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<v Speaker 1>You are listening to The Secret Teachings Radio. I'm your host,

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<v Speaker 1>Ryan Cable. Ioul you'd like to reach out to the

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<v Speaker 1>show tonight, can email TST Radio at ProtonMail dot com,

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<v Speaker 1>and as always, find the show online by searching www

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<v Speaker 1>dot Secret Teachings dot info. All of our past episodes,

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<v Speaker 1>social media links and my books available on the website

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<v Speaker 1>www dot The Secret Teachings dot info. If you missed

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<v Speaker 1>any episode of the show, it is all the all

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<v Speaker 1>the episodes going back many years, including some years that

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<v Speaker 1>were never uploaded from a very long time ago that

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<v Speaker 1>I've recently uploaded as best of episodes. Check back regularly

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<v Speaker 1>because it is updated every single day with either the

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<v Speaker 1>Monday through Friday show or with best ofs from the

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<v Speaker 1>past or both. Thank you so much for tuning into

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<v Speaker 1>the broadcast tonight. This week a series of one hour

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<v Speaker 1>shows because I am in the process of traveling back

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<v Speaker 1>to the United States and I don't have a lot

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<v Speaker 1>of time, but I do want to produce a show

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<v Speaker 1>for the slot on ground zero dot Radio, Aftermath dot Media,

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<v Speaker 1>and for of course, are archive. Tonight's episode is going

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<v Speaker 1>to be very very interesting, something you've maybe never heard before,

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<v Speaker 1>but something you will learn about on the show, and

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<v Speaker 1>you will learn about if you watch a documentary that

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<v Speaker 1>just came out that we're going to talk about. Our

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<v Speaker 1>guest tonight is a good friend of mine who has

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<v Speaker 1>been on the show many times, and he is back

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<v Speaker 1>with another documentary that he has worked tirelessly on. You

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<v Speaker 1>may remember his documentary jfk X. I think this documentary

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<v Speaker 1>is no offense to that documentary, not only better, but

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<v Speaker 1>I think it is more thought provoking in regard to

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<v Speaker 1>what it addresses. The documentary is called a Clockwork Shining.

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<v Speaker 1>Kubrick's odyssey probably one of the most even without this

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<v Speaker 1>documentary and without the work of Ryder Lee, our guest,

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<v Speaker 1>or Jay Widner, who is featured in the documentary, The

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<v Speaker 1>Shining is one of those movies that I think is

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<v Speaker 1>probably maybe the most controversial, the most talked about, the

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<v Speaker 1>most discussed, the most theorized movie in Hollywood history. It's

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<v Speaker 1>definitely in the top three of any discussion on the subject.

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<v Speaker 1>I went to film school and we discussed all of

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<v Speaker 1>Kubrick's work, but especially The Shining. People had a lot

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<v Speaker 1>of theories on what it actually meant. It's in a

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<v Speaker 1>lot of ways vastly different than the book that came

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<v Speaker 1>out in the nineteen seventies. Nineteen seventy seven, I believe

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<v Speaker 1>was the year. And I mean, this movie is what

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<v Speaker 1>forty something years old. This movie came out in the

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<v Speaker 1>early eighties, and it is talk about good filmmaking. After

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<v Speaker 1>all these years, it's still being talked about and discussed

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<v Speaker 1>and debated, esper what it actually meant and what it

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<v Speaker 1>actually represented. A lot of people thought it was about

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<v Speaker 1>ghosts and psychological horror movie. It might just be a

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<v Speaker 1>different kind of psychology. It might just be a different

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<v Speaker 1>kind of horror. We're here now with Ryder Lee, who

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<v Speaker 1>went and at and put this documentary together. I know

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<v Speaker 1>that I talked to him during the editing process and

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<v Speaker 1>it was a lot of time, a lot of sweat,

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<v Speaker 1>a lot of blood, a lot of tears, a lot

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<v Speaker 1>of no sleep. Writer, thanks for coming on the show

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<v Speaker 1>your opening comments, please, and then tell us about this

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<v Speaker 1>new documentary where people can watch it and certainly when

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<v Speaker 1>they do watch it, what they should be looking for

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<v Speaker 1>because it's not what you think.

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<v Speaker 2>Thanks so much for having me on, Ryan, I really

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<v Speaker 2>appreciate it. It's always an honor and a privilege to be

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<v Speaker 2>on your show. Yeah, this documentary is on Amazon Prime

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<v Speaker 2>Video right now, and it is currently up in the

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<v Speaker 2>United States and in the UK, so not in Canada

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<v Speaker 2>or some other countries, but for sure in the United

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<v Speaker 2>States in the UK. So if you're not in the

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<v Speaker 2>United States or not in the UK, I'm sorry about that,

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<v Speaker 2>but we will be getting it up on Vimeo here

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<v Speaker 2>soon and you'll be able to watch it all over

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<v Speaker 2>the world. But yeah, so the document we thought that

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<v Speaker 2>it I wasn't going to be out for a while.

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<v Speaker 2>We thought that was going to take like three or

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<v Speaker 2>four months to actually get released from the time that

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<v Speaker 2>we submitted it, and it came out in a little

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<v Speaker 2>over three weeks, so I was very excited. An interesting

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<v Speaker 2>thing about it was the night before it got released,

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<v Speaker 2>I had this dream that it got released, and then

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<v Speaker 2>the dream I like opened up the Amazon app and

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<v Speaker 2>like I was checking and then I saw it there,

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<v Speaker 2>and then I woke up from that dream, immediately turned over,

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<v Speaker 2>opened my phone up and it was there. A lot

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<v Speaker 2>of weird, strange things with dreams surrounding this movie, especially

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<v Speaker 2>surrounding The Shining in general, And when I would watch

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<v Speaker 2>The Shining, I would have like some of the most

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<v Speaker 2>wild dreams ever, like straight up like nightmares, Like not

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<v Speaker 2>if I watched it during the day, but if I

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<v Speaker 2>watched it before I went to sleep, like I would

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<v Speaker 2>have like really strange, weird dreams. There's something subliminally going

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<v Speaker 2>on within the movie The Shining, and I think that

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<v Speaker 2>we really disclosed that in our documentary. And it's not

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<v Speaker 2>just the documentary about The Shining and Stanley Kubrick, which

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<v Speaker 2>that is a bulk of it. It's also a documentary

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<v Speaker 2>about the movie industry in general, the music industry, the

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<v Speaker 2>intelligence communities, infiltration into those industries.

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<v Speaker 1>And which it's already well documented even outside of your movie.

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<v Speaker 1>That infiltration, infiltration is well documented in other books, other researchers,

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<v Speaker 1>other films. It's not just something that you guys came

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<v Speaker 1>up with. It's something that's already pretty well documented.

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<v Speaker 2>Yes, but it ties into what Stanley Kubrick in that time.

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<v Speaker 2>I'm in that era of movies and like the film

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<v Speaker 2>industry and the music industry and how they are ultimately

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<v Speaker 2>connected in Laurel Canyon and Lookout Mountain and all the

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<v Speaker 2>things that were going on in Hollywood in the sixties

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<v Speaker 2>really plays a key role in later what's happening later

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<v Speaker 2>on and actually happening right now. We're actually feeling the

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<v Speaker 2>side effects from the counterculture movement to this very day.

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<v Speaker 2>There's still remnants of that that is still happening right

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<v Speaker 2>now as we're talking.

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<v Speaker 1>Yeah, and that's what makes it unique. That's my point

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<v Speaker 1>of what I'm getting at. That's what makes the documentary unique.

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<v Speaker 1>And in terms of how you guys use that information

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<v Speaker 1>that is well documented to take a look at Kubrick's

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<v Speaker 1>film The Shining again and apply it so that we

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<v Speaker 1>get a different interpretation. Which, frankly, when you first told

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<v Speaker 1>me that, like I knew what you were saying and

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<v Speaker 1>what you were talking about, I hadn't given it much thought.

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<v Speaker 1>I'm not really a horror movie person anyway. I'm not

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<v Speaker 1>really a big Stephen King fan. I've seen The Shining before.

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<v Speaker 1>It is controversial, it's debated. We talked about it in

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<v Speaker 1>film school, but I've only watched it maybe like once

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<v Speaker 1>or twice throughout my life, and I don't really know

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<v Speaker 1>much anything else about accept the theories. But then when

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<v Speaker 1>I watched the documentary and the way you pieced it together,

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<v Speaker 1>I was thinking, oh, oh, oh, that okay, that makes

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<v Speaker 1>a lot more sense.

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<v Speaker 2>Yeah, the I'm with you on the shining.

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<v Speaker 1>Like.

