --> 00:16:49.840
<v Speaker 2>they can get their products distributed or possibly get their

284
00:16:49.879 --> 00:16:53.440
<v Speaker 2>products distributed, whether it's the majors or whether it's any

285
00:16:53.480 --> 00:16:59.480
<v Speaker 2>of the other mini mini majors or minor companies in

286
00:16:59.519 --> 00:17:04.079
<v Speaker 2>the Hollywoo constellation and in the film industry here. Well,

287
00:17:04.119 --> 00:17:06.319
<v Speaker 2>so yes, that's what you got to understand about these people.

288
00:17:06.519 --> 00:17:09.039
<v Speaker 1>Well, yeah, you're correct about all that, except I got

289
00:17:09.039 --> 00:17:13.079
<v Speaker 1>another question here which is a big point of interest

290
00:17:13.079 --> 00:17:16.000
<v Speaker 1>in my mind. And look, you and I both kind

291
00:17:16.039 --> 00:17:20.039
<v Speaker 1>of appreciate Star Trek, right, and I gotta say, if

292
00:17:20.079 --> 00:17:24.759
<v Speaker 1>you look at that universe, okay of stuff online, they

293
00:17:24.839 --> 00:17:28.240
<v Speaker 1>have that completely locked down where you know, look, they

294
00:17:28.279 --> 00:17:31.359
<v Speaker 1>have their merch that's coming out, they have new TV shows.

295
00:17:31.839 --> 00:17:36.079
<v Speaker 1>Paramount as a streaming service, feeds them some guests for

296
00:17:36.160 --> 00:17:39.960
<v Speaker 1>their podcast, right the stars of the shows, feeds them

297
00:17:40.000 --> 00:17:42.359
<v Speaker 1>a couple other things, does pay them a little bit,

298
00:17:42.519 --> 00:17:45.599
<v Speaker 1>does send them some free merch. They'll send them Star

299
00:17:45.640 --> 00:17:48.480
<v Speaker 1>Trek uniform shirts so they can wear them in their videos.

300
00:17:49.240 --> 00:17:54.799
<v Speaker 1>And they got a very low paying guy working constantly

301
00:17:54.920 --> 00:18:00.200
<v Speaker 1>to create content which does nothing but sell their products,

302
00:18:00.240 --> 00:18:04.000
<v Speaker 1>not just the online streaming service, but also the toys

303
00:18:04.640 --> 00:18:09.799
<v Speaker 1>and the collectibles and the conventions and everything. So and

304
00:18:10.000 --> 00:18:11.799
<v Speaker 1>all it takes is give them a little bit of

305
00:18:11.839 --> 00:18:16.920
<v Speaker 1>access that maybe Entertainment Tonight used to have. Okay, now,

306
00:18:16.920 --> 00:18:18.839
<v Speaker 1>does anybody watch that show any.

307
00:18:18.559 --> 00:18:21.880
<v Speaker 2>In regards to the fandom, like the fantastic Star Trek fan,

308
00:18:21.920 --> 00:18:25.519
<v Speaker 2>it's very different. Like those aren't reviewers, they're not critics,

309
00:18:25.559 --> 00:18:28.119
<v Speaker 2>they're not trying to be most of them are not

310
00:18:28.160 --> 00:18:30.400
<v Speaker 2>trying to be film professionals. I could say this is

311
00:18:30.440 --> 00:18:33.400
<v Speaker 2>somebody who is the Star Trek certified Star Trek fans

312
00:18:33.599 --> 00:18:35.640
<v Speaker 2>and has been to a Star Trek invention and has

313
00:18:35.680 --> 00:18:39.519
<v Speaker 2>also been book to my local comic con and also

314
00:18:39.559 --> 00:18:42.720
<v Speaker 2>an anime con. I can tell you that it's different

315
00:18:42.759 --> 00:18:47.240
<v Speaker 2>with fans it's different with people who are just playing fans,

316
00:18:47.720 --> 00:18:50.160
<v Speaker 2>not people who are trying to be filmmakers, not people

317
00:18:50.160 --> 00:18:55.519
<v Speaker 2>who call themselves film reviewers, try to be filmmakers or

318
00:18:55.720 --> 00:18:59.160
<v Speaker 2>directors or producers or anything like that. When you're talking

319
00:18:59.160 --> 00:19:03.960
<v Speaker 2>about absolute, straightforward fans of Star Wars Star Trek, doesn't

320
00:19:04.000 --> 00:19:07.000
<v Speaker 2>really matter what. It's very different if the studios want

321
00:19:07.039 --> 00:19:08.920
<v Speaker 2>to give them access, the studios want to help them

322
00:19:08.960 --> 00:19:11.039
<v Speaker 2>out with merch or all that kind of stuff, I'm

323
00:19:11.039 --> 00:19:13.680
<v Speaker 2>all for that. Well, but because those people aren't trying

324
00:19:13.680 --> 00:19:17.640
<v Speaker 2>to impact movies, they're not They're not the problem. Fans

325
00:19:17.640 --> 00:19:20.200
<v Speaker 2>are never the problem, Okay, Okay, The fans who think

326
00:19:20.319 --> 00:19:24.359
<v Speaker 2>and try to become film critics and reviewers and filmmakers

327
00:19:24.400 --> 00:19:25.839
<v Speaker 2>that are the problem.

328
00:19:25.240 --> 00:19:29.359
<v Speaker 1>I think you might have missed out probably either, Okay,

329
00:19:29.359 --> 00:19:31.680
<v Speaker 1>I think you might have missed out on something here, Okay,

330
00:19:31.799 --> 00:19:35.039
<v Speaker 1>because there is a whole universe of Star Trek people

331
00:19:35.680 --> 00:19:41.799
<v Speaker 1>that make Star Trek movies independent Star Treks.

332
00:19:41.839 --> 00:19:42.079
<v Speaker 2>True.

333
00:19:42.480 --> 00:19:43.519
<v Speaker 1>Right, again, I.

334
00:19:43.440 --> 00:19:46.319
<v Speaker 2>Don't look, I don't have a problem with that.

335
00:19:47.079 --> 00:19:50.240
<v Speaker 1>Oh no, I'm I'm bringing it up just to say

336
00:19:50.480 --> 00:19:53.240
<v Speaker 1>that at the end of the day, all that stuff

337
00:19:53.440 --> 00:19:58.200
<v Speaker 1>is is some online content that the majority is not

338
00:19:58.279 --> 00:20:02.000
<v Speaker 1>even paid for by the studio that is doing what

339
00:20:02.400 --> 00:20:06.799
<v Speaker 1>serving to sell their products. I'm not saying that. I'm

340
00:20:06.839 --> 00:20:09.160
<v Speaker 1>not saying that the fans don't have an honest love

341
00:20:09.240 --> 00:20:12.559
<v Speaker 1>for the you know, for the genre, for the you know,

342
00:20:12.680 --> 00:20:16.960
<v Speaker 1>for the films, for the characters, for the universe. I'm

343
00:20:16.960 --> 00:20:19.160
<v Speaker 1>not saying that. All I'm saying is that at the

344
00:20:19.279 --> 00:20:21.960
<v Speaker 1>end of the day, that has now been turned into

345
00:20:22.759 --> 00:20:25.759
<v Speaker 1>an industry in and of itself that is there to

346
00:20:25.839 --> 00:20:29.400
<v Speaker 1>do what make more money for the big boys, you know,

347
00:20:29.720 --> 00:20:33.039
<v Speaker 1>is still Paramount is going to make its money off

348
00:20:33.079 --> 00:20:35.559
<v Speaker 1>of these guys and these fan films that they used

349
00:20:35.599 --> 00:20:37.440
<v Speaker 1>to be so afraid if they made them that they

350
00:20:37.440 --> 00:20:40.119
<v Speaker 1>would take away from the big films or whatever. They're

351
00:20:40.160 --> 00:20:43.279
<v Speaker 1>not afraid of that anymore. They're now using it as

352
00:20:43.279 --> 00:20:46.240
<v Speaker 1>a stepping stone. I mean, I even saw the other day.

353
00:20:46.440 --> 00:20:49.880
<v Speaker 1>I remembered that one of these independent fan films even

354
00:20:49.920 --> 00:20:53.880
<v Speaker 1>gotten Michelle Nichols before she died to appear in one

355
00:20:53.920 --> 00:20:57.319
<v Speaker 1>of their films, and you know, they were totally thrilled

356
00:20:57.319 --> 00:21:00.319
<v Speaker 1>just because they got to meet Michelle Nichols. But the

357
00:21:00.440 --> 00:21:06.160
<v Speaker 1>idea is though, that that that bolstered the star Trek cannon,

358
00:21:06.680 --> 00:21:10.039
<v Speaker 1>that added to it, right, that became something else. I mean,

359
00:21:10.039 --> 00:21:12.920
<v Speaker 1>and it doesn't even have to appear on IMDb and

360
00:21:13.039 --> 00:21:15.519
<v Speaker 1>anything else. And these guys put their own money into

361
00:21:15.559 --> 00:21:19.279
<v Speaker 1>these projects and everything else because they're into the fandom

362
00:21:19.359 --> 00:21:22.079
<v Speaker 1>so much. But they've figured out a way now to

363
00:21:22.200 --> 00:21:26.559
<v Speaker 1>not just sell these people junk or you know, or

364
00:21:26.680 --> 00:21:29.759
<v Speaker 1>sell them merch. They figured out a way to get

365
00:21:29.799 --> 00:21:32.559
<v Speaker 1>them to sell their own merch for stuff, pay them

366
00:21:32.599 --> 00:21:34.759
<v Speaker 1>for it, and pay for their own stuff while they're

367
00:21:34.759 --> 00:21:39.640
<v Speaker 1>making it independently, and just create giant ads, you know.

368
00:21:39.680 --> 00:21:42.279
<v Speaker 2>Because now that I'm not really surprised with like that

369
00:21:42.480 --> 00:21:45.400
<v Speaker 2>aspect doesn't really surprise. Like I said, I've been to conventions, yeah,

370
00:21:45.400 --> 00:21:49.160
<v Speaker 2>of course, so I see it. It doesn't bother me.

371
00:21:49.759 --> 00:21:52.400
<v Speaker 2>I'm not an unrealistic person, I said. I was a

372
00:21:52.400 --> 00:21:55.720
<v Speaker 2>film critic for a reviewer for eight years. Yeah, and

373
00:21:55.799 --> 00:21:59.440
<v Speaker 2>I've been around filmmakers. I've been around I've met a

374
00:21:59.440 --> 00:22:03.200
<v Speaker 2>couple of people in the studios. So I'm not someone

375
00:22:03.359 --> 00:22:08.000
<v Speaker 2>who has a sort of that maybe like these fans

376
00:22:08.039 --> 00:22:11.720
<v Speaker 2>and has the purest kind of view or an unrealistic view.

377
00:22:12.119 --> 00:22:14.799
<v Speaker 2>My room is realistic. The problem that I have is

378
00:22:15.119 --> 00:22:18.680
<v Speaker 2>you don't have the kind of quality reviewers and critics,

379
00:22:19.079 --> 00:22:21.359
<v Speaker 2>or very few of them that you had before.

380
00:22:22.359 --> 00:22:25.119
<v Speaker 1>Oh, figure, that's the problem. I'm I'm just trying to

381
00:22:25.160 --> 00:22:28.839
<v Speaker 1>recognize the ever shifting sands of what's going on in

382
00:22:28.880 --> 00:22:33.720
<v Speaker 1>the media universe, right, And that's always important is to

383
00:22:33.839 --> 00:22:36.759
<v Speaker 1>recognize that. Look, you know, if this happened twenty years ago,

384
00:22:36.920 --> 00:22:38.519
<v Speaker 1>this is the way it would have went down. If

385
00:22:38.559 --> 00:22:40.839
<v Speaker 1>it happened forty years ago, it would have not happened,

386
00:22:40.880 --> 00:22:44.079
<v Speaker 1>you know, et cetera. You know, in the days when

387
00:22:44.119 --> 00:22:47.400
<v Speaker 1>nobody had access to video cameras at all, it was

388
00:22:47.440 --> 00:22:52.000
<v Speaker 1>difficult to make a ten minute film, right, But today

389
00:22:52.160 --> 00:22:53.720
<v Speaker 1>that's nothing, and you can throw it up and you

390
00:22:53.720 --> 00:22:55.680
<v Speaker 1>could put it on YouTube and a million people could

391
00:22:55.680 --> 00:22:57.960
<v Speaker 1>see it within twenty four hours, depending on if you

392
00:22:58.000 --> 00:23:00.680
<v Speaker 1>get a little traction, right. So, I mean, it's just

393
00:23:01.279 --> 00:23:04.920
<v Speaker 1>it's a different world, is all I'm saying, right, And

394
00:23:04.960 --> 00:23:05.960
<v Speaker 1>I'm just pointing.

395
00:23:05.680 --> 00:23:08.599
<v Speaker 2>Out I think we all agree on that. So that's

396
00:23:08.640 --> 00:23:11.200
<v Speaker 2>not the problem. Yeah, no, not the different world, But

397
00:23:12.279 --> 00:23:17.640
<v Speaker 2>the differences that have occurred are negative and have horrible repercussions. Right,

398
00:23:17.720 --> 00:23:21.119
<v Speaker 2>And the lack of quality reviewing in terms of film

399
00:23:21.119 --> 00:23:25.640
<v Speaker 2>reviews and movie reviews and criticism, that's an issue, but

400
00:23:25.720 --> 00:23:28.440
<v Speaker 2>that's a longer issue, and I've got to get to

401
00:23:29.000 --> 00:23:31.720
<v Speaker 2>the reason that I'm here. As interesting as this conversation is,

402
00:23:31.799 --> 00:23:33.720
<v Speaker 2>no vacinating as it is, they got to get to

403
00:23:33.759 --> 00:23:36.759
<v Speaker 2>the reason that it is. I've allowed myself to get

404
00:23:36.759 --> 00:23:37.240
<v Speaker 2>off tracked.

405
00:23:37.400 --> 00:23:40.119
<v Speaker 1>Sorry, let's get okay, So let's get into it. Let's

406
00:23:40.119 --> 00:23:42.160
<v Speaker 1>get into the real reason why you're here. What is

407
00:23:42.200 --> 00:23:44.880
<v Speaker 1>it that's important about the quality reviews and all that?

408
00:23:45.039 --> 00:23:47.000
<v Speaker 1>Go ahead, tell us about it. I'm listening.

409
00:23:47.000 --> 00:23:52.599
<v Speaker 2>Well, well, I'm here to talk about my screenwriting, my

410
00:23:53.160 --> 00:23:57.240
<v Speaker 2>new strangely enough, my new screenwriting structure, which is called

411
00:23:57.319 --> 00:24:03.799
<v Speaker 2>dual story structure. Okay, and dual story structure is basically

412
00:24:04.839 --> 00:24:08.000
<v Speaker 2>two basic story structures that are intended in the writing

413
00:24:08.000 --> 00:24:13.960
<v Speaker 2>of screenplays. So I've unexpectedly, completely unexpectedly fow myself dealing

414
00:24:13.960 --> 00:24:16.640
<v Speaker 2>with screenplays, and I have to be brutally honest. I

415
00:24:16.680 --> 00:24:20.559
<v Speaker 2>will admit this, which audius, that I'm not a screenwriter,

416
00:24:21.000 --> 00:24:24.200
<v Speaker 2>nor am I a TV writer'. I'm a journalist and

417
00:24:24.279 --> 00:24:30.640
<v Speaker 2>a former film critic and reviewer. I make no pretensions

418
00:24:30.640 --> 00:24:33.759
<v Speaker 2>to being a part of the industry or anything like that.

419
00:24:34.400 --> 00:24:37.000
<v Speaker 1>Okay, So tell me why you're involved with screenwriting.

420
00:24:37.039 --> 00:24:43.200
<v Speaker 2>Then, well, it really was an idea that came to

421
00:24:43.240 --> 00:24:48.920
<v Speaker 2>me when I was watching a I was watching one

422
00:24:48.960 --> 00:24:53.759
<v Speaker 2>of my favorite channels on YouTube and it was it's

423
00:24:53.799 --> 00:24:56.160
<v Speaker 2>one I like, I think, guess I could say it

424
00:24:56.279 --> 00:24:59.400
<v Speaker 2>James Whale Bake Sale and you have celebrities and filmmakers

425
00:24:59.400 --> 00:25:01.880
<v Speaker 2>talk about movie and I was thinking about something that

426
00:25:01.960 --> 00:25:06.440
<v Speaker 2>I had responded to on x or Twitter where I

427
00:25:06.519 --> 00:25:15.079
<v Speaker 2>go on filming bed, and I had basically I had

428
00:25:16.480 --> 00:25:19.599
<v Speaker 2>responded to something someone had said about Psycho, the movie

429
00:25:19.640 --> 00:25:22.559
<v Speaker 2>Psycho and the Marion Crane character, and it got me

430
00:25:22.640 --> 00:25:25.240
<v Speaker 2>thinking about story because I was saying, oh, yeah, when

431
00:25:25.279 --> 00:25:29.200
<v Speaker 2>she took the money in Psycho, she was able. It

432
00:25:29.279 --> 00:25:30.960
<v Speaker 2>made her go on the run and she was able

433
00:25:31.000 --> 00:25:36.799
<v Speaker 2>to go off to the hotel, and that was a

434
00:25:36.839 --> 00:25:40.079
<v Speaker 2>good way to get her to the Bates Motel. And

435
00:25:40.119 --> 00:25:44.720
<v Speaker 2>that got me thinking, and then I thought about a

436
00:25:45.039 --> 00:25:51.079
<v Speaker 2>screenplay that I had. Actually, I thought about this student

437
00:25:51.119 --> 00:25:53.920
<v Speaker 2>film festival that I had covered years ago when I

438
00:25:53.960 --> 00:25:57.079
<v Speaker 2>was a journalist, and one of the events that I

439
00:25:57.160 --> 00:25:59.640
<v Speaker 2>was at was Coton Park. You know that I sat

440
00:25:59.680 --> 00:26:02.440
<v Speaker 2>in on was a screenwriting course taught by a guy

441
00:26:02.480 --> 00:26:09.640
<v Speaker 2>called Ty Holler of the Vancouver Fhild group, and I

442
00:26:09.799 --> 00:26:12.519
<v Speaker 2>learned about screenwriting through that course, even though I wasn't

443
00:26:12.519 --> 00:26:15.119
<v Speaker 2>there to learn about screenwriting. And when I thought about

444
00:26:15.119 --> 00:26:18.799
<v Speaker 2>those two, then I started thinking about what became dual

445
00:26:18.880 --> 00:26:22.359
<v Speaker 2>story structure. So it really stemmed from thinking about those

446
00:26:22.359 --> 00:26:24.960
<v Speaker 2>two aspects.

447
00:26:25.279 --> 00:26:27.480
<v Speaker 1>Okay, you know, and I always thought about the Marion

448
00:26:27.519 --> 00:26:30.279
<v Speaker 1>Crane character and the money as being, you know, a

449
00:26:31.039 --> 00:26:36.680
<v Speaker 1>convenient plot device in order to make you know, massage

450
00:26:36.720 --> 00:26:38.440
<v Speaker 1>her into a place where she's going to go to

451
00:26:38.480 --> 00:26:41.839
<v Speaker 1>an out of the way hotel, you know, not not

452
00:26:42.000 --> 00:26:44.559
<v Speaker 1>the typical holiday in if you will, or you know,

453
00:26:44.680 --> 00:26:47.160
<v Speaker 1>a circle Eate motel or whatever whatever they would have

454
00:26:47.160 --> 00:26:50.000
<v Speaker 1>had at that time. I don't know, but either way,

455
00:26:50.200 --> 00:26:53.279
<v Speaker 1>you know, it gave her a reason to maybe search

456
00:26:53.359 --> 00:26:55.599
<v Speaker 1>out that out of the way sort of you know,

457
00:26:56.400 --> 00:27:00.640
<v Speaker 1>independent hotel which used to exist, right, And I was thinking,

458
00:27:00.720 --> 00:27:03.119
<v Speaker 1>you know that that makes perfect sense. But it's just

459
00:27:03.720 --> 00:27:06.519
<v Speaker 1>I think of it as a device, right, It's the

460
00:27:06.599 --> 00:27:10.920
<v Speaker 1>excuse to put a character, to put a situation in motion.

461
00:27:12.720 --> 00:27:15.000
<v Speaker 1>And that's you know, that's just the way things are.

462
00:27:15.079 --> 00:27:17.039
<v Speaker 1>You have your setup when it comes to a film.

463
00:27:17.119 --> 00:27:19.559
<v Speaker 1>Right here, we're going to introduce you to the characters

464
00:27:19.640 --> 00:27:22.519
<v Speaker 1>in a way. They might do it through exposition. They

465
00:27:22.599 --> 00:27:25.640
<v Speaker 1>might do it through a situation where you get to

466
00:27:25.640 --> 00:27:28.559
<v Speaker 1>know the character. You know, where she says at some

467
00:27:28.680 --> 00:27:31.240
<v Speaker 1>point she's married, she's not married. You learn that, does

468
00:27:31.279 --> 00:27:33.960
<v Speaker 1>she have kids, where is she going, what is she doing?

469
00:27:34.920 --> 00:27:36.960
<v Speaker 1>So on and so forth, and oh, now there's a

470
00:27:36.960 --> 00:27:39.799
<v Speaker 1>bit of a problem. So therefore, now we have an

471
00:27:39.799 --> 00:27:43.480
<v Speaker 1>excuse for where we're going to set up next. And that's,

472
00:27:43.559 --> 00:27:46.119
<v Speaker 1>you know, part of everything. There's always that set up, right.

473
00:27:46.160 --> 00:27:48.319
<v Speaker 1>You go into the movie, and now you're going to

474
00:27:48.359 --> 00:27:50.599
<v Speaker 1>go into another world, whether it's you know, part of

475
00:27:50.680 --> 00:27:53.880
<v Speaker 1>the universe that you personally exist in, or it's another one.

476
00:27:54.359 --> 00:27:57.720
<v Speaker 1>They have to establish things. So they do that, okay,

477
00:27:58.480 --> 00:28:00.920
<v Speaker 1>and this is always part of you know, any film

478
00:28:00.960 --> 00:28:05.000
<v Speaker 1>pretty much that's decent usually, right, I mean, there are

479
00:28:05.039 --> 00:28:09.400
<v Speaker 1>some unusual story structures, but okay, so you're thinking about

480
00:28:09.400 --> 00:28:13.640
<v Speaker 1>this and go ahead continue, all right.

481
00:28:14.079 --> 00:28:18.799
<v Speaker 2>So that was the sort of inciting incident to use

482
00:28:18.799 --> 00:28:24.000
<v Speaker 2>screenwriting language for how this came about, because I thought

483
00:28:24.039 --> 00:28:29.119
<v Speaker 2>about so basically, dual story structure deals with two story

484
00:28:29.160 --> 00:28:33.039
<v Speaker 2>structures in regards to writing the script. Now, the thing

485
00:28:33.079 --> 00:28:35.960
<v Speaker 2>that I note about a dual story structure, and there's

486
00:28:36.000 --> 00:28:40.000
<v Speaker 2>an introductory essay which can be found at my substack.

487
00:28:41.160 --> 00:28:46.079
<v Speaker 2>It is. It's called dual story structure, a method for screenwriting,

488
00:28:46.319 --> 00:28:48.640
<v Speaker 2>and it can be found at al it could be

489
00:28:48.720 --> 00:28:54.200
<v Speaker 2>found at Alineer dot substack dot com. Okay, in any event, basically,

490
00:28:54.279 --> 00:28:58.200
<v Speaker 2>what dual story structure is again, it's a two pronged

491
00:28:58.720 --> 00:29:03.000
<v Speaker 2>structure which really be used for any kind of a script,

492
00:29:03.960 --> 00:29:07.799
<v Speaker 2>any kind of a story in regards to film. Right now,

493
00:29:07.839 --> 00:29:11.519
<v Speaker 2>the controversy for this besides the fact that I a

494
00:29:11.559 --> 00:29:14.559
<v Speaker 2>person who is not a screenwriter and TV writers come

495
00:29:14.640 --> 00:29:17.960
<v Speaker 2>up with the story structure, the other aspect that might

496
00:29:18.000 --> 00:29:20.920
<v Speaker 2>be controversial is I believe that you can use this

497
00:29:21.000 --> 00:29:24.279
<v Speaker 2>story structure also to write TV scripts. So it's not

498
00:29:24.400 --> 00:29:29.200
<v Speaker 2>just film, it's also TV. But the two aspects are

499
00:29:29.279 --> 00:29:37.319
<v Speaker 2>basically this. There's what I call PRS problem reaction solution.