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<v Speaker 2>To be honest, the first time that I watched it,

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<v Speaker 2>I did not like the movie. I just didn't like it.

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<v Speaker 2>I didn't understand what the hooplaw was about. I didn't

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<v Speaker 2>understand what people why were they were so hyped around

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<v Speaker 2>this movie and why it's had this long lasting impact.

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<v Speaker 2>And I'd seen it a really long time ago, watched

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<v Speaker 2>it once, so I was like, this is garbage. I

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<v Speaker 2>don't like it. And that's just my honest analysis of it.

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<v Speaker 2>Like when I first watched it, I did not like it.

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<v Speaker 2>I thought I was boring. I didn't think anything was happening.

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<v Speaker 2>Like they're calling this the greatest horror movie in the world,

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<v Speaker 2>like the greatest horror movie ever made. It, Like, I

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<v Speaker 2>don't understand that there's nothing horror about this movie. There's

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<v Speaker 2>literally nothing that really happens in the entire movie besides

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<v Speaker 2>the last twenty minutes. But the last thirty minutes of

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<v Speaker 2>the movie, things actually start happening.

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<v Speaker 1>Yeah, but it wasn't until yeah, yeah, like the Terrifier.

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<v Speaker 2>Yes, it's definitely not like The Terrifier where it's all

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<v Speaker 2>gore and violence and blood and it wasn't until I

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<v Speaker 2>actually sat down and watched it because I was actually

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<v Speaker 2>bringing Jay Wider on my show. And he had made

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<v Speaker 2>two films prior to Stanley Kubrick, which was A Kubrick's

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<v Speaker 2>Odyssey one in A Cubric's Odyssey two where he posits

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<v Speaker 2>that Cubic was responsible for faking the moon landing, which

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<v Speaker 2>he started that theory, and he doesn't get enough credit

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<v Speaker 2>for it because he he did it, he created it,

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<v Speaker 2>and people share that and talk about it like they

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<v Speaker 2>didn't know where it came from. You know. It's like

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<v Speaker 2>one of those things where you know you something and

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<v Speaker 2>then people never really give you, you know, credit for

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<v Speaker 2>coming up with that. But that's an important issue and

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<v Speaker 2>an important topic. But that's not what our film A

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<v Speaker 2>Clockwork Shining is about. That you can get on Amazon

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<v Speaker 2>Prime right now. It's it's a different take on that,

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<v Speaker 2>though we do mention the moon landing a little bit

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<v Speaker 2>referencing his other films. But and I do think that

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<v Speaker 2>it may have been plausible that something was going on

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<v Speaker 2>with the moon landing because right in the middle of

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<v Speaker 2>when we were going to the moon, supposedly, you know,

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<v Speaker 2>launching a rocket to the moon. Stanley Kubrick was filming

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<v Speaker 2>two thousand and one A Space Odyssey, So it's highly

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<v Speaker 2>possible that they shot the moon landing while they were

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<v Speaker 2>shooting two thousand and one A Space Odyssey and then

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<v Speaker 2>use that extra footage and the actors were told that

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<v Speaker 2>it was supposed to be a part of the movie.

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<v Speaker 2>Because that's the thing that people people can't really wrap

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<v Speaker 2>their head around when it comes to the moonlanding. They're like, oh, well,

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<v Speaker 2>it can't be fake. There would have to be too

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<v Speaker 2>many people in on it. Too many people would have

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<v Speaker 2>to know about it. And that's something he's saying that

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<v Speaker 2>we didn't actually go to the moon. I'm just saying

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<v Speaker 2>that the footage was fake. I mean, there's so many

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<v Speaker 2>holes that you can poke in that footage that it's

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<v Speaker 2>like unbelievable. The photographs that were taking there, and then

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<v Speaker 2>all of a sudden they lose all the footage and

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<v Speaker 2>they lose the original photographs, and then they lose the

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<v Speaker 2>technology to go back to the moon.

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<v Speaker 1>That's like saying the White House is real. I've been

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<v Speaker 1>to the White House, but a lot of videos and

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<v Speaker 1>pictures of Joe Biden, especially when he was receiving his

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<v Speaker 1>you know, medicine a couple of years ago. They did that,

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<v Speaker 1>according to Newsweek, at a fake white House, So like

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<v Speaker 1>the White House is real, but a lot of photos

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<v Speaker 1>and videos of the Oval Office are actually from a

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<v Speaker 1>fake Oval Office. Kind of the same thing. Moonlanding can

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<v Speaker 1>be real, but photos and videos might not have been real.

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<v Speaker 2>And that's really how you would do it. You would

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<v Speaker 2>have this gigantic film production going on with two thousand

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<v Speaker 2>and one of Space Odyssey with Stanley Kubrick. That is

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<v Speaker 2>this high budget film that uses all the special effects

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<v Speaker 2>and you know, technology that really hadn't been using any

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<v Speaker 2>other kind of films to create this landscape of people.

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<v Speaker 2>Then you have these actors in there, and then Cubriic

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<v Speaker 2>just tells them that it's a part of the movie,

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<v Speaker 2>and all along they don't know that it's not really

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<v Speaker 2>going to be in the movie or not a part

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<v Speaker 2>of the movie. And then he takes those clips that

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<v Speaker 2>he took from two thousand and one of Space Odyssey,

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<v Speaker 2>them not knowing he didn't put it in the film,

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<v Speaker 2>and then they just broadcast that to everybody saying that

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<v Speaker 2>it was the moon landing. I mean, it's highly possible.

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<v Speaker 1>Yeah, I've heard that theory for years. That was one

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<v Speaker 1>of maybe even the first conspiracies that I was I

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<v Speaker 1>was ever conversing with people about, was about the moon

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<v Speaker 1>landing and Stanley Kubrick. I wonder I don't remember the

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<v Speaker 1>name of it, but I wonder if you could help

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<v Speaker 1>help me out here and inform the listeners about. In

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<v Speaker 1>the film that you've made, there's a document that Jay

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<v Speaker 1>brings up pertaining to Kubrick and the US government that

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<v Speaker 1>he sort of refers to as the smoking gun that

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<v Speaker 1>that might have been evidence of Kubrick working with the

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<v Speaker 1>government for this or that. Can you tell us about that?

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<v Speaker 1>Do you know much about that document?

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<v Speaker 2>Yes, that is a document that was that we have

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<v Speaker 2>that lays out for different for different popular film directors,

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<v Speaker 2>including Stanley Kubrick, as the most plausible for the government

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<v Speaker 2>to look into for a project. Now, the project in

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<v Speaker 2>the document isn't like they don't give you an outline

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<v Speaker 2>of what the project is. It's just that they're looking

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<v Speaker 2>into these filmmakers for projects in the future to work

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<v Speaker 2>for the government. And that's how we tie in a

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<v Speaker 2>lot of the Lookout Mountain stuff and in Laurel Canyon

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<v Speaker 2>and how Lookout Mountain was on top of was an

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<v Speaker 2>Air Force military base on top of Laurel Canyon that

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<v Speaker 2>a lot of films were made there, and it's highly

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<v Speaker 2>documented that you can just you know, google Lookout Mountain

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<v Speaker 2>and you can actually get on YouTube and type in

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<v Speaker 2>Lookout Mountain and you can find.

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<v Speaker 1>News reports and pictures and videos in your documentary just

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<v Speaker 1>mainline stuff that's been around forever about Lookout Mountain.

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<v Speaker 2>Yeah, and it's still people don't really know exactly what

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<v Speaker 2>was happening there or what was going on because a

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<v Speaker 2>lot of it's still classified. There was several movies and

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<v Speaker 2>and several things that was shot. Now they on records

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<v Speaker 2>they say that it was, you know, for military purposes,

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<v Speaker 2>but you're very close to Hollywood. Why would you not

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<v Speaker 2>do some kind of Hollywood productions and big time actors.

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<v Speaker 2>Ronald Reagan was had top secret security clearance for this place,

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<v Speaker 2>you know, James Stewart like all these well, Marilyn Monroe

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<v Speaker 2>all had like top secret clearance to Lookout Mountain military base. So,

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<v Speaker 2>and then there was actually a hotel that was there

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<v Speaker 2>before the military base came in that looks strikingly similar

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<v Speaker 2>to the exterior of the Overlook Hotel in Stanley Kubrick's

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<v Speaker 2>The Shining and it Burnt Down, and which is an

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<v Speaker 2>interesting fact that we actually didn't put in the movie

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<v Speaker 2>that I'm I'm pretty sure that at the end of

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<v Speaker 2>Stephen King's book Doctor Sleep, which is the sequel to

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<v Speaker 2>The Shining, the Overlook burns down.