500
00:29:38.480 --> 00:29:43.799
<v Speaker 2>The second structure that structure PRS problem reaction solution is

501
00:29:44.119 --> 00:29:49.240
<v Speaker 2>structure A structure B is what I call SAAR, which

502
00:29:49.319 --> 00:29:56.920
<v Speaker 2>is situation action resolution. So those are the two star

503
00:29:57.079 --> 00:30:00.839
<v Speaker 2>story structures. Because not all films would fall within the

504
00:30:01.000 --> 00:30:07.720
<v Speaker 2>range of problem reaction solution or situation action resolution, right,

505
00:30:08.000 --> 00:30:10.720
<v Speaker 2>So one might be one, another might be the other.

506
00:30:11.359 --> 00:30:16.599
<v Speaker 2>So dual story structure. That's that title or the name

507
00:30:16.640 --> 00:30:21.000
<v Speaker 2>of this. So let me just define these two structures

508
00:30:21.160 --> 00:30:24.599
<v Speaker 2>so that people have an understanding of it. The first

509
00:30:24.640 --> 00:30:29.200
<v Speaker 2>structure structure A we start with problem. And what a

510
00:30:29.319 --> 00:30:34.119
<v Speaker 2>problem is is it is a predicament that I'll use

511
00:30:34.160 --> 00:30:38.079
<v Speaker 2>the term individuals instead of characters most people in screenwriting.

512
00:30:38.160 --> 00:30:41.440
<v Speaker 2>I'm not a screenwriting instructor teacher, so I try to

513
00:30:41.519 --> 00:30:49.519
<v Speaker 2>use stuff that's not necessarily pure jargon. A problem is

514
00:30:49.559 --> 00:30:53.960
<v Speaker 2>a predicament that the individuals in the story or in

515
00:30:54.000 --> 00:31:00.920
<v Speaker 2>the film face. Okay, so that's the definition of the problem,

516
00:31:01.119 --> 00:31:07.160
<v Speaker 2>A situation that the characters that that's what it's popularly

517
00:31:07.279 --> 00:31:13.160
<v Speaker 2>known as, that the individuals in the story must face.

518
00:31:13.920 --> 00:31:16.920
<v Speaker 1>No, I've heard something. Yeah, I've heard somebody else describe

519
00:31:16.920 --> 00:31:23.599
<v Speaker 1>this as conflict and confrontation and then resolution. You know

520
00:31:24.079 --> 00:31:27.119
<v Speaker 1>in that it sounds very similar, right right?

521
00:31:27.359 --> 00:31:29.200
<v Speaker 2>It could be. But like I said, this is just

522
00:31:29.400 --> 00:31:33.240
<v Speaker 2>my structure. This is my way of doing it. But

523
00:31:33.359 --> 00:31:37.319
<v Speaker 2>there are many different kinds of screenplay ideas out there.

524
00:31:37.440 --> 00:31:40.920
<v Speaker 2>There are many different kinds of approaches. What I'm dealing

525
00:31:40.960 --> 00:31:45.920
<v Speaker 2>here with with dual story structure is at the screenplay

526
00:31:46.039 --> 00:31:50.559
<v Speaker 2>level and at the story level. So what this is

527
00:31:50.759 --> 00:31:54.640
<v Speaker 2>used is to help write the screenplay, like a basic

528
00:31:54.680 --> 00:31:58.480
<v Speaker 2>schematic in helping you to write the screenplay. Like, it

529
00:31:58.519 --> 00:32:00.960
<v Speaker 2>doesn't write it. You know, it's not a program. You

530
00:32:01.000 --> 00:32:04.880
<v Speaker 2>don't insert dual story structure into your computer and it

531
00:32:04.920 --> 00:32:07.200
<v Speaker 2>writes the script for you. Nothing will write the script

532
00:32:07.240 --> 00:32:11.359
<v Speaker 2>for you, right, So what it is is a structure

533
00:32:11.680 --> 00:32:15.000
<v Speaker 2>that you can that helps you with the screenplay, that

534
00:32:15.079 --> 00:32:19.480
<v Speaker 2>helps you write the screenplay. Right. So you mentioned conflict.

535
00:32:20.279 --> 00:32:28.279
<v Speaker 2>Conflict would be a part of the problem, but it's

536
00:32:28.319 --> 00:32:30.759
<v Speaker 2>also a part of the overall story. Because there are

537
00:32:30.759 --> 00:32:33.519
<v Speaker 2>many different there may be more than one conflict. Right.

538
00:32:33.960 --> 00:32:36.880
<v Speaker 2>You could have an essential conflict, which is what it's about.

539
00:32:37.440 --> 00:32:41.759
<v Speaker 2>But when it comes to movies, what you have is

540
00:32:42.480 --> 00:32:46.799
<v Speaker 2>a p in this structure. What you have is the problem,

541
00:32:47.000 --> 00:32:48.720
<v Speaker 2>and the problem is the predicament.

542
00:32:49.079 --> 00:32:51.200
<v Speaker 3>There may be conflicts that ensue.

543
00:32:50.920 --> 00:32:56.200
<v Speaker 2>As a result of the predicament or problem, but it's

544
00:32:56.279 --> 00:33:01.079
<v Speaker 2>not simply conflict. Right. Conflict is a part of films,

545
00:33:01.440 --> 00:33:05.960
<v Speaker 2>but it isn't Like I said, I'm sure different screenplay

546
00:33:06.920 --> 00:33:12.880
<v Speaker 2>instructors and different screenwriters have their own way of explaining

547
00:33:12.920 --> 00:33:15.920
<v Speaker 2>and doing things. Right, Like I said, this is my structure.

548
00:33:16.240 --> 00:33:18.079
<v Speaker 3>So the problem we start.

549
00:33:17.880 --> 00:33:23.519
<v Speaker 2>Out with in this structure is a predicament. Okay, that's

550
00:33:23.559 --> 00:33:24.200
<v Speaker 2>the predicalment.

551
00:33:24.319 --> 00:33:26.599
<v Speaker 1>Gotcha. Now, one could say sometimes that when you know

552
00:33:26.799 --> 00:33:29.720
<v Speaker 1>you're talking about the parallel or the duel, occasionally what

553
00:33:29.839 --> 00:33:33.359
<v Speaker 1>happens is they cross over into one another. Right, let's

554
00:33:33.400 --> 00:33:36.400
<v Speaker 1>go back to Psycho. You got the Marion Crane story

555
00:33:36.440 --> 00:33:38.880
<v Speaker 1>where she's left, she's absconded with the money. Now she's

556
00:33:38.880 --> 00:33:40.799
<v Speaker 1>in the side of the way hotel, she's creeped out.

557
00:33:41.160 --> 00:33:43.200
<v Speaker 1>She meets Norman Bates. Well, he's got a whole thing

558
00:33:43.240 --> 00:33:47.519
<v Speaker 1>going on, and his whole thing, right is about you know, mo,

559
00:33:47.680 --> 00:33:49.960
<v Speaker 1>my mother's up there, and we don't know it yet.

560
00:33:50.039 --> 00:33:52.880
<v Speaker 1>We learn later obviously what really that means and everything.

561
00:33:52.880 --> 00:33:54.799
<v Speaker 1>But my mother's up there. Oh she's a problem. I'm

562
00:33:54.799 --> 00:33:57.200
<v Speaker 1>trying to run the hotel, you know. Oh, this place

563
00:33:57.279 --> 00:34:00.240
<v Speaker 1>is run down, it's not very busy. You know. His

564
00:34:00.279 --> 00:34:02.400
<v Speaker 1>whole thing is going on a little more boring than

565
00:34:02.519 --> 00:34:07.000
<v Speaker 1>somebody absconding with a payroll, but still, right, it's two

566
00:34:07.039 --> 00:34:10.159
<v Speaker 1>different stories going on in the same world, and they're

567
00:34:10.159 --> 00:34:10.880
<v Speaker 1>about to connect.

568
00:34:11.000 --> 00:34:17.039
<v Speaker 2>Here's what I would argue about Psycho. Psycho. I would argue, basically,

569
00:34:17.079 --> 00:34:22.320
<v Speaker 2>switches protagonist because if you look at the Marian Crane individual,

570
00:34:23.519 --> 00:34:26.599
<v Speaker 2>she is the protagonist of the film. She's the main character.

571
00:34:27.079 --> 00:34:30.519
<v Speaker 2>But what happens in Psycho she gets killed off in

572
00:34:30.559 --> 00:34:33.480
<v Speaker 2>the first What happened in the film is Norman Bates

573
00:34:33.519 --> 00:34:38.239
<v Speaker 2>thus becomes the protagonist. Right, So when she came to

574
00:34:38.280 --> 00:34:42.599
<v Speaker 2>that hotel, he was essentially like a supporting player, but

575
00:34:42.840 --> 00:34:48.159
<v Speaker 2>now he becomes after she dies, he becomes the protagonist

576
00:34:48.159 --> 00:34:52.039
<v Speaker 2>because we're seeing the film if not necessary, we'll not

577
00:34:52.039 --> 00:34:55.119
<v Speaker 2>necessary through his eyes. But he is the focal point

578
00:34:55.280 --> 00:34:58.719
<v Speaker 2>of the movie, even though the Crane character is important

579
00:34:58.719 --> 00:35:03.000
<v Speaker 2>because her sister Lila's looking for her, right, I would

580
00:35:03.079 --> 00:35:05.719
<v Speaker 2>argue that they switch protagonists. That's one of the tricks

581
00:35:05.760 --> 00:35:07.519
<v Speaker 2>of that movie, and that's why I think it's one

582
00:35:07.519 --> 00:35:13.320
<v Speaker 2>of the more effective screen you know, screen story screenplays

583
00:35:13.360 --> 00:35:18.360
<v Speaker 2>in regards to horror movies or that sort of when

584
00:35:18.360 --> 00:35:20.440
<v Speaker 2>that was the proto slasher movie, right.

585
00:35:20.360 --> 00:35:24.199
<v Speaker 1>And at the time, extremely unique, extremely unique because Janet Lee,

586
00:35:24.400 --> 00:35:27.559
<v Speaker 1>who was you know, put out there as a star

587
00:35:27.760 --> 00:35:31.559
<v Speaker 1>of the movie, right, is dead within a few minutes,

588
00:35:32.360 --> 00:35:35.280
<v Speaker 1>So you know your your main protagonist. Hey, this person's

589
00:35:35.280 --> 00:35:37.480
<v Speaker 1>here now. Usually that means you're going to follow them

590
00:35:37.519 --> 00:35:41.960
<v Speaker 1>through the story. Nope, she's gone, So now hey, here's

591
00:35:42.000 --> 00:35:47.360
<v Speaker 1>the other protagonist. The dual story doesn't last long in Psycho.

592
00:35:47.480 --> 00:35:50.039
<v Speaker 2>I guess right, Well, well, it depends on how you

593
00:35:50.159 --> 00:35:52.519
<v Speaker 2>wish to see that. You could you could see Psycho

594
00:35:52.679 --> 00:35:58.039
<v Speaker 2>as a problem reaction solution film, or you could see

595
00:35:58.039 --> 00:36:02.199
<v Speaker 2>it as a situation action and resolution film. Really depends

596
00:36:02.239 --> 00:36:04.320
<v Speaker 2>on which one you want to use it for. But

597
00:36:05.039 --> 00:36:07.840
<v Speaker 2>I'm looking at it more in terms of the overall

598
00:36:09.239 --> 00:36:12.000
<v Speaker 2>the overall. Looking at it from the protagonist point of view,

599
00:36:12.440 --> 00:36:15.320
<v Speaker 2>it really becomes a movie where the protagonist or switch,

600
00:36:16.000 --> 00:36:19.239
<v Speaker 2>you go from one protagonist to another, and that's why

601
00:36:19.280 --> 00:36:23.519
<v Speaker 2>it's tricky. Psycho is a tricky movie because its switches protagonists.

602
00:36:23.559 --> 00:36:26.239
<v Speaker 2>In my view, it's wwitch's main characters.

603
00:36:26.719 --> 00:36:28.519
<v Speaker 1>And then the next thing that happens is now you're

604
00:36:28.559 --> 00:36:31.960
<v Speaker 1>following a police investigation which is now in conflict with

605
00:36:32.000 --> 00:36:35.079
<v Speaker 1>the Norman Bates story, which is its own arc. So

606
00:36:35.519 --> 00:36:38.920
<v Speaker 1>now they've eliminated one and replaced it with another.

607
00:36:38.960 --> 00:36:44.400
<v Speaker 4>You'd say, yeah, so, okay, we have the problem, and

608
00:36:44.440 --> 00:36:47.840
<v Speaker 4>I'm going to cite I'll use my essay in examples

609
00:36:47.920 --> 00:36:53.800
<v Speaker 4>in the essay to illustrate both both prs and seer.