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<v Speaker 1>We don't know for sure what the program was the

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<v Speaker 1>project that the military that the government, the government more

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<v Speaker 1>so maybe than the military, was attempting to recruit directors for,

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<v Speaker 1>but we know that Kubrick was one of the directors,

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<v Speaker 1>and that sort of ties in and maybe gives a

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<v Speaker 1>little bit of encouragement to the theory that it had

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<v Speaker 1>something to do with the moon landing. We don't know

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<v Speaker 1>if that's the case, but we do know that the

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<v Speaker 1>government was looking to contract Kubrick for something that was

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<v Speaker 1>very i would say, maybe not literally but perhaps non

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<v Speaker 1>technically top secret, which is already suspicious considering the type

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<v Speaker 1>of things that Kubrick was doing and his films, which

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<v Speaker 1>most of them are pretty revolutionary and bizarre concepts and

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<v Speaker 1>really far out there, and then looking at what was

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<v Speaker 1>happening on Lookout Mountain with the military making films and videos,

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<v Speaker 1>and we know, going back to World War two, that

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<v Speaker 1>there was obviously a lot of military involvement in making

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<v Speaker 1>propaganda films, war films which made it into Hollywood as well,

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<v Speaker 1>but also with what you and I have discussed many

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<v Speaker 1>times on the show in the fifties with the UFO subject,

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<v Speaker 1>But the military was looking to utilize the UFO narrative

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<v Speaker 1>that was developing out of the late forties, largely things

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<v Speaker 1>in Europe, but also in the US to spread dis

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<v Speaker 1>and misinformation about the subject of flying saucers as well.

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<v Speaker 1>So there's a long history of that, and then there's

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<v Speaker 1>certainly evidence that Kubrick was being looked at to work

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<v Speaker 1>on some secret project. There are a lot of pieces.

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<v Speaker 1>As you look at this documentary that you made, and

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<v Speaker 1>I'm speaking more so to the listeners of course, writer,

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<v Speaker 1>a lot of people watch this documentary, like myself. I

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<v Speaker 1>saw a screener of it. I was lucky that you

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<v Speaker 1>sent me that I could watch a screener of it,

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<v Speaker 1>and as it was I'm watching it, I just want

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<v Speaker 1>to give you props for the editing as it builds

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<v Speaker 1>and builds and builds, and as I said, it's like,

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<v Speaker 1>oh that's interesting, Oh that's really interesting. Oh all that

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00:17:50.640 --> 00:17:53.599
<v Speaker 1>makes a lot more sense. Oh wow, Okay, this is

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<v Speaker 1>really good. There's something, There's something, There is something else

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<v Speaker 1>going on here. I don't think that this is about

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<v Speaker 1>Stephen King's book. I think this is about something else,

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<v Speaker 1>especially because I think you put this in the documentary.

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<v Speaker 1>Wasn't Kubrick rewriting the script kind of in a real

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<v Speaker 1>time And I don't mean like changing things seen by scene,

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<v Speaker 1>which is I mean, I went to film school. We

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00:18:14.839 --> 00:18:17.839
<v Speaker 1>normally did that change a little dialogue. This word sounds better.

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00:18:17.960 --> 00:18:21.200
<v Speaker 1>I mean he was like rewriting entire scenes during production,

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<v Speaker 1>which is just not very common from what I understand

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<v Speaker 1>in the movie business.

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<v Speaker 2>No, it only makes sense that he was doing that

307
00:18:29.160 --> 00:18:33.400
<v Speaker 2>because he needed to put things he wanted to rewrite

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00:18:33.599 --> 00:18:38.000
<v Speaker 2>The Shining in his vision, and he couldn't give his

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<v Speaker 2>vision to Warner Brothers because he had just come off

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<v Speaker 2>a Barry Linden, which Barry Linden was not a successful film.

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<v Speaker 2>It was one of Kubrick's worst films. It was a

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<v Speaker 2>disaster at the box office and it was critically smashed.

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<v Speaker 2>So he kind of had to play ball with Warner

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<v Speaker 2>Brothers on getting The Shining. So what repausit in the

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00:18:59.599 --> 00:19:03.519
<v Speaker 2>film is that Warner Brothers kind of came to Stanley

316
00:19:03.559 --> 00:19:06.759
<v Speaker 2>Kubrick and was like, here, let's we'll give you the shining.

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<v Speaker 2>We had the success with the A list director with

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00:19:10.640 --> 00:19:14.200
<v Speaker 2>another horror movie, which was The Extorcist, which was directed

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<v Speaker 2>by William Freaking, and that was a huge smash success.

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<v Speaker 2>So let's try and get another horror type movie made

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<v Speaker 2>with another A list director, and we'll get Stanley Kubrick

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<v Speaker 2>to make this movie. And what reposited that kind of

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00:19:32.240 --> 00:19:36.880
<v Speaker 2>happened was that Kubrick handed in a script to Warner

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<v Speaker 2>Brothers that he knew that they would accept that was

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<v Speaker 2>more in line with Stephen King's book than while they

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<v Speaker 2>were shooting it, Stanley Kubrick was rewriting the entire script

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<v Speaker 2>day of in this we talked about it in the documentary,

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<v Speaker 2>and it's shown that Jack Nicholson was so frustrated with

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<v Speaker 2>Kubrick rewriting the script every single day that he didn't

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<v Speaker 2>study any of the lines because they would just change

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<v Speaker 2>and that really quickly. The is a US Information Agency

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<v Speaker 2>from the document that we were talking about previously, and

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<v Speaker 2>another thing that's really interesting is that up a lookout

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<v Speaker 2>mountain the military base, a lot of the footage that

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<v Speaker 2>we see of like nuclear bomb testing, you know, like

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<v Speaker 2>the the footage that we got back in the day

337
00:20:32.440 --> 00:20:34.799
<v Speaker 2>where a nuclear bomb would come and it would explode

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<v Speaker 2>and they would have like a house there and like

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<v Speaker 2>some cars and a building or something, and then it

340
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<v Speaker 2>would just demolish and destroy the entire building and then

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<v Speaker 2>the landscape and all that all that was filmed. I'd

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00:20:45.519 --> 00:20:47.799
<v Speaker 2>look Out mountain on miniature.

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<v Speaker 1>Sets, that's right.

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<v Speaker 2>Yes, they would just do a miniature set and then

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<v Speaker 2>they would have the explosion and they make it look

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00:20:55.359 --> 00:20:57.960
<v Speaker 2>like that it was all like real that they were

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<v Speaker 2>actually dropping them in like Nevada at like a test site,

348
00:21:01.200 --> 00:21:04.000
<v Speaker 2>but it wasn't. It was filmed that Lookout mountain in

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<v Speaker 2>Laurel Canyon.

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<v Speaker 1>That's a canyon that's not disputed. That's like official history. Yeah,

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<v Speaker 1>I mean those particular scenes that those those were filmed

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<v Speaker 1>at a in a micro sense, little models.

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<v Speaker 2>Yeah, And that's how a lot of movies were done

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<v Speaker 2>back in the day because they couldn't afford to just

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<v Speaker 2>you know, do that kind of stuff. So I mean,

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<v Speaker 2>and that's another thing is like I think it was

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<v Speaker 2>brought up on Joe Rogan or something where they were

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<v Speaker 2>like what happened to the camera. How's the camera still going?

359
00:21:35.480 --> 00:21:38.039
<v Speaker 2>This big, huge blast comes in and it doesn't melt

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<v Speaker 2>or destroy the camera. And that's another thing about the

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<v Speaker 2>moon landing as well, Like people don't realize how how

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<v Speaker 2>big were cameras in nineteen sixty nine. My dad had

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<v Speaker 2>a a VHS recorder. I'm sure you remember the big,

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<v Speaker 2>like huge, bulky, freaking things that you had to sit

365
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<v Speaker 2>on your shoulder. That, yeah, your arm to be dying

366
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<v Speaker 2>in like ten minutes because you had to hold this

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<v Speaker 2>thing up and look through a freaking viewfinder that is

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<v Speaker 2>like this big to even know what you're shooting. You're

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<v Speaker 2>telling me that they lugged these giant ass video cameras

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<v Speaker 2>up in a rocket to the moon. How would they

371
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<v Speaker 2>even be able to see How would they even know

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<v Speaker 2>that anything is in frame at all? They can look

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<v Speaker 2>through a viewfinder with a space helmet on, like even

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<v Speaker 2>you couldn't center anything up. And then when you look

375
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<v Speaker 2>at how the the return shuttles lift up off of

376
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<v Speaker 2>the Moon, it's the most ridiculously fake thing that you've

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<v Speaker 2>ever seen in your life.