610
00:36:54.440 --> 00:36:56.880
<v Speaker 2>So we have the problem, which is a predicament that

611
00:36:57.000 --> 00:37:01.920
<v Speaker 2>the characters a individual have to face, or have to

612
00:37:01.960 --> 00:37:05.320
<v Speaker 2>deal with, or have to get out of. Right, then

613
00:37:05.400 --> 00:37:10.840
<v Speaker 2>you have the reaction, and the reaction would be defined

614
00:37:10.880 --> 00:37:19.239
<v Speaker 2>as the emotions, feelings, and efforts, meaning it's an emotions,

615
00:37:19.480 --> 00:37:26.159
<v Speaker 2>feelings about their predicament, and efforts to get out of

616
00:37:26.199 --> 00:37:31.639
<v Speaker 2>this predicament. So the resolution would technically be let mean sorry,

617
00:37:31.719 --> 00:37:35.360
<v Speaker 2>the reaction would be most of the movie. So we

618
00:37:35.480 --> 00:37:38.400
<v Speaker 2>go back. We have the problem, which is a predicament

619
00:37:38.440 --> 00:37:42.440
<v Speaker 2>that the individuals must face or they are stuck in.

620
00:37:43.000 --> 00:37:46.800
<v Speaker 2>Then we have the reaction, which is not only the emotions, feelings,

621
00:37:46.800 --> 00:37:51.239
<v Speaker 2>and aspects that these individuals go through as a result

622
00:37:51.280 --> 00:37:54.280
<v Speaker 2>of this predicament, but their efforts to get out of

623
00:37:54.320 --> 00:37:57.360
<v Speaker 2>the predicament. And then we get to the last part,

624
00:37:57.440 --> 00:38:00.760
<v Speaker 2>which is solution, and solution is a way out of

625
00:38:00.800 --> 00:38:05.920
<v Speaker 2>the predicament. This solution can come from the individuals meaning

626
00:38:05.960 --> 00:38:10.960
<v Speaker 2>the characters or meaning basically internal, or it can be external,

627
00:38:10.960 --> 00:38:13.800
<v Speaker 2>it can come from some force outside of those characters.

628
00:38:15.360 --> 00:38:21.440
<v Speaker 2>So that's what's So that's the basic rundown of what problem,

629
00:38:21.519 --> 00:38:25.880
<v Speaker 2>reaction solution is. Right, structure a of dual story structure.

630
00:38:26.280 --> 00:38:31.280
<v Speaker 2>So let's go on to structure B, which is situation

631
00:38:31.599 --> 00:38:40.199
<v Speaker 2>action resolution. Let us define situations. Situation is any kind

632
00:38:40.360 --> 00:38:46.679
<v Speaker 2>of event or activity that the individuals are involved with.

633
00:38:47.840 --> 00:38:51.639
<v Speaker 2>So right away we're seeing this is very different from

634
00:38:51.920 --> 00:38:57.039
<v Speaker 2>problem reaction solution. Right. Problem is a predicament, it's an issue.

635
00:38:57.159 --> 00:39:02.639
<v Speaker 2>It's something that serves as not just the stumbling block,

636
00:39:02.679 --> 00:39:05.360
<v Speaker 2>but a series of stumbling blocks, a series of obstacles,

637
00:39:05.360 --> 00:39:08.119
<v Speaker 2>a series of aspects that they have to wrestle with

638
00:39:08.280 --> 00:39:12.199
<v Speaker 2>or forced to wrestle with. Right, A situation is any

639
00:39:12.280 --> 00:39:16.440
<v Speaker 2>event or activity that the characters are involved with or

640
00:39:16.679 --> 00:39:20.239
<v Speaker 2>deal with. Right, So a situation could be anything. Right.

641
00:39:20.559 --> 00:39:25.440
<v Speaker 2>In television, what do they call comedies situation comedy because

642
00:39:25.440 --> 00:39:29.880
<v Speaker 2>the situation may vary. A show like Mash is one

643
00:39:29.920 --> 00:39:35.519
<v Speaker 2>situation and a show like Seinfeld is another. So situation.

644
00:39:35.559 --> 00:39:38.719
<v Speaker 2>Now that's different because I'm not talking about television. That's

645
00:39:38.719 --> 00:39:42.840
<v Speaker 2>a whole different dual story structure. I mean, it's the

646
00:39:42.920 --> 00:39:47.320
<v Speaker 2>same dual story structure of problem reaction solution and situation

647
00:39:47.519 --> 00:39:50.920
<v Speaker 2>action resolution, but it's a different kind of approach that

648
00:39:50.960 --> 00:39:53.119
<v Speaker 2>I have to take to explaining that. So maybe I'll

649
00:39:53.119 --> 00:39:55.480
<v Speaker 2>come back one of these days and do that. But anyway,

650
00:39:55.559 --> 00:39:59.280
<v Speaker 2>we have the situation right. It's any event or activity

651
00:39:59.400 --> 00:40:05.679
<v Speaker 2>that the individuals are involved with or find themselves dealing

652
00:40:05.719 --> 00:40:09.480
<v Speaker 2>with in some way. Could be anything, right, it's not

653
00:40:09.760 --> 00:40:14.320
<v Speaker 2>as specific. It could be specific, but it's not as specific.

654
00:40:15.039 --> 00:40:20.239
<v Speaker 2>So actions is we're moving to action. Action is literally

655
00:40:20.599 --> 00:40:27.280
<v Speaker 2>physical demonstrable activity. Somebody does something physically. It could also

656
00:40:27.360 --> 00:40:37.679
<v Speaker 2>be possibly emotional or intellectual or mental, but it's something

657
00:40:37.760 --> 00:40:42.480
<v Speaker 2>the character does. So depth finds is something an individual

658
00:40:42.800 --> 00:40:48.840
<v Speaker 2>or character does. Normally it would be physical activity like action,

659
00:40:49.360 --> 00:40:53.280
<v Speaker 2>right and action that is taken right, but it could

660
00:40:53.360 --> 00:40:56.000
<v Speaker 2>be other things. It could be intellectual, could be emotional,

661
00:40:56.000 --> 00:41:01.920
<v Speaker 2>could be right sure, something the individual does. Definition of actions.

662
00:41:02.480 --> 00:41:10.559
<v Speaker 2>Resolution is the conclusion to an end to whatever activity,

663
00:41:11.199 --> 00:41:18.960
<v Speaker 2>whatever event, whatever, the individuals have been involved with. Okay,

664
00:41:19.400 --> 00:41:23.159
<v Speaker 2>And what's tricky about a resolution is a resolution could

665
00:41:23.280 --> 00:41:27.519
<v Speaker 2>not necessarily resolve something, So you could have a cliffhanger,

666
00:41:27.880 --> 00:41:29.840
<v Speaker 2>or you could have an end of the movie that

667
00:41:30.559 --> 00:41:34.840
<v Speaker 2>doesn't quote unquote solve anything. But it is a resolution

668
00:41:35.000 --> 00:41:37.119
<v Speaker 2>because it is the end of the movie and it's

669
00:41:37.159 --> 00:41:41.400
<v Speaker 2>an end at that point to what the individuals aka

670
00:41:41.679 --> 00:41:43.599
<v Speaker 2>characters are involved with.

671
00:41:44.719 --> 00:41:47.719
<v Speaker 1>Okay, Now does this differ a little bit when you're

672
00:41:47.719 --> 00:41:54.920
<v Speaker 1>dealing with a singular, contained presentation like a movie. Does

673
00:41:54.960 --> 00:41:57.360
<v Speaker 1>it differ when you say, do it with a TV

674
00:41:57.519 --> 00:42:01.599
<v Speaker 1>series where a story arc might develop over the course

675
00:42:01.679 --> 00:42:06.360
<v Speaker 1>of ten, fifteen, twenty episodes even like you know, for instance,

676
00:42:06.880 --> 00:42:10.800
<v Speaker 1>one of my favorite shows was The Sopranos, and you know,

677
00:42:10.840 --> 00:42:14.800
<v Speaker 1>you had a sort of overall story arc over the

678
00:42:14.840 --> 00:42:19.360
<v Speaker 1>course of the season, but each individual show also had

679
00:42:19.480 --> 00:42:22.400
<v Speaker 1>individual things that may or may not have come to

680
00:42:22.440 --> 00:42:25.159
<v Speaker 1>a resolution by the end of that one hour race,

681
00:42:26.480 --> 00:42:29.400
<v Speaker 1>So you had little stops along the way, ultimately building

682
00:42:29.480 --> 00:42:32.079
<v Speaker 1>up to what you hoped was a resolution at the

683
00:42:32.119 --> 00:42:35.440
<v Speaker 1>end of the season, you know, something like that. Is

684
00:42:36.119 --> 00:42:38.119
<v Speaker 1>that different in any way or is it just stretched

685
00:42:38.159 --> 00:42:38.679
<v Speaker 1>out longer?

686
00:42:39.599 --> 00:42:42.679
<v Speaker 2>Well, yeah, so let me just briefly because I think

687
00:42:42.719 --> 00:42:45.000
<v Speaker 2>that's a very good question, because I did say that

688
00:42:45.079 --> 00:42:50.079
<v Speaker 2>both situation action resolution and problem reactions and problem as

689
00:42:50.119 --> 00:42:56.920
<v Speaker 2>our situation action resolution and problem reaction solution apply to

690
00:42:56.960 --> 00:43:00.679
<v Speaker 2>television too, to be used in television. In television, it's

691
00:43:00.719 --> 00:43:05.079
<v Speaker 2>basically in two ways. Number one would be the pilot

692
00:43:06.400 --> 00:43:08.920
<v Speaker 2>of the show, the opening the pilot of the show

693
00:43:09.320 --> 00:43:14.519
<v Speaker 2>that would have that would be its own SAAR or

694
00:43:14.519 --> 00:43:19.840
<v Speaker 2>it's PRS right to use the synemas to use the

695
00:43:19.880 --> 00:43:28.280
<v Speaker 2>technoms that so both synonyms really so the initials. So

696
00:43:29.639 --> 00:43:33.320
<v Speaker 2>you would do either one of those structures, structure A

697
00:43:33.800 --> 00:43:39.119
<v Speaker 2>or structure B. Structure A being PRS problem reaction solution,

698
00:43:39.880 --> 00:43:48.960
<v Speaker 2>structure B being solution I'm sorry, situation action resolution. You

699
00:43:49.239 --> 00:43:56.000
<v Speaker 2>would use the structure for the pilot and then individual episodes.

700
00:43:56.679 --> 00:44:01.000
<v Speaker 2>So it would be kind of so every episode you

701
00:44:01.039 --> 00:44:03.440
<v Speaker 2>can use depending on the kind of show you're doing,

702
00:44:03.519 --> 00:44:07.639
<v Speaker 2>whether it's SAAR or whether it's PRS, you would do

703
00:44:07.679 --> 00:44:12.000
<v Speaker 2>that for every episode that you write. So every episode.

704
00:44:12.159 --> 00:44:15.039
<v Speaker 2>So if you've got I don't know how many episode

705
00:44:15.079 --> 00:44:17.639
<v Speaker 2>shows are these days, it varies from show to show.

706
00:44:18.559 --> 00:44:19.840
<v Speaker 2>Say you got fifteen.

707
00:44:19.480 --> 00:44:22.199
<v Speaker 1>Episodes, right your network. Look at it this way. Your

708
00:44:22.199 --> 00:44:25.239
<v Speaker 1>network shows run like twenty something episodes still in a.

709
00:44:25.239 --> 00:44:27.840
<v Speaker 2>Lot of day normally normally be twenty two. It used

710
00:44:27.880 --> 00:44:29.679
<v Speaker 2>to be twenty six years ago, it used to be

711
00:44:29.679 --> 00:44:30.760
<v Speaker 2>over thirty years ago.

712
00:44:30.840 --> 00:44:33.599
<v Speaker 1>Well, absolutely, sometimes you have thirty five. But now there

713
00:44:33.639 --> 00:44:37.320
<v Speaker 1>are streaming shows that only say run ten or twelve

714
00:44:37.360 --> 00:44:39.800
<v Speaker 1>episodes for twelve.

715
00:44:39.519 --> 00:44:43.320
<v Speaker 2>Fifteen, So let's use let's get in between there and

716
00:44:43.400 --> 00:44:47.199
<v Speaker 2>say fifteen, right, So for all fifteen seasons of season

717
00:44:47.280 --> 00:44:48.960
<v Speaker 2>one of let's just call it.

718
00:44:50.519 --> 00:44:50.800
<v Speaker 1>Shuck.

719
00:44:51.800 --> 00:44:54.119
<v Speaker 2>I know there's a show called Chuck, but let's call

720
00:44:54.199 --> 00:44:55.960
<v Speaker 2>this new show Chuck.

721
00:44:56.280 --> 00:44:56.800
<v Speaker 1>Sure, why not?

722
00:44:57.719 --> 00:45:02.159
<v Speaker 2>Why not? Right? Another Chuck, different one? So fifteen seasons

723
00:45:02.199 --> 00:45:02.800
<v Speaker 2>of Chuck.

724
00:45:03.360 --> 00:45:05.440
<v Speaker 3>Right, we would use.

725
00:45:06.840 --> 00:45:10.719
<v Speaker 2>Either one of those structures structure A or B problem

726
00:45:10.760 --> 00:45:16.719
<v Speaker 2>reaction solution or situation action resolution for every episode of

727
00:45:16.760 --> 00:45:20.280
<v Speaker 2>that show to write the scripts that could be used

728
00:45:20.320 --> 00:45:22.719
<v Speaker 2>for everyone. So you do use it for the pilot,

729
00:45:23.320 --> 00:45:26.280
<v Speaker 2>and you use it for every episode, and that would

730
00:45:26.360 --> 00:45:29.760
<v Speaker 2>be how whereas with a film, you're just using it

731
00:45:29.800 --> 00:45:33.239
<v Speaker 2>on a draft by draft basis. Right, So you're writing

732
00:45:33.239 --> 00:45:36.559
<v Speaker 2>a film, you know, depending on how many drafts you use,

733
00:45:37.519 --> 00:45:40.360
<v Speaker 2>or how many drafts you write, or how much a

734
00:45:40.400 --> 00:45:44.280
<v Speaker 2>production would use, you would do it for every draft. Right,

735
00:45:44.519 --> 00:45:46.960
<v Speaker 2>you use it for every draft. I mean, once you

736
00:45:47.000 --> 00:45:49.440
<v Speaker 2>get from draft to draft to draft, you probably wouldn't

737
00:45:49.440 --> 00:45:54.920
<v Speaker 2>need to use use it as much in terms of

738
00:45:54.960 --> 00:45:58.440
<v Speaker 2>the structure of it would be more like shorthand. So

739
00:45:58.599 --> 00:46:01.159
<v Speaker 2>what you would do you could also probably uses for

740
00:46:01.239 --> 00:46:06.159
<v Speaker 2>outline and for treatments too, especially in television. Again, what

741
00:46:06.199 --> 00:46:10.079
<v Speaker 2>this is is a basic story structure. So I don't

742
00:46:10.079 --> 00:46:14.119
<v Speaker 2>want to stress this before you use something like a

743
00:46:14.239 --> 00:46:17.880
<v Speaker 2>dual story structure, and I hope this is the case.

744
00:46:18.639 --> 00:46:22.039
<v Speaker 2>You should already know screenwriting. In other words, you should

745
00:46:22.079 --> 00:46:25.719
<v Speaker 2>know what a protagonist antagonist is, what a climax is,

746
00:46:25.800 --> 00:46:28.599
<v Speaker 2>what a denial mom or is climax or danium mog,

747
00:46:29.280 --> 00:46:33.079
<v Speaker 2>what an inciting incident is. You should know all of these.

748
00:46:33.199 --> 00:46:36.639
<v Speaker 2>You should know basic screenwriting before you attempt to actually

749
00:46:37.079 --> 00:46:42.559
<v Speaker 2>write a script and use dual action structure, because you

750
00:46:42.599 --> 00:46:48.360
<v Speaker 2>can't learn if you don't know what three acts structure is. Yes,

751
00:46:49.119 --> 00:46:54.360
<v Speaker 2>dual dual story structure does fit within the confines of

752
00:46:55.960 --> 00:46:59.599
<v Speaker 2>three acts structure, but this is not three acts structure.

753
00:46:59.719 --> 00:47:02.840
<v Speaker 2>Three act structure is three act structure. You don't know

754
00:47:02.880 --> 00:47:04.760
<v Speaker 2>what an act one, at two or act three is.

755
00:47:04.800 --> 00:47:07.320
<v Speaker 2>If you don't understand that, if you're going to be

756
00:47:07.440 --> 00:47:08.400
<v Speaker 2>lost using.

757
00:47:08.199 --> 00:47:11.199
<v Speaker 1>This, yeah, well this will get confusing because if you

758
00:47:11.280 --> 00:47:15.639
<v Speaker 1>try and run an ABC three plots, okay, you try

759
00:47:15.639 --> 00:47:19.079
<v Speaker 1>and run your ABC plots your your main story, then

760
00:47:19.119 --> 00:47:22.400
<v Speaker 1>there's a subplot to that story and then a sort

761
00:47:22.480 --> 00:47:26.079
<v Speaker 1>of extra background story to it. I mean that gets

762
00:47:26.159 --> 00:47:28.880
<v Speaker 1>very complicated, especially if you're going to apply a dual

763
00:47:28.880 --> 00:47:31.440
<v Speaker 1>story structure to each one of those three plot lines.

764
00:47:32.039 --> 00:47:34.880
<v Speaker 1>I mean that's very complex and quite fussy.

765
00:47:34.920 --> 00:47:38.760
<v Speaker 2>Well, again, this is very basic. So this is like

766
00:47:39.559 --> 00:47:44.800
<v Speaker 2>a basic exoskeleton and basic narrative exoskeleton that you use

767
00:47:44.920 --> 00:47:47.039
<v Speaker 2>to help write the screenplay. That's it.

768
00:47:47.119 --> 00:47:47.400
<v Speaker 1>Okay.

769
00:47:47.400 --> 00:47:51.239
<v Speaker 2>It doesn't write it for you. It doesn't provide anything

770
00:47:51.320 --> 00:47:54.400
<v Speaker 2>beyond a basic framework. That's what's intended for. That's why

771
00:47:54.400 --> 00:47:56.000
<v Speaker 2>I say it's basic story structure.

772
00:47:56.320 --> 00:47:57.159
<v Speaker 1>Right.

773
00:47:58.000 --> 00:47:59.679
<v Speaker 2>Did you got to come up with a character, You

774
00:47:59.679 --> 00:48:03.039
<v Speaker 2>have to come up with the plot points, you have

775
00:48:03.119 --> 00:48:06.519
<v Speaker 2>to come up with you know where the arc is

776
00:48:06.559 --> 00:48:09.480
<v Speaker 2>going to be, whether it's a film or in the

777
00:48:09.519 --> 00:48:12.360
<v Speaker 2>TV scripts, You're going to have to come up with

778
00:48:12.400 --> 00:48:15.079
<v Speaker 2>all that stuff. And all it does is provide you

779
00:48:15.159 --> 00:48:18.840
<v Speaker 2>with that structure, that three column what I call it

780
00:48:18.880 --> 00:48:24.159
<v Speaker 2>three columns. It matches up with three act structure. Right, Okay,

781
00:48:24.760 --> 00:48:30.400
<v Speaker 2>so let's take a look at structure. A problem at one,

782
00:48:32.000 --> 00:48:40.880
<v Speaker 2>reaction at two solution Act three.

783
00:48:41.360 --> 00:48:47.079
<v Speaker 1>Now, where in this do you fit establishment? Where? Look?

784
00:48:47.480 --> 00:48:50.360
<v Speaker 1>In order to understand what's going on here, you're going

785
00:48:50.360 --> 00:48:53.800
<v Speaker 1>to have to know who the players are. Right. In

786
00:48:53.920 --> 00:48:56.400
<v Speaker 1>order to establish a protagonist, you got to get to

787
00:48:56.440 --> 00:48:59.559
<v Speaker 1>know that protagonist. This is this person, this is who

788
00:48:59.559 --> 00:49:01.679
<v Speaker 1>they are, this is what they're about, this is the

789
00:49:01.679 --> 00:49:04.440
<v Speaker 1>world they live in. Right, Where do you do that

790
00:49:04.840 --> 00:49:05.880
<v Speaker 1>in this structure?

791
00:49:05.920 --> 00:49:09.320
<v Speaker 2>So that's where you helped flesh it out. So let's

792
00:49:09.760 --> 00:49:13.119
<v Speaker 2>sort of begin to put this into action. Okay, let's

793
00:49:13.119 --> 00:49:15.880
<v Speaker 2>put this national, right, sure, so let me use the

794
00:49:15.880 --> 00:49:18.679
<v Speaker 2>examples that are used in my essay again to be

795
00:49:18.760 --> 00:49:24.239
<v Speaker 2>found at Alaneer dot substack dot com called dual story structure.

796
00:49:24.320 --> 00:49:27.519
<v Speaker 1>Right, and it's also advertised it's also advertised on your Instagram,

797
00:49:27.559 --> 00:49:29.360
<v Speaker 1>by the way, but go ahead, yeah.

798
00:49:29.199 --> 00:49:32.559
<v Speaker 2>That's correct. It's also on my instagram. Right, It's found

799
00:49:32.559 --> 00:49:36.199
<v Speaker 2>on my instagram, which is writer al lanear and also

800
00:49:36.360 --> 00:49:41.559
<v Speaker 2>found at on my substack. Right, So let's use the example.

801
00:49:41.719 --> 00:49:43.760
<v Speaker 2>Like I said, I'll use both examples from my answers.

802
00:49:44.559 --> 00:49:48.360
<v Speaker 2>Let's look at Jaws, the movie Jaws. So we start

803
00:49:48.360 --> 00:49:52.960
<v Speaker 2>out with Jaws, right. The problem. Now, when you're using

804
00:49:52.960 --> 00:49:57.280
<v Speaker 2>this structure, I would assume that you already as a writer,

805
00:49:57.880 --> 00:50:01.239
<v Speaker 2>have some characters. Right.

806
00:50:01.760 --> 00:50:04.480
<v Speaker 1>Well, okay, so what you're saying is, before we get

807
00:50:04.519 --> 00:50:07.320
<v Speaker 1>to the problem, you've got to establish here's the town,

808
00:50:07.599 --> 00:50:12.239
<v Speaker 1>here's the beach, here's here's the cops, and the power

809
00:50:12.239 --> 00:50:14.320
<v Speaker 1>structure which they you.

810
00:50:15.440 --> 00:50:19.559
<v Speaker 2>Have to have an idea, some basic ideas, right, So

811
00:50:19.679 --> 00:50:25.119
<v Speaker 2>you have this concept of Okay, you know, you have

812
00:50:25.239 --> 00:50:29.840
<v Speaker 2>this idea, you have the idea, Well, Jaws is based

813
00:50:29.880 --> 00:50:32.280
<v Speaker 2>on a novel by Peter Benchlein, but let's imagine that

814
00:50:32.400 --> 00:50:35.119
<v Speaker 2>Jaws was an original idea. So you had this idea

815
00:50:35.360 --> 00:50:40.159
<v Speaker 2>about this this town that has been the subject of

816
00:50:40.199 --> 00:50:45.599
<v Speaker 2>shark attacks. Right, So we start out, you know, and

817
00:50:45.760 --> 00:50:49.440
<v Speaker 2>you have some ideas for the characters. That's when you

818
00:50:49.559 --> 00:50:54.480
<v Speaker 2>start to begin to use the dual story structure. You

819
00:50:54.559 --> 00:51:00.800
<v Speaker 2>can't use it in the absence of characters or an idea,

820
00:51:02.000 --> 00:51:04.440
<v Speaker 2>some ideas about the plot. You have to have some

821
00:51:04.599 --> 00:51:08.599
<v Speaker 2>basic concepts about what your story might be at what

822
00:51:08.639 --> 00:51:11.719
<v Speaker 2>you're looking to do. This is not going to create

823
00:51:11.760 --> 00:51:12.679
<v Speaker 2>a story for.

824
00:51:12.599 --> 00:51:15.519
<v Speaker 1>You if you're doing some basic if.

825
00:51:15.400 --> 00:51:18.239
<v Speaker 2>You're doing, going to create it for you in structure.

826
00:51:18.559 --> 00:51:21.599
<v Speaker 1>Unless you're doing a very unconventional sort of storytelling where

827
00:51:21.679 --> 00:51:25.159
<v Speaker 1>you don't bother to establish the characters. You just you know,

828
00:51:25.320 --> 00:51:27.480
<v Speaker 1>let them pass by, you do sort of drive bys

829
00:51:27.519 --> 00:51:30.800
<v Speaker 1>on them, and they establish a universe as a collective

830
00:51:30.920 --> 00:51:36.119
<v Speaker 1>something like that. That's why you have situation actually, right,

831
00:51:36.159 --> 00:51:40.159
<v Speaker 1>because you can establish a situation without all that other stuff. Okay,

832
00:51:40.159 --> 00:51:42.599
<v Speaker 1>go ahead, Yeah, So yep, Jaws.