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<v Speaker 1>Hey, hey, it's not as fake as the Indians going

379
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<v Speaker 1>to the Moon. When the Indians went a couple of

380
00:22:43.000 --> 00:22:46.880
<v Speaker 1>years looking like Tetris. That was Tetris, that was Atari,

381
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<v Speaker 1>that was like nineteen seventies game.

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<v Speaker 2>No, that was so bad, didn't We launched a something

383
00:22:54.240 --> 00:22:57.279
<v Speaker 2>to the moon recently though, where it landed and it

384
00:22:57.319 --> 00:22:59.440
<v Speaker 2>fell over, so we couldn't get any of the footage, right.

385
00:23:00.000 --> 00:23:03.640
<v Speaker 2>I think a private a private company launched something to

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<v Speaker 2>the moon, like I don't know, six or seven months

387
00:23:06.440 --> 00:23:08.960
<v Speaker 2>ago or something. It was like right around the time

388
00:23:09.000 --> 00:23:12.480
<v Speaker 2>that India launched THEIRS. But we launched one soon after

389
00:23:12.599 --> 00:23:15.799
<v Speaker 2>as by like a private US company, and when it landed,

390
00:23:15.960 --> 00:23:19.440
<v Speaker 2>it tipped over so and it destroyed all the footage

391
00:23:19.519 --> 00:23:20.799
<v Speaker 2>or any of the pictures that we could have got

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00:23:20.839 --> 00:23:21.119
<v Speaker 2>from it.

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<v Speaker 1>I think that there's a lot of both misconceptions and

394
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<v Speaker 1>confusion and then also utilizing those misconceptions to intentionally lead

395
00:23:31.720 --> 00:23:36.960
<v Speaker 1>people as well. Within within like astronomy, like I can

396
00:23:36.960 --> 00:23:39.960
<v Speaker 1>look up in the sky. We can see lights in

397
00:23:40.000 --> 00:23:43.319
<v Speaker 1>the sky. The ancients called them eyes in the heavens,

398
00:23:43.680 --> 00:23:47.200
<v Speaker 1>the realm beyond the planets, And if I look up,

399
00:23:47.240 --> 00:23:50.359
<v Speaker 1>I can see that, you know, I can define that

400
00:23:50.440 --> 00:23:52.400
<v Speaker 1>as real as real as it can be. It's something

401
00:23:52.400 --> 00:23:56.079
<v Speaker 1>I can see, I can perceive But then if I

402
00:23:56.119 --> 00:24:00.279
<v Speaker 1>take if I take a Google search engine and I

403
00:24:00.319 --> 00:24:04.640
<v Speaker 1>type in you know, Mars or Jupiter or stars, I'm

404
00:24:04.680 --> 00:24:07.759
<v Speaker 1>going to maybe get some photographs people have taken, but

405
00:24:08.160 --> 00:24:13.400
<v Speaker 1>usually i'll get admittedly computer generated images of what planets

406
00:24:13.480 --> 00:24:16.759
<v Speaker 1>or stars look like. It doesn't necessarily mean that the

407
00:24:16.799 --> 00:24:21.839
<v Speaker 1>people that are generating those images, whether for NASA, some university,

408
00:24:21.920 --> 00:24:24.599
<v Speaker 1>or whatever it might be, doesn't necessarily mean that they're

409
00:24:25.000 --> 00:24:27.400
<v Speaker 1>doing that to lie to us. It's just a conception

410
00:24:27.960 --> 00:24:32.119
<v Speaker 1>of what it might look like. But people can use

411
00:24:32.160 --> 00:24:35.680
<v Speaker 1>those images to lie to people, to mislead people, and

412
00:24:35.720 --> 00:24:38.319
<v Speaker 1>those images can be generated to lie to people and

413
00:24:38.359 --> 00:24:41.240
<v Speaker 1>to mislead people. I don't necessarily think it's all a conspiracy.

414
00:24:41.240 --> 00:24:43.039
<v Speaker 1>I think a lot of times it's just a misconception.

415
00:24:43.200 --> 00:24:47.440
<v Speaker 1>Not reading underneath of the image where it specifically, you know,

416
00:24:47.559 --> 00:24:50.960
<v Speaker 1>lists where this photo was or where this image was generated,

417
00:24:51.279 --> 00:24:53.119
<v Speaker 1>and what it's supposed to be an image of. It's

418
00:24:53.160 --> 00:24:56.240
<v Speaker 1>like this is an artist's renditioning, like a blueprint for

419
00:24:56.279 --> 00:24:58.480
<v Speaker 1>a building, right, it's not the real building, it's just

420
00:24:58.519 --> 00:25:02.039
<v Speaker 1>a blueprint. Just to clarify, I just have a thought

421
00:25:02.039 --> 00:25:03.599
<v Speaker 1>on that. I want to clarify that I don't think

422
00:25:03.599 --> 00:25:05.839
<v Speaker 1>it's always a conspiracy. A lot of times, I think

423
00:25:05.839 --> 00:25:09.240
<v Speaker 1>it's just misconceptions of what we're actually looking at. But

424
00:25:09.640 --> 00:25:12.039
<v Speaker 1>still in relation to the camera and the moon, that is.

425
00:25:12.160 --> 00:25:16.039
<v Speaker 1>I think that's a very good point, and those weird

426
00:25:16.119 --> 00:25:20.119
<v Speaker 1>things like you can do so many weird things with cameras.

427
00:25:20.440 --> 00:25:24.079
<v Speaker 1>I remember looking at Et the famous scene where ET's

428
00:25:24.160 --> 00:25:28.119
<v Speaker 1>walking around for Halloween. All that is was like a camera,

429
00:25:28.680 --> 00:25:31.559
<v Speaker 1>a bot, like a camera box for the lens, and

430
00:25:31.640 --> 00:25:34.319
<v Speaker 1>they just put like a sheet over the camera and

431
00:25:34.319 --> 00:25:37.079
<v Speaker 1>then they just move the camera around like Et walking.

432
00:25:37.400 --> 00:25:40.400
<v Speaker 1>You can do so much with a camera. A little

433
00:25:40.400 --> 00:25:42.960
<v Speaker 1>trick here, a little trick there. It's like audio, right,

434
00:25:43.039 --> 00:25:45.400
<v Speaker 1>you want to get the sound of rain, you just

435
00:25:45.440 --> 00:25:48.200
<v Speaker 1>fry some bacon on the stove. If you go record

436
00:25:48.240 --> 00:25:51.240
<v Speaker 1>actual rain, it doesn't sound like actual rain. That's why

437
00:25:51.279 --> 00:25:53.200
<v Speaker 1>they call it movie magic. You can do a lot

438
00:25:53.240 --> 00:25:54.839
<v Speaker 1>with a camera, and you can do a lot with

439
00:25:54.920 --> 00:25:57.519
<v Speaker 1>a microphone, and what you think it is it might

440
00:25:57.559 --> 00:26:00.000
<v Speaker 1>not actually be that. And what you don't think it is,

441
00:26:00.079 --> 00:26:04.880
<v Speaker 1>it might actually be that. It's a very very magical thing,

442
00:26:04.920 --> 00:26:07.119
<v Speaker 1>which is again why we call it movie magic. That's

443
00:26:07.160 --> 00:26:09.880
<v Speaker 1>why we call it the television, we call it programming.

444
00:26:09.880 --> 00:26:13.440
<v Speaker 1>We call it broadcasting and so on and so forth.

445
00:26:13.519 --> 00:26:16.920
<v Speaker 1>But anyway, back to your documentary. We're at the halfway

446
00:26:16.920 --> 00:26:19.319
<v Speaker 1>point of the show, so please let people know the

447
00:26:19.400 --> 00:26:21.839
<v Speaker 1>name of it and where they can watch it, and

448
00:26:22.839 --> 00:26:25.079
<v Speaker 1>let's get back into Kubrick and some of the theories

449
00:26:25.079 --> 00:26:28.359
<v Speaker 1>and what the documentary actually explores. Writerer Lye as our guest,

450
00:26:28.480 --> 00:26:31.240
<v Speaker 1>this is the secret teachings. I'm Ryan Gable writer.

451
00:26:31.400 --> 00:26:35.799
<v Speaker 2>Go ahead, you can watch a Clockwork Shining on Amazon

452
00:26:36.279 --> 00:26:41.200
<v Speaker 2>Prime Video now, and I highly recommend it if you're

453
00:26:41.279 --> 00:26:43.559
<v Speaker 2>not even even if you don't like the Shininger, you

454
00:26:43.599 --> 00:26:45.720
<v Speaker 2>don't like Stanley Kubrick, there's so much stuff in there

455
00:26:45.799 --> 00:26:50.480
<v Speaker 2>that will pique your interest and I couldn't recommend it

456
00:26:50.680 --> 00:26:55.079
<v Speaker 2>more in you know, supporting independent filmmakers is where it's

457
00:26:55.079 --> 00:26:57.960
<v Speaker 2>at because Hollywood is basically dead. They're putting on nothing

458
00:26:58.000 --> 00:27:03.680
<v Speaker 2>but garbage. So please support my work and independent filmmakers

459
00:27:03.720 --> 00:27:04.119
<v Speaker 2>as well.