833
00:51:42.639 --> 00:51:45.880
<v Speaker 2>Okay, let's let's look at the problem in Jaws. What's

834
00:51:45.920 --> 00:51:51.719
<v Speaker 2>the problem that there that there is a small.

835
00:51:51.360 --> 00:51:55.079
<v Speaker 1>Town, beach town. They need the revenue, there's people there,

836
00:51:55.159 --> 00:51:58.679
<v Speaker 1>they're trying to enjoy. The problem is dangerous and why

837
00:51:58.719 --> 00:51:59.280
<v Speaker 1>is it dangerous?

838
00:51:59.360 --> 00:52:01.840
<v Speaker 2>Right? Sure, you're getting to see. What you're beginning to

839
00:52:01.880 --> 00:52:04.360
<v Speaker 2>do is flash things out. I'm starting out from the

840
00:52:04.440 --> 00:52:04.960
<v Speaker 2>very beginning.

841
00:52:05.000 --> 00:52:05.280
<v Speaker 1>All right.

842
00:52:05.360 --> 00:52:13.679
<v Speaker 2>So there's a small beach town that's the subject of attacks. Right,

843
00:52:14.519 --> 00:52:16.880
<v Speaker 2>let's get a little bit a little bit more specific,

844
00:52:17.159 --> 00:52:20.159
<v Speaker 2>not too specific, but a little bit more specific. There's

845
00:52:20.599 --> 00:52:25.039
<v Speaker 2>a East coast town that has been impacted by a

846
00:52:25.079 --> 00:52:30.320
<v Speaker 2>wave of shark attacks on squars. Okay, that's the problem,

847
00:52:30.599 --> 00:52:33.679
<v Speaker 2>that's the problem. Okay. So what you do from that

848
00:52:33.800 --> 00:52:36.800
<v Speaker 2>point is this, because you've already thought about the characters,

849
00:52:37.039 --> 00:52:41.039
<v Speaker 2>you've already begun to think about the perfect the basic

850
00:52:41.039 --> 00:52:45.880
<v Speaker 2>aspects of plot. Okay, so you extrapolate from that point

851
00:52:45.960 --> 00:52:49.920
<v Speaker 2>the problem. Now, often screenwriting books here to cliche what

852
00:52:50.039 --> 00:52:55.679
<v Speaker 2>happens next? What I stress is what happened? Not simply

853
00:52:55.719 --> 00:52:58.440
<v Speaker 2>what happens next, but what happened? That's the question that

854
00:52:58.519 --> 00:53:01.519
<v Speaker 2>screenwriters need to answer the script. You have to answer

855
00:53:01.519 --> 00:53:05.199
<v Speaker 2>what happened, because when you're dealing with people at studios,

856
00:53:05.360 --> 00:53:08.480
<v Speaker 2>they're gonna say, Okay, what happened here? You know, why

857
00:53:08.519 --> 00:53:10.719
<v Speaker 2>does this character do this? If you get that far,

858
00:53:11.920 --> 00:53:14.880
<v Speaker 2>why does that happen? Certainly, if you're gonna pitch sometimes

859
00:53:14.880 --> 00:53:18.199
<v Speaker 2>they're gonna ask questions. But even if they if you

860
00:53:18.280 --> 00:53:21.719
<v Speaker 2>have a draft, if you have something written, they look

861
00:53:21.719 --> 00:53:25.800
<v Speaker 2>at the script they go, Okay, why does what happened here?

862
00:53:25.920 --> 00:53:28.920
<v Speaker 2>Or what happens here? So you have to solve the

863
00:53:29.000 --> 00:53:31.280
<v Speaker 2>problem of and you have to answer the question of

864
00:53:31.559 --> 00:53:34.880
<v Speaker 2>what happened. So we look at this problem. Okay, let's

865
00:53:34.920 --> 00:53:38.800
<v Speaker 2>flesh it out more, right, we get from that point. Okay,

866
00:53:38.920 --> 00:53:41.039
<v Speaker 2>it's an East coast town. Oh right, it's a town

867
00:53:41.119 --> 00:53:46.440
<v Speaker 2>called Amite, and it's like a Cape Cod Martha's Vineyard

868
00:53:46.440 --> 00:53:49.480
<v Speaker 2>type town. Okay, you're talking about specific East coast like

869
00:53:49.519 --> 00:53:53.519
<v Speaker 2>Massachusetts area that that area. Okay, And they've got a

870
00:53:53.519 --> 00:53:57.679
<v Speaker 2>shark to deck, so that's impacting them. Yeah, a couple

871
00:53:57.719 --> 00:53:59.599
<v Speaker 2>of swimmers have been having killed.

872
00:54:00.920 --> 00:54:04.000
<v Speaker 1>For me, the problem, the problem actually is not the

873
00:54:04.039 --> 00:54:08.920
<v Speaker 1>shark attack. Primarily, the problem is that they have to

874
00:54:09.079 --> 00:54:12.280
<v Speaker 1>have this beach open Okay, that's what the deal is.

875
00:54:12.320 --> 00:54:15.000
<v Speaker 2>First, Well, that gets to the resolution.

876
00:54:15.159 --> 00:54:19.119
<v Speaker 3>See, now, guess what you're doing. You're thinking about the story.

877
00:54:19.280 --> 00:54:23.880
<v Speaker 3>You're doing what you're you're you're looking at the.

878
00:54:23.760 --> 00:54:26.599
<v Speaker 2>Aspects of the plot, and you're beginning to put things together.

879
00:54:26.639 --> 00:54:29.239
<v Speaker 2>You begin to analyze. Okay, now this issue is this.

880
00:54:29.360 --> 00:54:33.079
<v Speaker 2>So we get to the reaction, and the reaction is

881
00:54:33.800 --> 00:54:37.760
<v Speaker 2>that the town's amity we now call this ambity. The

882
00:54:37.800 --> 00:54:42.000
<v Speaker 2>town's police chief wants to go after the shark, but

883
00:54:42.159 --> 00:54:49.760
<v Speaker 2>gets but but gets static or gets runs into opposition

884
00:54:50.199 --> 00:54:53.639
<v Speaker 2>from town, from the town mayor and town officials. Okay,

885
00:54:53.719 --> 00:54:55.800
<v Speaker 2>so that gets it to the point that you mentioned. Okay,

886
00:54:55.880 --> 00:54:58.159
<v Speaker 2>we've got a police chief Brody I believe his name

887
00:54:58.280 --> 00:55:01.000
<v Speaker 2>was in the movie. So he's he's looking at this

888
00:55:01.079 --> 00:55:03.559
<v Speaker 2>and going this isn't good. People are dying. You've got

889
00:55:03.559 --> 00:55:06.719
<v Speaker 2>a couple of people dying. This is terrible. The shark

890
00:55:06.760 --> 00:55:10.239
<v Speaker 2>has got to be killed at the very least dealt with, right, right.

891
00:55:10.639 --> 00:55:12.800
<v Speaker 2>They also brings in a marine I think it was

892
00:55:12.840 --> 00:55:17.800
<v Speaker 2>a marine biologist or a scientist. Richard Dreyfus play by

893
00:55:17.880 --> 00:55:20.559
<v Speaker 2>Richard Dreyfus. He's brought in to take a look at

894
00:55:20.559 --> 00:55:23.679
<v Speaker 2>this situation. But the mayor was played by Murray Hamilton,

895
00:55:24.119 --> 00:55:27.679
<v Speaker 2>is concerned because it's summertime and that's tourist season and

896
00:55:27.760 --> 00:55:31.639
<v Speaker 2>he wants the beach kept up. See what we're doing

897
00:55:31.760 --> 00:55:36.800
<v Speaker 2>is we're extrapolating, right, We're looking at this aspect and

898
00:55:36.840 --> 00:55:39.800
<v Speaker 2>we're filling in things we're working on.

899
00:55:39.880 --> 00:55:42.719
<v Speaker 1>Okay, he's rushing to resolve it ahead of it actually

900
00:55:42.719 --> 00:55:46.039
<v Speaker 1>being resolved because of that conflict with we need to

901
00:55:46.119 --> 00:55:48.599
<v Speaker 1>keep the beach open for the business, otherwise we're gonna

902
00:55:48.599 --> 00:55:52.679
<v Speaker 1>have problems here. That's what's going on right right.

903
00:55:53.079 --> 00:55:57.840
<v Speaker 2>So he's concerned about tourism because the tourism part of

904
00:55:57.840 --> 00:56:00.320
<v Speaker 2>the life blood of Amity. That's what they need, how

905
00:56:00.320 --> 00:56:02.760
<v Speaker 2>they make the money. It's the important part of the

906
00:56:02.840 --> 00:56:05.639
<v Speaker 2>vital part of the town's economy, and he doesn't want

907
00:56:05.679 --> 00:56:07.960
<v Speaker 2>that economy ruin. That's why he said at one point

908
00:56:08.079 --> 00:56:11.159
<v Speaker 2>in the movie, he says, this will be open I

909
00:56:11.159 --> 00:56:15.239
<v Speaker 2>think in July or whatever. You can't do it. But

910
00:56:15.320 --> 00:56:18.159
<v Speaker 2>eventually Brody gets to say, so to go out there

911
00:56:18.320 --> 00:56:20.920
<v Speaker 2>and deal with the shark, but only what happens with

912
00:56:21.039 --> 00:56:25.119
<v Speaker 2>the solution. What happens with the solution. We get to

913
00:56:25.199 --> 00:56:31.480
<v Speaker 2>the solution, the shark is destroyed. Right, Yeah, shark is destroyed.

914
00:56:32.239 --> 00:56:35.800
<v Speaker 2>But in the solution, you have to think about what happens.

915
00:56:36.239 --> 00:56:38.679
<v Speaker 2>So how does the shark get destroyed? How does the

916
00:56:38.679 --> 00:56:44.920
<v Speaker 2>shark get killed? Well, you know that Brody plus the

917
00:56:44.960 --> 00:56:50.119
<v Speaker 2>scientist plus a local boat hunter and played by Robert Shaw,

918
00:56:50.559 --> 00:56:52.280
<v Speaker 2>goes out there to deal with the shark.

919
00:56:52.719 --> 00:56:55.679
<v Speaker 1>Yeah, the krusty boat captain and the marine biologist who

920
00:56:55.719 --> 00:56:58.000
<v Speaker 1>knows everything, but is it really a hard guy that

921
00:56:58.039 --> 00:57:00.159
<v Speaker 1>can you know, do things really well with his hand.

922
00:57:00.000 --> 00:57:03.159
<v Speaker 1>And eventually what happens is they wind up kicking that

923
00:57:03.239 --> 00:57:05.719
<v Speaker 1>tank into the shark's mouth, right and trying to blow

924
00:57:05.760 --> 00:57:09.360
<v Speaker 1>them up. Right, So see what you're doing.

925
00:57:09.519 --> 00:57:12.639
<v Speaker 2>See what you're doing. Okay, you're beginning to fill in

926
00:57:12.679 --> 00:57:17.679
<v Speaker 2>the details. Okay, So we've moved from problem with the

927
00:57:17.719 --> 00:57:20.000
<v Speaker 2>shark in the town the problem which is the shark

928
00:57:20.840 --> 00:57:24.719
<v Speaker 2>a shark in an East Coast town, right, shark attacks

929
00:57:24.719 --> 00:57:28.760
<v Speaker 2>in an East Coast town, to the reaction, which is

930
00:57:28.960 --> 00:57:31.320
<v Speaker 2>the police chief wants to deal with a shark attack

931
00:57:31.480 --> 00:57:34.639
<v Speaker 2>but is met with opposition by the mayor and local.

932
00:57:34.320 --> 00:57:37.639
<v Speaker 1>Officials, which is the conflict between the sheriff and the

933
00:57:37.679 --> 00:57:41.000
<v Speaker 1>local officials, but also a conflict because they're sticking people

934
00:57:41.000 --> 00:57:42.559
<v Speaker 1>in the water at a time when if they just

935
00:57:42.559 --> 00:57:44.519
<v Speaker 1>pull them out of the water, problem is solved that

936
00:57:44.559 --> 00:57:45.000
<v Speaker 1>way too.