460
00:27:04.759 --> 00:27:05.720
<v Speaker 1>Yeah, how much is it?

461
00:27:05.720 --> 00:27:11.799
<v Speaker 2>It's a nine to rent in ten ninety nine to buy,

462
00:27:12.200 --> 00:27:14.160
<v Speaker 2>And you don't have to take my word for it.

463
00:27:14.200 --> 00:27:16.160
<v Speaker 2>You're gonna want to watch it again. You can take

464
00:27:16.240 --> 00:27:18.000
<v Speaker 2>Ryan's word for it because I sent it to him

465
00:27:18.039 --> 00:27:21.240
<v Speaker 2>over a month ago and I'm pretty sure if you

466
00:27:21.440 --> 00:27:24.279
<v Speaker 2>just rent it, you're gonna you're gonna want to watch

467
00:27:24.319 --> 00:27:27.759
<v Speaker 2>it again. So I would highly recommend just purchasing it.

468
00:27:27.799 --> 00:27:31.160
<v Speaker 2>And that's not me trying to make more money or whatever.

469
00:27:31.200 --> 00:27:33.759
<v Speaker 2>I'm just telling you that's the way that it's going

470
00:27:33.799 --> 00:27:35.519
<v Speaker 2>to be. You're gonna watch it and you're gonna miss

471
00:27:35.519 --> 00:27:37.079
<v Speaker 2>some things, and you're gonna want to go back and

472
00:27:37.640 --> 00:27:39.920
<v Speaker 2>see it again. So it's, uh, it would be you're.

473
00:27:39.799 --> 00:27:43.200
<v Speaker 1>Just a it's a long film. It's not like an

474
00:27:43.240 --> 00:27:45.759
<v Speaker 1>hour or ninety minutes. It's about two hours or so.

475
00:27:46.200 --> 00:27:49.200
<v Speaker 2>Yeah, it clocks in at around an hour and fifty minutes.

476
00:27:50.240 --> 00:27:55.799
<v Speaker 2>It's a long, longer form documentary. So it's in my

477
00:27:55.880 --> 00:27:58.799
<v Speaker 2>opinion not just the person that Well, let me let

478
00:27:58.839 --> 00:28:00.960
<v Speaker 2>me ask you, Ryan, do you think that it's worth

479
00:28:01.960 --> 00:28:04.880
<v Speaker 2>nine ninety nine to buy and own and watch?

480
00:28:06.359 --> 00:28:09.000
<v Speaker 1>Well consider, and I've spent twenty twenty five dollars on

481
00:28:09.039 --> 00:28:11.599
<v Speaker 1>a movie before. Yeah, I think I think ten dollars

482
00:28:11.640 --> 00:28:15.920
<v Speaker 1>is pretty fair, especially for independent filmmaking. And it's not

483
00:28:16.000 --> 00:28:17.839
<v Speaker 1>like you filmed this thing on a cell phone. It's

484
00:28:17.880 --> 00:28:21.440
<v Speaker 1>all grainy. It's like a it's a really good documentary.

485
00:28:21.480 --> 00:28:23.839
<v Speaker 1>It looks like something I would like a normal documentary.

486
00:28:23.960 --> 00:28:25.960
<v Speaker 1>Like there's things that I've seen on Netflix before. I'll

487
00:28:25.960 --> 00:28:29.720
<v Speaker 1>click on them and watch them and it's like really

488
00:28:29.920 --> 00:28:34.480
<v Speaker 1>bad production, really bad film work, like camera work, really

489
00:28:34.480 --> 00:28:37.359
<v Speaker 1>bad editing. This is really good, Like I if I

490
00:28:37.400 --> 00:28:40.160
<v Speaker 1>didn't know you made this, I would think it was

491
00:28:40.200 --> 00:28:43.960
<v Speaker 1>some big production company that made It's it's really good,

492
00:28:44.400 --> 00:28:45.160
<v Speaker 1>is the bottom line.

493
00:28:45.920 --> 00:28:48.400
<v Speaker 2>Thank you. I really appreciate that's a that's a really

494
00:28:48.480 --> 00:28:51.000
<v Speaker 2>big compliment. Makes me happy. Thank you.

495
00:28:51.720 --> 00:28:53.720
<v Speaker 1>Yeah, you're welcome. And I again, I went to film school,

496
00:28:53.799 --> 00:28:56.039
<v Speaker 1>so I like, I studied this stuff and it looks

497
00:28:56.519 --> 00:28:59.559
<v Speaker 1>it looks really really good. And when I watched it,

498
00:28:59.599 --> 00:29:02.920
<v Speaker 1>you sent me screener and I watched it. I to

499
00:29:03.000 --> 00:29:06.920
<v Speaker 1>coroborate what you said about the Shining itself, about Kubrick's movie.

500
00:29:08.240 --> 00:29:11.480
<v Speaker 1>I had watched it so long ago, I didn't remember

501
00:29:11.519 --> 00:29:14.079
<v Speaker 1>parts of it, but you have all these clips in

502
00:29:14.119 --> 00:29:17.279
<v Speaker 1>the documentary. And I went to bed that night. I

503
00:29:17.359 --> 00:29:21.839
<v Speaker 1>watched the whole thing before bed, and I had horrible dreams,

504
00:29:22.000 --> 00:29:24.680
<v Speaker 1>I mean like nightmares. And I woke up and I

505
00:29:24.720 --> 00:29:26.279
<v Speaker 1>hadn't and I went back to sleep. I had another

506
00:29:26.319 --> 00:29:27.880
<v Speaker 1>dream and I woke up and went back I woke

507
00:29:27.960 --> 00:29:30.920
<v Speaker 1>up three or four times, and I had horrible dreams

508
00:29:30.920 --> 00:29:33.319
<v Speaker 1>all night and I told you that, and you said, well,

509
00:29:33.440 --> 00:29:35.160
<v Speaker 1>you know, I did too when I watched The Shining.

510
00:29:36.039 --> 00:29:38.079
<v Speaker 1>I think that's a pretty common thing. People watch The

511
00:29:38.079 --> 00:29:39.960
<v Speaker 1>Shining and have those really bad dreams. So there is

512
00:29:40.000 --> 00:29:44.200
<v Speaker 1>something in it. And even just using clips of it

513
00:29:44.240 --> 00:29:49.240
<v Speaker 1>in your movie, it has that profound unconscious effect. So

514
00:29:49.359 --> 00:29:52.599
<v Speaker 1>there's there. It's more than just about Stephen King. It

515
00:29:52.680 --> 00:29:56.319
<v Speaker 1>clearly is about something as something else. It's not just

516
00:29:56.400 --> 00:30:00.519
<v Speaker 1>about psychological horror in the way that it's kind of marketed.

517
00:30:00.559 --> 00:30:02.440
<v Speaker 1>It's a different kind of psychological work.

518
00:30:02.960 --> 00:30:04.880
<v Speaker 2>And you're not the only one either. I just found

519
00:30:04.920 --> 00:30:07.920
<v Speaker 2>out yesterday because I did a show with Jay Wiener

520
00:30:08.039 --> 00:30:11.119
<v Speaker 2>on the release of the movie. We did one on

521
00:30:11.160 --> 00:30:14.039
<v Speaker 2>his channel, and he said that he did a little

522
00:30:14.039 --> 00:30:17.880
<v Speaker 2>screener at his house. He invited five people over and

523
00:30:19.680 --> 00:30:23.079
<v Speaker 2>they watched it, and he called them up like two

524
00:30:23.200 --> 00:30:27.599
<v Speaker 2>or three days later, and they were like shocked. One

525
00:30:27.680 --> 00:30:30.960
<v Speaker 2>thing that they said that was like, you know, I

526
00:30:31.079 --> 00:30:33.880
<v Speaker 2>can't believe that I've been, you know, lied to about

527
00:30:33.960 --> 00:30:37.359
<v Speaker 2>all this because we have so many different topics in there,

528
00:30:37.359 --> 00:30:41.160
<v Speaker 2>but they all meshed together in a really grand way.

529
00:30:41.279 --> 00:30:45.480
<v Speaker 2>I personally believe, but they were like, one, I can't

530
00:30:45.480 --> 00:30:50.400
<v Speaker 2>believe that I've been you know, basically psyoped by the

531
00:30:50.400 --> 00:30:55.119
<v Speaker 2>military and industrial complex and the CIA and these intelligence

532
00:30:55.359 --> 00:30:58.039
<v Speaker 2>communities in the music industry from the sixties. Like that

533
00:30:58.160 --> 00:31:00.599
<v Speaker 2>whole thing is like a giant lie. All these people

534
00:31:00.599 --> 00:31:05.759
<v Speaker 2>that we thought were you know, good people and were

535
00:31:05.759 --> 00:31:09.640
<v Speaker 2>a part of the counterculture and rebellious people were a

536
00:31:09.680 --> 00:31:12.640
<v Speaker 2>part of the op Like, it's crazy, and I don't

537
00:31:12.640 --> 00:31:14.480
<v Speaker 2>want to give too much away because it's a really

538
00:31:14.640 --> 00:31:18.720
<v Speaker 2>integral part of the documentary, but really, when you look

539
00:31:18.720 --> 00:31:20.640
<v Speaker 2>into all these bands and all the people, and Mark

540
00:31:20.680 --> 00:31:24.960
<v Speaker 2>Devlin talks about this in the documentary, they're all they

541
00:31:25.000 --> 00:31:28.480
<v Speaker 2>all have ties to the military and the military industrial

542
00:31:28.559 --> 00:31:32.119
<v Speaker 2>complex and these intelligence communities, and that is a big

543
00:31:32.160 --> 00:31:36.400
<v Speaker 2>reason why that they just didn't care. They just kind

544
00:31:36.400 --> 00:31:39.039
<v Speaker 2>of did whatever they wanted to do because they knew

545
00:31:39.079 --> 00:31:41.519
<v Speaker 2>that they were never really going to get into any

546
00:31:41.599 --> 00:31:43.799
<v Speaker 2>kind of big trouble, especially when it comes to like

547
00:31:43.880 --> 00:31:46.920
<v Speaker 2>Jim Morrison of The Doors, he was just out doing

548
00:31:46.960 --> 00:31:50.000
<v Speaker 2>whatever he wanted to do. He was you know, naked

549
00:31:50.119 --> 00:31:52.880
<v Speaker 2>on stage, flashing people in stage, drunk on stage. Do

550
00:31:53.079 --> 00:31:55.559
<v Speaker 2>you know all the things that he was doing and yeah,

551
00:31:55.559 --> 00:31:57.160
<v Speaker 2>he got arrested a couple of times, but he was

552
00:31:57.200 --> 00:31:59.920
<v Speaker 2>always let out almost immediately. But the reason that he

553
00:32:00.160 --> 00:32:02.000
<v Speaker 2>was doing those things is because his dad was a

554
00:32:02.079 --> 00:32:04.240
<v Speaker 2>high ranking military officer.

555
00:32:05.519 --> 00:32:09.240
<v Speaker 1>His dad was the admiral, right that staged or helped

556
00:32:09.240 --> 00:32:11.160
<v Speaker 1>the stage and concoct the story of the Gulf of

557
00:32:11.240 --> 00:32:12.359
<v Speaker 1>Tonkin incident.

558
00:32:12.680 --> 00:32:15.799
<v Speaker 2>Which got us into the Vietnam War and killed thousands

559
00:32:15.839 --> 00:32:16.240
<v Speaker 2>of people.

560
00:32:16.960 --> 00:32:20.400
<v Speaker 1>And if it just stopped there, that would be maybe coincidental.

561
00:32:20.440 --> 00:32:23.920
<v Speaker 1>But then you've got all these other names. You got Zappa.

562
00:32:24.119 --> 00:32:28.759
<v Speaker 1>Zappa's father worked military biological weapons. I believe Dave McGowan

563
00:32:28.799 --> 00:32:30.640
<v Speaker 1>broke all this down. Mark Devlin, who you have in

564
00:32:30.640 --> 00:32:32.279
<v Speaker 1>the film, I thought he was one of the best

565
00:32:32.319 --> 00:32:34.720
<v Speaker 1>parts of the film. I mean he that guy is articulate.

566
00:32:35.039 --> 00:32:38.279
<v Speaker 1>I mean he just gave you a bullet point history

567
00:32:38.279 --> 00:32:40.319
<v Speaker 1>off the top of his head. Boom boom boom boom,

568
00:32:40.359 --> 00:32:44.279
<v Speaker 1>boom boom boom. That really tied the documentary together very well.

569
00:32:44.319 --> 00:32:47.480
<v Speaker 1>It's not like that they weren't fighting the man. They

570
00:32:47.480 --> 00:32:50.759
<v Speaker 1>were the sons and the daughters of the many. Look

571
00:32:50.799 --> 00:32:51.359
<v Speaker 1>at it that way.

572
00:32:51.720 --> 00:32:56.400
<v Speaker 2>That's right. Bob Marley's father a navel military.

573
00:32:57.000 --> 00:32:58.599
<v Speaker 1>Did I learned that in the film. I did not

574
00:32:58.720 --> 00:33:00.480
<v Speaker 1>know that until I watched your film. Did not know

575
00:33:00.519 --> 00:33:01.960
<v Speaker 1>that his dad was also part of that.

576
00:33:03.079 --> 00:33:06.720
<v Speaker 2>And the and Sharon Tates dad was also a high

577
00:33:06.759 --> 00:33:10.559
<v Speaker 2>ranking military which was such a wild thing that because

578
00:33:10.839 --> 00:33:14.119
<v Speaker 2>the intelligence community basically created the counterculture and then they

579
00:33:14.160 --> 00:33:18.799
<v Speaker 2>also destroyed the counterculture. So they brought this monster up,

580
00:33:19.480 --> 00:33:24.359
<v Speaker 2>you know, from the depths, right, and then they squashed

581
00:33:24.440 --> 00:33:27.799
<v Speaker 2>the monster with the Manson Tate murders. Like it was

582
00:33:27.920 --> 00:33:31.240
<v Speaker 2>just a pretty much over the sixties was over after

583
00:33:31.279 --> 00:33:34.839
<v Speaker 2>those murders, and it's just wild. There was a lot

584
00:33:34.880 --> 00:33:37.279
<v Speaker 2>of other things that I really wanted to add in

585
00:33:37.359 --> 00:33:41.599
<v Speaker 2>there that but they just didn't fit with what we

586
00:33:41.599 --> 00:33:44.279
<v Speaker 2>were trying to convey in the documentary. Other things that

587
00:33:44.720 --> 00:33:47.880
<v Speaker 2>Mark said in the in the movie that I have

588
00:33:47.960 --> 00:33:50.759
<v Speaker 2>access to, but one, I didn't want to make it

589
00:33:50.799 --> 00:33:53.519
<v Speaker 2>a three hour long documentary, and I also wanted to

590
00:33:53.559 --> 00:33:55.759
<v Speaker 2>tie other things in there. And that's another thing about,

591
00:33:55.839 --> 00:33:58.200
<v Speaker 2>you know, being a filmmaker and being an editor, you

592
00:33:58.279 --> 00:34:01.759
<v Speaker 2>got to know when to like cut certain things and

593
00:34:01.960 --> 00:34:06.519
<v Speaker 2>let certain things go because it just doesn't there has

594
00:34:06.559 --> 00:34:08.320
<v Speaker 2>to be a good flow, and if there's not a

595
00:34:08.400 --> 00:34:10.960
<v Speaker 2>flow and things don't make sense, like that that's the

596
00:34:11.000 --> 00:34:14.119
<v Speaker 2>most important thing when it because making this long of

597
00:34:14.119 --> 00:34:18.000
<v Speaker 2>a documentary, I've watched it so many times, like hundreds

598
00:34:18.039 --> 00:34:21.519
<v Speaker 2>of times, over and over again, and if it doesn't

599
00:34:21.599 --> 00:34:24.719
<v Speaker 2>make sense to the person that made it, then it's

600
00:34:24.719 --> 00:34:27.039
<v Speaker 2>not going to make sense to the audience, like the

601
00:34:27.039 --> 00:34:28.920
<v Speaker 2>people that it's going to be watching it. So that's

602
00:34:28.960 --> 00:34:33.199
<v Speaker 2>a very important key thing and filmmaking is that it

603
00:34:33.239 --> 00:34:36.400
<v Speaker 2>has to make sense to you and things have to connect.

604
00:34:36.519 --> 00:34:38.639
<v Speaker 2>But I like what you said earlier is in the

605
00:34:38.679 --> 00:34:43.079
<v Speaker 2>way that it's like a it's an intelligent movie that

606
00:34:43.199 --> 00:34:46.039
<v Speaker 2>things are set up before and then there's a payoff

607
00:34:46.239 --> 00:34:48.719
<v Speaker 2>later on, and you kind of have to connect two

608
00:34:48.760 --> 00:34:51.920
<v Speaker 2>and two together on your own with some of the

609
00:34:51.960 --> 00:34:53.239
<v Speaker 2>stuff that's in the movie.