937
00:57:45.760 --> 00:57:50.320
<v Speaker 2>So you know, that's where conflicts. As you mentioned conflict earlier,

938
00:57:50.679 --> 00:57:54.000
<v Speaker 2>that's where conflict comes in. Okay, because see where conflict

939
00:57:54.679 --> 00:57:57.960
<v Speaker 2>is a part of You know, again, I don't use

940
00:57:58.079 --> 00:58:00.960
<v Speaker 2>conflict as part of the structure. Conflict is a part

941
00:58:01.000 --> 00:58:03.679
<v Speaker 2>of the movie. So conflict can be anywhere in the movie,

942
00:58:04.039 --> 00:58:07.079
<v Speaker 2>but it's not a part of the structure, right, I

943
00:58:07.119 --> 00:58:10.559
<v Speaker 2>don't explicitly say conflict because conflict will be in the movie. Well,

944
00:58:10.840 --> 00:58:16.239
<v Speaker 2>you create the conflict. The problem leads to the concept

945
00:58:16.440 --> 00:58:22.159
<v Speaker 2>multiple What we're doing is precisely how I you know,

946
00:58:22.360 --> 00:58:25.239
<v Speaker 2>recisely what the structure is intended to do. In regard

947
00:58:25.320 --> 00:58:29.599
<v Speaker 2>to screenwriting. You're coming up with the details, you're coming

948
00:58:29.719 --> 00:58:32.679
<v Speaker 2>up with the plot points, you're coming up with the

949
00:58:32.719 --> 00:58:35.719
<v Speaker 2>aspects of this. Now, granted we're talking about a movie

950
00:58:35.719 --> 00:58:38.639
<v Speaker 2>that's already been out and it was a huge hit,

951
00:58:39.480 --> 00:58:42.280
<v Speaker 2>But see how this is working. See the point of

952
00:58:42.320 --> 00:58:44.920
<v Speaker 2>the structure again. The point of the structure is not

953
00:58:45.599 --> 00:58:49.559
<v Speaker 2>to give you all the answers. It's to allow you

954
00:58:49.639 --> 00:58:53.719
<v Speaker 2>to fill in the details. You look at this this way,

955
00:58:54.119 --> 00:58:58.760
<v Speaker 2>you examine that, Okay, Okay, my character will that it

956
00:58:58.840 --> 00:59:03.559
<v Speaker 2>gets you to think critically in the formation and shaping

957
00:59:03.599 --> 00:59:06.360
<v Speaker 2>of the script, right, that's part of what duel story

958
00:59:06.400 --> 00:59:12.519
<v Speaker 2>structures exactly. Okay, So all right, so you reacted to it.

959
00:59:12.519 --> 00:59:15.239
<v Speaker 2>It was right on the dot, is right on the money.

960
00:59:15.480 --> 00:59:18.000
<v Speaker 2>That's precisely what I want. That's what I want writers

961
00:59:18.039 --> 00:59:19.440
<v Speaker 2>to do. They want I want to be able to

962
00:59:20.559 --> 00:59:21.960
<v Speaker 2>I want them to be able.

963
00:59:21.719 --> 00:59:22.719
<v Speaker 1>To do that excellently.

964
00:59:22.760 --> 00:59:24.800
<v Speaker 2>Well, right, we're talking about a movie that's been out

965
00:59:24.840 --> 00:59:25.360
<v Speaker 2>for years.

966
00:59:25.440 --> 00:59:28.159
<v Speaker 1>Yeah, absolutely, absolutely, Look, and I'm glad that we got

967
00:59:28.159 --> 00:59:30.360
<v Speaker 1>to do this because you know, look, at least we

968
00:59:31.039 --> 00:59:33.079
<v Speaker 1>show them exactly what it is you're trying to go

969
00:59:33.159 --> 00:59:36.679
<v Speaker 1>after here in regards to what it is you're demonstrating

970
00:59:36.719 --> 00:59:39.599
<v Speaker 1>there on sub sack. And just for the record, I

971
00:59:39.639 --> 00:59:42.639
<v Speaker 1>mean that came out in nineteen seventy five, Jaws, and

972
00:59:42.679 --> 00:59:45.719
<v Speaker 1>I think I saw it as a little kid. Maybe

973
00:59:45.719 --> 00:59:47.559
<v Speaker 1>I was four or five when I first saw it.

974
00:59:48.159 --> 00:59:53.960
<v Speaker 1>Years old anyway, old movie for sure, and it's very interesting.

975
00:59:54.000 --> 00:59:56.119
<v Speaker 1>There's lots of different conflicts in it and all that.

976
00:59:56.719 --> 00:59:59.480
<v Speaker 1>But you know, we've gone through this a while and

977
01:00:00.039 --> 01:00:02.159
<v Speaker 1>thinking to myself. I think people should go over and

978
01:00:02.239 --> 01:00:06.679
<v Speaker 1>check out the work over at at your substack and

979
01:00:06.840 --> 01:00:10.719
<v Speaker 1>also the podcast right, which both are under the same name,

980
01:00:10.800 --> 01:00:13.360
<v Speaker 1>The Final Cut, Am I correct?

981
01:00:13.639 --> 01:00:16.920
<v Speaker 2>Right? That's right? So Final Cut is my newslater. It's

982
01:00:16.960 --> 01:00:20.840
<v Speaker 2>on al Nier dot substack dot com. Also the podcast

983
01:00:20.960 --> 01:00:25.159
<v Speaker 2>can be found at substack Alanier dot substack dot com.

984
01:00:24.800 --> 01:00:27.039
<v Speaker 1>And on Spotify and oh Spotify.

985
01:00:27.039 --> 01:00:30.320
<v Speaker 2>Don't want to listen to my podcast on substack, you

986
01:00:30.320 --> 01:00:32.480
<v Speaker 2>can go to Spotify listener no problems.

987
01:00:33.440 --> 01:00:35.800
<v Speaker 1>So you can get the Final Cut through Spotify as

988
01:00:35.800 --> 01:00:37.920
<v Speaker 1>a podcast, and you can also go over to substack

989
01:00:37.960 --> 01:00:41.400
<v Speaker 1>and read it. Like I said, he's also on Twitter

990
01:00:41.760 --> 01:00:45.480
<v Speaker 1>x whatever and uh Instagram and all that and yeah,

991
01:00:45.559 --> 01:00:48.760
<v Speaker 1>follow it. This is an interesting thing ultimately, Where are

992
01:00:48.760 --> 01:00:51.320
<v Speaker 1>you going with this though? Are you gonna wind up

993
01:00:51.400 --> 01:00:56.079
<v Speaker 1>doing various aspects of film and stuff like that? Is

994
01:00:56.079 --> 01:00:58.159
<v Speaker 1>that going to become the thing now for a while,

995
01:00:58.239 --> 01:01:02.000
<v Speaker 1>because it seems like over the past few years you've

996
01:01:02.039 --> 01:01:04.559
<v Speaker 1>been leaning into maybe I should get back into critiquing

997
01:01:04.599 --> 01:01:09.400
<v Speaker 1>films retro reviews. Is this where we're going, Albert Lanier,

998
01:01:09.559 --> 01:01:12.199
<v Speaker 1>the film writer, Is that where we're going?

999
01:01:13.159 --> 01:01:16.840
<v Speaker 2>Well, it seems like it is, you know, I'm Strangely enough,

1000
01:01:16.880 --> 01:01:20.239
<v Speaker 2>I'm working on another podcast right now, which is about sports.

1001
01:01:20.920 --> 01:01:22.079
<v Speaker 1>Okay, just get me busy.

1002
01:01:23.280 --> 01:01:29.119
<v Speaker 2>But yeah, that's what's been the movement before Momentum. So

1003
01:01:29.159 --> 01:01:31.679
<v Speaker 2>I went back with Final Cut the newsletter to writing

1004
01:01:31.679 --> 01:01:37.320
<v Speaker 2>about movies and I've enjoyed that. But I'm also did

1005
01:01:37.320 --> 01:01:41.199
<v Speaker 2>the podcast as a promotional vehicle and also as a

1006
01:01:41.199 --> 01:01:46.679
<v Speaker 2>companion piece to the newsletter. And at this point this

1007
01:01:46.719 --> 01:01:50.719
<v Speaker 2>is unexpected. I didn't really expect to do create a

1008
01:01:50.800 --> 01:01:54.320
<v Speaker 2>story structure. I'm the last person I would ever think

1009
01:01:54.360 --> 01:01:57.960
<v Speaker 2>of to create a screenwriting story structure or a couple

1010
01:01:58.039 --> 01:02:01.239
<v Speaker 2>of structures. So this game as a surprise to me.

1011
01:02:02.480 --> 01:02:07.000
<v Speaker 2>And really the reality with this was the reason that

1012
01:02:07.079 --> 01:02:09.039
<v Speaker 2>I came out with this was I was supposed to

1013
01:02:09.079 --> 01:02:12.239
<v Speaker 2>actually go to a film festival in Las Vegas this

1014
01:02:12.559 --> 01:02:17.239
<v Speaker 2>past October. A friend of mine who's interviewed for Final Cut,

1015
01:02:19.639 --> 01:02:22.719
<v Speaker 2>that I interviewed on my Final Cut podcast and also

1016
01:02:22.760 --> 01:02:26.719
<v Speaker 2>on my newsletter. So what happened was that I wasn't

1017
01:02:26.719 --> 01:02:28.199
<v Speaker 2>able to do it because I've been working on this

1018
01:02:28.280 --> 01:02:32.559
<v Speaker 2>other podcast that I'm doing. But I told her, well,

1019
01:02:32.960 --> 01:02:35.760
<v Speaker 2>you know, because she does workshops as well. I said,

1020
01:02:35.800 --> 01:02:37.559
<v Speaker 2>I'll do a workshop I'll come out and try to

1021
01:02:37.559 --> 01:02:39.679
<v Speaker 2>do a workshop. And so when I came up with

1022
01:02:39.679 --> 01:02:42.280
<v Speaker 2>ascons of the dual story structure, I thought, all, this

1023
01:02:42.320 --> 01:02:44.199
<v Speaker 2>will work for a workshop. I can do this as

1024
01:02:44.199 --> 01:02:48.239
<v Speaker 2>a workshop. So what this is intended to be. This

1025
01:02:48.280 --> 01:02:51.119
<v Speaker 2>is intended to be actually taught as a workshop or

1026
01:02:51.159 --> 01:02:55.119
<v Speaker 2>a seminar, and that's really what's intended to I reluctantly

1027
01:02:55.199 --> 01:02:58.400
<v Speaker 2>kind of wrote the intro essay to this because I

1028
01:02:58.400 --> 01:03:00.840
<v Speaker 2>felt you got to write something. Because you're dealing with

1029
01:03:00.960 --> 01:03:03.519
<v Speaker 2>writing here, you might as well get it down on

1030
01:03:03.639 --> 01:03:07.440
<v Speaker 2>text form, and that's what I did. So I'm looking

1031
01:03:07.800 --> 01:03:12.599
<v Speaker 2>to do this either at film festivals or possibly and

1032
01:03:12.920 --> 01:03:15.639
<v Speaker 2>or possibly at comic cons. I think comic cons would

1033
01:03:15.679 --> 01:03:18.599
<v Speaker 2>be interesting convened to be interesting because I think you

1034
01:03:18.679 --> 01:03:21.800
<v Speaker 2>have a potential audience of people who might be interested

1035
01:03:21.800 --> 01:03:26.280
<v Speaker 2>in making movies, right, you know, So I'm interested. I'm

1036
01:03:26.360 --> 01:03:30.159
<v Speaker 2>open to doing it at comic cons. I'm open to

1037
01:03:30.239 --> 01:03:35.239
<v Speaker 2>doing it at film festivals. I'm also open to doing

1038
01:03:35.239 --> 01:03:42.760
<v Speaker 2>it as a standalone seminar and stand alone workshop no

1039
01:03:42.760 --> 01:03:46.280
<v Speaker 2>matter where, so in a hotel or wherever it would

1040
01:03:46.280 --> 01:03:51.880
<v Speaker 2>be set up so people are interested entities film festivals,

1041
01:03:52.320 --> 01:03:55.920
<v Speaker 2>comic cons, or I don't know what it would be.

1042
01:03:56.039 --> 01:04:00.199
<v Speaker 2>Groups or other people are interested, they can contact me

1043
01:04:00.480 --> 01:04:05.599
<v Speaker 2>at my email which is at Impurious Reader. Sorry, it's

1044
01:04:05.639 --> 01:04:09.400
<v Speaker 2>imperious reader at gmail dot com. That's I M. P

1045
01:04:09.599 --> 01:04:14.239
<v Speaker 2>E r IOE you as R E A D E

1046
01:04:14.360 --> 01:04:18.320
<v Speaker 2>R at Gmail. Serious Leader at Gmail.