610
00:34:53.320 --> 00:34:54.880
<v Speaker 1>What I told you on the phone when we talked

611
00:34:54.920 --> 00:34:59.639
<v Speaker 1>about it. Yeah, but it's just that it was I

612
00:34:59.679 --> 00:35:02.000
<v Speaker 1>said it it was kind of like my radio show

613
00:35:02.039 --> 00:35:05.199
<v Speaker 1>in the sense that it's long form, and we start

614
00:35:05.199 --> 00:35:07.559
<v Speaker 1>out with an idea or a lot of ideas, and

615
00:35:07.599 --> 00:35:11.440
<v Speaker 1>we kind of talk about them, what they might mean,

616
00:35:11.559 --> 00:35:13.320
<v Speaker 1>or what the theories are the idea, and then you

617
00:35:13.320 --> 00:35:14.880
<v Speaker 1>put all together and then you start to build on

618
00:35:14.920 --> 00:35:16.360
<v Speaker 1>it and build on it, and you get to the

619
00:35:16.360 --> 00:35:19.000
<v Speaker 1>halfway point, and you're thinking, what does this have, what

620
00:35:19.360 --> 00:35:20.719
<v Speaker 1>does any of this mean? What does this have to

621
00:35:20.800 --> 00:35:22.760
<v Speaker 1>do with anything else? I thought this was about whatever

622
00:35:22.840 --> 00:35:26.239
<v Speaker 1>the show title was, and then you get further into it,

623
00:35:26.239 --> 00:35:27.719
<v Speaker 1>and then by the end of the you're like, all

624
00:35:27.800 --> 00:35:31.119
<v Speaker 1>this all makes sense in context. That is the impression

625
00:35:31.159 --> 00:35:33.440
<v Speaker 1>I got from it. Like the halfway point, I knew

626
00:35:33.440 --> 00:35:35.119
<v Speaker 1>what you were saying, I know what, knew what the

627
00:35:35.119 --> 00:35:38.480
<v Speaker 1>film was saying and suggesting, but I was thinking, like,

628
00:35:38.519 --> 00:35:41.280
<v Speaker 1>why is this interview here and what And as it

629
00:35:41.320 --> 00:35:44.360
<v Speaker 1>went on, I realized, Oh, that this makes a lot

630
00:35:44.400 --> 00:35:46.159
<v Speaker 1>more sense now. So it's one of those films that

631
00:35:46.199 --> 00:35:50.000
<v Speaker 1>you need to watch and really pay attention through the

632
00:35:50.199 --> 00:35:53.400
<v Speaker 1>entire thing, and by the end you'll have a moment

633
00:35:53.480 --> 00:35:56.599
<v Speaker 1>of oh, this makes a lot of sense. I think

634
00:35:56.639 --> 00:35:58.559
<v Speaker 1>that's what The Shining was all about.

635
00:36:00.159 --> 00:36:03.840
<v Speaker 2>And I think that because I've sent it to a

636
00:36:03.880 --> 00:36:05.639
<v Speaker 2>few people. You were one of the first people that

637
00:36:05.679 --> 00:36:09.039
<v Speaker 2>I sent it to. So it's it's incredible that I'm

638
00:36:09.159 --> 00:36:11.519
<v Speaker 2>on your show talking about it. You're my first person

639
00:36:11.519 --> 00:36:14.400
<v Speaker 2>that I've talked about it with other than Jay Winer,

640
00:36:14.440 --> 00:36:16.639
<v Speaker 2>but he doesn't really count because he's in the movie.

641
00:36:17.639 --> 00:36:22.039
<v Speaker 2>But somebody that's separate from the actual movie. I've sent

642
00:36:22.039 --> 00:36:23.880
<v Speaker 2>it to a few other people that have watched it,

643
00:36:24.039 --> 00:36:27.760
<v Speaker 2>and they're like, like, once you start in on it, it's

644
00:36:27.519 --> 00:36:30.320
<v Speaker 2>hard to not finish it.

645
00:36:30.159 --> 00:36:35.599
<v Speaker 1>Was that your experience too, Yes, if you're interviewing me now, yes,

646
00:36:35.599 --> 00:36:39.079
<v Speaker 1>that was definitely a nice experience. No, No, it definitely was.

647
00:36:39.119 --> 00:36:40.440
<v Speaker 1>In fact, I think that was the first thing I

648
00:36:40.480 --> 00:36:44.360
<v Speaker 1>told you was that I it was late and I

649
00:36:44.440 --> 00:36:47.400
<v Speaker 1>was I was debating if I should go to bed,

650
00:36:47.440 --> 00:36:48.800
<v Speaker 1>and I thought, now I'll watch a little bit of

651
00:36:48.840 --> 00:36:51.239
<v Speaker 1>it and I'll watch the rest in the morning. And

652
00:36:51.280 --> 00:36:54.280
<v Speaker 1>then I got to it was like midnight here in Japan.

653
00:36:54.840 --> 00:36:57.159
<v Speaker 1>I was thinking, no, you know, I got to finish

654
00:36:57.239 --> 00:36:59.679
<v Speaker 1>watching this thing. I can't stop. It was hard, Honestly,

655
00:36:59.679 --> 00:37:01.000
<v Speaker 1>it was hard or for me to even push pause

656
00:37:01.039 --> 00:37:03.679
<v Speaker 1>to go to the bathroom. Like I was really really

657
00:37:03.719 --> 00:37:04.199
<v Speaker 1>into it.

658
00:37:06.199 --> 00:37:07.599
<v Speaker 2>And that means a lot to me because that's what

659
00:37:07.679 --> 00:37:11.800
<v Speaker 2>I was trying to really do and it's it was

660
00:37:11.880 --> 00:37:15.360
<v Speaker 2>kind of I didn't really know how that if it

661
00:37:15.400 --> 00:37:17.000
<v Speaker 2>was going to be like that or not, because it's

662
00:37:17.039 --> 00:37:20.760
<v Speaker 2>such a long movie that I was kind of worried

663
00:37:20.800 --> 00:37:22.760
<v Speaker 2>there for a minute. I was like, how am I

664
00:37:22.800 --> 00:37:27.800
<v Speaker 2>going to keep these people's attention for this long amount

665
00:37:27.840 --> 00:37:32.400
<v Speaker 2>of time, and I'm glad that I've successfully, you know,

666
00:37:32.440 --> 00:37:35.880
<v Speaker 2>pulled that off. So that's a really big compliment.

667
00:37:36.000 --> 00:37:38.840
<v Speaker 1>Thank you. You're welcome. Writer. Let me ask you a

668
00:37:38.960 --> 00:37:41.440
<v Speaker 1>serious question. I mean, it kind of sounds like a joke,

669
00:37:41.440 --> 00:37:45.920
<v Speaker 1>but it's a serious question. Let's just do this on

670
00:37:45.960 --> 00:37:47.599
<v Speaker 1>my show. Let me ask you this on my show,

671
00:37:47.639 --> 00:37:49.800
<v Speaker 1>so then if anybody else asks you, you can just

672
00:37:49.840 --> 00:37:54.760
<v Speaker 1>defer the secret teachings. So if someone's going to watch

673
00:37:54.880 --> 00:37:59.400
<v Speaker 1>this and then have bad dreams and say Rider Lee

674
00:37:59.440 --> 00:38:02.519
<v Speaker 1>and Jay put subliminals in their movie to give me

675
00:38:02.599 --> 00:38:05.320
<v Speaker 1>bad dreams, I'm sure someone is going to ask you

676
00:38:05.360 --> 00:38:08.639
<v Speaker 1>that at some point, could you respond to that.

677
00:38:10.400 --> 00:38:13.440
<v Speaker 2>I did not put anything subliminally in there. There isn't

678
00:38:13.480 --> 00:38:18.280
<v Speaker 2>anything coded in the movie. There's not any frequencies like

679
00:38:18.400 --> 00:38:21.760
<v Speaker 2>supposedly there is in that movie that a Barack Obama

680
00:38:21.840 --> 00:38:23.320
<v Speaker 2>movie that we did a show on what was the

681
00:38:23.360 --> 00:38:25.760
<v Speaker 2>name of that movie where they said they're supposed to

682
00:38:25.800 --> 00:38:29.360
<v Speaker 2>have the yell yell f frequencies in it, the super

683
00:38:29.559 --> 00:38:33.320
<v Speaker 2>low harmonic frequencies. Do you remember that movie? Leave the

684
00:38:33.320 --> 00:38:35.400
<v Speaker 2>World Behind? Leave the Rod Behind was the name of

685
00:38:35.400 --> 00:38:37.840
<v Speaker 2>that Enough that.