1047
01:04:18.519 --> 01:04:21.239
<v Speaker 1>There you go, and sometime in the next couple weeks,

1048
01:04:21.239 --> 01:04:23.719
<v Speaker 1>a couple months, I don't know, probably in twenty twenty five,

1049
01:04:23.840 --> 01:04:26.000
<v Speaker 1>we'll bring you back and talk about what else is

1050
01:04:26.079 --> 01:04:29.639
<v Speaker 1>going on and who knows, maybe discuss that sports podcast

1051
01:04:30.239 --> 01:04:32.000
<v Speaker 1>coming up next. You know, I produce a couple of

1052
01:04:32.039 --> 01:04:36.639
<v Speaker 1>podcasts and such outside of my own and yeah, I mean,

1053
01:04:36.719 --> 01:04:38.960
<v Speaker 1>let's let's keep track of this as it goes, let

1054
01:04:39.000 --> 01:04:42.119
<v Speaker 1>me know where it's going. I mean, so this filmmaking,

1055
01:04:42.159 --> 01:04:44.840
<v Speaker 1>the creation of this stuff is always of interest to me.

1056
01:04:45.400 --> 01:04:47.280
<v Speaker 1>So I'll give you, guys all the links in with

1057
01:04:47.320 --> 01:04:52.199
<v Speaker 1>the show notes for Albert Lnier's work on substack on Spotify.

1058
01:04:52.320 --> 01:04:55.679
<v Speaker 1>The podcast is there, and you know, we'll catch up

1059
01:04:55.719 --> 01:04:59.519
<v Speaker 1>again real soon. So until next time, guys, I'm merely ocelli.

1060
01:04:59.199 --> 01:05:59.960
<v Speaker 5>All of you, Oh Shelley dot com. Do you like history?

1061
01:06:00.400 --> 01:06:04.079
<v Speaker 5>Real history that you were never taught in schools? Why

1062
01:06:04.239 --> 01:06:08.599
<v Speaker 5>the Vietnam War Nuclear Bombs in Nation Building in Southeast

1063
01:06:08.679 --> 01:06:13.239
<v Speaker 5>Asia by author Mike Swanson, with new documentation never seen

1064
01:06:13.320 --> 01:06:16.559
<v Speaker 5>before that'll open your eyes to events that led up

1065
01:06:16.599 --> 01:06:20.760
<v Speaker 5>to this Why the Vietnam War Nuclear Bombs in Nation

1066
01:06:21.000 --> 01:06:26.320
<v Speaker 5>Building in Southeast Asia nineteen forty five through nineteen sixty one.

1067
01:06:26.599 --> 01:06:30.760
<v Speaker 5>Get your copy today at Amazon dot Com. Why the

1068
01:06:30.880 --> 01:06:33.760
<v Speaker 5>Vietnam War by author Mike Swanson.

1069
01:06:33.320 --> 01:06:36.039
<v Speaker 1>The dot Com Radio Network.

1070
01:06:36.679 --> 01:06:39.880
<v Speaker 6>The War State by Michael Swanson explains the great national

1071
01:06:39.920 --> 01:06:42.920
<v Speaker 6>transformation that took place and put the Kennedy presidency in

1072
01:06:42.960 --> 01:06:46.400
<v Speaker 6>the context of the times and reveals never before published

1073
01:06:46.400 --> 01:06:50.079
<v Speaker 6>information about the Cuban missile crisis. President Kennedy would not

1074
01:06:50.159 --> 01:06:52.800
<v Speaker 6>have been assassinated if he had been president two hundred

1075
01:06:52.840 --> 01:06:56.199
<v Speaker 6>years ago. His assassination took place in the context of

1076
01:06:56.239 --> 01:06:59.199
<v Speaker 6>the Cold War and the rise of the national security state.

1077
01:06:59.320 --> 01:07:02.840
<v Speaker 6>Before World War Two, the United States was a continental republic.

1078
01:07:03.159 --> 01:07:06.239
<v Speaker 6>In the decade that followed, it became an imperial superpower.

1079
01:07:06.480 --> 01:07:10.119
<v Speaker 6>Generals such as Curtis LeMay not only wanted to invade Cuba,

1080
01:07:10.159 --> 01:07:12.400
<v Speaker 6>but knew that there were short range missiles on the

1081
01:07:12.440 --> 01:07:15.559
<v Speaker 6>island armed with nuclear warheads that they could not destroy

1082
01:07:15.679 --> 01:07:18.519
<v Speaker 6>because they were on mobile launchers. Their invasion could have

1083
01:07:18.599 --> 01:07:21.599
<v Speaker 6>led to a Third World War, and they wanted to

1084
01:07:21.599 --> 01:07:24.920
<v Speaker 6>go to war anyway. The War State by Michael Swanson

1085
01:07:25.159 --> 01:07:27.960
<v Speaker 6>reveals why, and we'll show you what President Kennedy was

1086
01:07:28.039 --> 01:07:31.679
<v Speaker 6>up against. For more information the War State dot Com.

1087
01:07:32.000 --> 01:07:33.800
<v Speaker 1>Go ahead, cal it, I'm litersted.

1088
01:07:33.480 --> 01:07:35.360
<v Speaker 2>In the truth about the Day assassination.

1089
01:07:35.679 --> 01:07:36.639
<v Speaker 1>Right, Well, what do you want to know?

1090
01:07:36.719 --> 01:07:40.199
<v Speaker 2>Judy Baker's wild claim Oswald girlfriends he knew? Ruby and

1091
01:07:40.280 --> 01:07:41.679
<v Speaker 2>Barry answer weapons?

1092
01:07:41.719 --> 01:07:44.119
<v Speaker 1>Really, I imagine I could claim I have four wheels. It

1093
01:07:44.119 --> 01:07:47.639
<v Speaker 1>doesn't make me a wagon, but okay, on the building.

1094
01:07:47.519 --> 01:07:49.559
<v Speaker 2>And trying to prevent the murder of John Kennedy.

1095
01:07:49.599 --> 01:07:51.880
<v Speaker 1>Come on now has a real effort on the Davey

1096
01:07:51.920 --> 01:07:56.079
<v Speaker 1>assassination booth into reclaimed. Go to Amazon dot com enter

1097
01:07:56.199 --> 01:07:59.639
<v Speaker 1>Judith Baker in her own words. You'll get the results

1098
01:07:59.639 --> 01:08:01.960
<v Speaker 1>for a day digital copy of a book where Walt

1099
01:08:02.000 --> 01:08:05.400
<v Speaker 1>Brown utilizes her own words and the known evidence in

1100
01:08:05.440 --> 01:08:09.519
<v Speaker 1>the case to get at well a different perspective. Let's

1101
01:08:09.559 --> 01:08:12.119
<v Speaker 1>say you can get Judith Barry Baker in her own

1102
01:08:12.159 --> 01:08:15.519
<v Speaker 1>words from the author himself, signed if you request it

1103
01:08:15.599 --> 01:08:19.199
<v Speaker 1>by contacting doctor Brown at k I A S JFK

1104
01:08:19.600 --> 01:08:22.239
<v Speaker 1>at aol dot com. It's a fun book and it

1105
01:08:22.359 --> 01:08:27.439
<v Speaker 1>actually dissects the many many fantastic claims Judith very Baker

1106
01:08:27.560 --> 01:08:28.960
<v Speaker 1>in her own words.

1107
01:08:30.479 --> 01:08:33.560
<v Speaker 7>Yo, yovis Doug Campbell, host of the Dallas Action podcast

1108
01:08:33.640 --> 01:08:36.880
<v Speaker 7>presented by Wall Street Window. And you are listening to

1109
01:08:36.960 --> 01:08:42.079
<v Speaker 7>the o'chill effect revelation through conversation to use.

1110
01:08:41.960 --> 01:08:44.079
<v Speaker 1>Expressed by callers, tools or anyone else who happens to

1111
01:08:44.079 --> 01:08:46.039
<v Speaker 1>get on the er or Jelly dot com not necessarily

1112
01:08:46.039 --> 01:08:48.720
<v Speaker 1>reflect us little Jelly dot com or ll and we

1113
01:08:48.760 --> 01:08:51.039
<v Speaker 1>are not responsible. We're getting stupidity which might ensue.

1114
01:08:51.159 --> 01:08:53.680
<v Speaker 8>Thank you, uncle. Do you remember that time when Benjamin

1115
01:08:53.720 --> 01:08:57.159
<v Speaker 8>Fulford said that an Asian secret society was going to

1116
01:08:57.279 --> 01:08:59.880
<v Speaker 8>dispatch ninja's to take down the Illuminati.

1117
01:09:00.119 --> 01:09:02.960
<v Speaker 9>Oh that's interesting, yeah in the platoon?

1118
01:09:03.600 --> 01:09:05.399
<v Speaker 8>Yeah did that ever work out too good?

1119
01:09:05.680 --> 01:09:05.760
<v Speaker 2>No?

1120
01:09:06.640 --> 01:09:10.159
<v Speaker 8>It didn't, did it didn't? But here on Ocelli dot

1121
01:09:10.159 --> 01:09:12.880
<v Speaker 8>com Radio network, things work out a bit better, don't.

1122
01:09:12.680 --> 01:09:14.159
<v Speaker 1>They much better? Much?

1123
01:09:14.199 --> 01:09:18.359
<v Speaker 9>I mean it is clear and understanding about the programs.

1124
01:09:18.840 --> 01:09:24.720
<v Speaker 9>The programs much clear, getting live people into it. They

1125
01:09:24.800 --> 01:09:29.199
<v Speaker 9>really have a good conversation going much better, much better scene.

1126
01:09:29.279 --> 01:09:32.520
<v Speaker 8>I say, forget Benjamin Fulford and his ninches and listen

1127
01:09:32.560 --> 01:09:34.840
<v Speaker 8>to the Ocelli dot Com radio network.

1128
01:09:35.039 --> 01:09:38.399
<v Speaker 9>I agree it's straight to the point, straight talk, and

1129
01:09:38.560 --> 01:09:41.159
<v Speaker 9>I like that idea com.

1130
01:10:32.359 --> 01:12:16.600
<v Speaker 10>Nat Lata s Papa.

1131
01:13:03.680 --> 01:13:05.560
<v Speaker 1>Revelation through conversation.

1132
01:13:05.960 --> 01:13:07.079
<v Speaker 11>Nuclear holocaust.

1133
01:13:07.319 --> 01:13:08.479
<v Speaker 8>You know what uranium is right?

1134
01:13:08.800 --> 01:13:11.800
<v Speaker 11>I think on nuclear weapons and other things like lots

1135
01:13:11.840 --> 01:13:12.520
<v Speaker 11>of you.

1136
01:13:12.560 --> 01:13:13.600
<v Speaker 6>Know what uranium is right?

1137
01:13:13.840 --> 01:13:17.520
<v Speaker 11>Barred things things are done with uranium, including some bad

1138
01:13:17.640 --> 01:13:19.399
<v Speaker 11>things nuclear holocaust.

1139
01:13:19.760 --> 01:13:23.760
<v Speaker 1>You know what uranium is right? I've been Nuclear Holocaust.

1140
01:13:23.560 --> 01:13:26.079
<v Speaker 2>Nuclear Holocaust. You know what uranium is right?

1141
01:13:26.319 --> 01:13:29.680
<v Speaker 11>They thinks all nuclear weapons and other things like lots.

1142
01:13:29.439 --> 01:13:31.159
<v Speaker 2>Of you know what uranium is right?

1143
01:13:31.439 --> 01:13:34.680
<v Speaker 11>There are things things are done with uranium, leading some

1144
01:13:34.760 --> 01:13:42.359
<v Speaker 11>barred things nuclear Holocaust, Nuclear Holo Holocaust, Nuclear Holocaust, Nuclear Holocaust,

1145
01:13:42.840 --> 01:13:43.479
<v Speaker 11>Nuclear hall.

1146
01:13:43.640 --> 01:13:45.600
<v Speaker 5>Unter Biden is the talk of the town this week,

1147
01:13:46.680 --> 01:13:50.960
<v Speaker 5>being a central character in the ongoing Ukraine Russia war

1148
01:13:51.079 --> 01:13:54.479
<v Speaker 5>plot that has spanned now for over a decade, and

1149
01:13:54.600 --> 01:14:02.079
<v Speaker 5>after impeachments, laptop scandals, a fucked election, more impeachments, and

1150
01:14:02.199 --> 01:14:06.359
<v Speaker 5>then a war, the man behind the many Eminems gets

1151
01:14:06.399 --> 01:14:08.640
<v Speaker 5>to walk free of anything that can be used against them.