686
00:38:37.840 --> 00:38:40.679
<v Speaker 1>I thought it was just Obama was a producer. I

687
00:38:40.679 --> 00:38:42.280
<v Speaker 1>didn't know that there were frequencies in it.

688
00:38:42.840 --> 00:38:46.159
<v Speaker 2>Yeah, people did an analysis of it and broke down

689
00:38:46.199 --> 00:38:49.039
<v Speaker 2>the different audio layers, and they found that there was

690
00:38:49.119 --> 00:38:53.760
<v Speaker 2>a yell frequency within the within the movie.

691
00:38:54.679 --> 00:38:56.440
<v Speaker 1>Well, if we talked about it, that must have my

692
00:38:56.480 --> 00:38:58.199
<v Speaker 1>brain must have been fried from the waves and I

693
00:38:58.239 --> 00:38:58.880
<v Speaker 1>don't remember.

694
00:39:00.320 --> 00:39:03.480
<v Speaker 2>But there's nothing subliminally in there. But there is a

695
00:39:03.480 --> 00:39:09.119
<v Speaker 2>lot of heart and passion and determination from me as

696
00:39:09.159 --> 00:39:13.639
<v Speaker 2>a filmmaker. This was my passion project and it took

697
00:39:13.679 --> 00:39:16.000
<v Speaker 2>me a really long time. I worked on it endlessly

698
00:39:16.519 --> 00:39:20.400
<v Speaker 2>all day, all night, from the moment that I woke

699
00:39:20.480 --> 00:39:23.320
<v Speaker 2>up would I would go to work on it, then

700
00:39:23.360 --> 00:39:26.159
<v Speaker 2>go to sleep, then dream about it, then wake up

701
00:39:26.400 --> 00:39:29.239
<v Speaker 2>and keep working on it until I was ready to

702
00:39:29.280 --> 00:39:30.599
<v Speaker 2>go to sleep. I mean, I can't put it down.

703
00:39:30.679 --> 00:39:34.840
<v Speaker 2>I'm one of these people that I don't stop doing

704
00:39:34.920 --> 00:39:39.920
<v Speaker 2>something until it's complete, you know, and it's the only

705
00:39:40.000 --> 00:39:42.639
<v Speaker 2>thing that I can think about. Like, there would literally

706
00:39:42.679 --> 00:39:47.000
<v Speaker 2>be times that I would be kind of stuck on

707
00:39:47.039 --> 00:39:50.800
<v Speaker 2>a part or something and then like I would you know,

708
00:39:51.480 --> 00:39:53.599
<v Speaker 2>end up going to sleep, and then I would dream

709
00:39:53.639 --> 00:39:55.960
<v Speaker 2>about how to fix that part, and then I would

710
00:39:56.000 --> 00:39:57.760
<v Speaker 2>wake up and fix the part.

711
00:39:57.960 --> 00:40:01.440
<v Speaker 1>It's consuming every level of your your mind and your being.

712
00:40:02.159 --> 00:40:05.159
<v Speaker 1>But when you watch the Shining itself without the movie,

713
00:40:05.239 --> 00:40:09.079
<v Speaker 1>you watch the Shining itself, not your documentary. People, you

714
00:40:09.199 --> 00:40:11.840
<v Speaker 1>and other people have really bad dreams when watching that.

715
00:40:12.039 --> 00:40:16.599
<v Speaker 1>If there's anything subliminal, it's in the Shining movie itself, right,

716
00:40:16.800 --> 00:40:20.079
<v Speaker 1>that's right, Yeah, it's not. But you also said when

717
00:40:20.079 --> 00:40:22.320
<v Speaker 1>you watch it during the day, you don't necessarily have

718
00:40:22.360 --> 00:40:24.840
<v Speaker 1>those dreams at night, so that that could contribute to it.

719
00:40:24.920 --> 00:40:27.800
<v Speaker 1>I mean, I watched your documentary which has clips of

720
00:40:27.800 --> 00:40:31.079
<v Speaker 1>the Shining, but I watched it at like eleven o'clock.

721
00:40:31.639 --> 00:40:33.960
<v Speaker 1>It's like eleven to one o'clock in the morning, and

722
00:40:34.000 --> 00:40:36.599
<v Speaker 1>I was already exhausted, and then I went to bed

723
00:40:36.599 --> 00:40:41.360
<v Speaker 1>after watching it. And that's a recipe for horrible nightmares already.

724
00:40:42.320 --> 00:40:45.880
<v Speaker 2>Yeah, it has nothing to do with our movie. In

725
00:40:45.920 --> 00:40:48.400
<v Speaker 2>the movie that I made, A Clockwork Shining, it has

726
00:40:48.440 --> 00:40:53.199
<v Speaker 2>everything to do with Stanley Kubricks movie. And I think

727
00:40:53.239 --> 00:40:57.719
<v Speaker 2>that it has something to do with the the visuals

728
00:40:57.920 --> 00:41:01.199
<v Speaker 2>of the Shining, because that's the only reason that you

729
00:41:01.239 --> 00:41:04.400
<v Speaker 2>would get it. And if you were to watch our

730
00:41:04.480 --> 00:41:10.199
<v Speaker 2>movie A Clockwork Shining, is from the visuals because the

731
00:41:10.320 --> 00:41:15.039
<v Speaker 2>music is mostly removed. There's really no music from Stanley

732
00:41:15.119 --> 00:41:20.199
<v Speaker 2>Kubrick's The Shining in our movie. It's just visual representation

733
00:41:20.400 --> 00:41:23.000
<v Speaker 2>and of course the music that I've added in there

734
00:41:23.400 --> 00:41:25.239
<v Speaker 2>and that I've put in there, and the sound effects

735
00:41:25.280 --> 00:41:30.199
<v Speaker 2>and stuff. But that's just normal, like music that I've

736
00:41:30.199 --> 00:41:33.880
<v Speaker 2>listened to that I feel fits what's being talked about.

737
00:41:34.480 --> 00:41:37.840
<v Speaker 2>There's no there's nothing like all I'm gonna put this,

738
00:41:39.199 --> 00:41:43.480
<v Speaker 2>put this frequency in here to make people, you know,

739
00:41:43.599 --> 00:41:46.719
<v Speaker 2>get freaked out or pay attention more, not pay attention more.

740
00:41:46.719 --> 00:41:50.599
<v Speaker 2>It's just it's just hard work and putting things in

741
00:41:50.639 --> 00:41:53.719
<v Speaker 2>there that I think as a filmmaker is best suited

742
00:41:53.760 --> 00:41:57.360
<v Speaker 2>for what's being talked about at that time and how

743
00:41:57.440 --> 00:42:00.159
<v Speaker 2>the flow of the documentary.

744
00:42:00.159 --> 00:42:03.679
<v Speaker 1>So no frequencies, no elf waves, didn't work with the Obamas,

745
00:42:03.760 --> 00:42:06.960
<v Speaker 1>no mk ultra, which is now a verb. People say

746
00:42:07.320 --> 00:42:10.079
<v Speaker 1>I was mk ultrad. I guess that's a verb. Now.

747
00:42:10.679 --> 00:42:12.639
<v Speaker 1>None of that's in the film. Just a lot of

748
00:42:12.639 --> 00:42:14.960
<v Speaker 1>hard work. But if you get any of that, it's

749
00:42:14.960 --> 00:42:17.039
<v Speaker 1>probably because you watch it late at night you go

750
00:42:17.079 --> 00:42:21.159
<v Speaker 1>to sleep. It could be because you watch a film

751
00:42:21.239 --> 00:42:23.360
<v Speaker 1>like this and if you don't know about the music

752
00:42:23.400 --> 00:42:27.559
<v Speaker 1>industry or the film industry, the military's involvement, which is

753
00:42:27.719 --> 00:42:30.199
<v Speaker 1>we learned that in film school the Pentagon still reviews

754
00:42:30.239 --> 00:42:34.079
<v Speaker 1>scripts like for the for example, for transformers to use

755
00:42:34.679 --> 00:42:38.079
<v Speaker 1>aircraft carriers for shots in the movie, things like that helicopters,

756
00:42:38.320 --> 00:42:41.159
<v Speaker 1>military bases. But if you don't know any of that stuff,

757
00:42:41.760 --> 00:42:46.280
<v Speaker 1>your sense of reality might be shaken and you don't

758
00:42:46.280 --> 00:42:49.880
<v Speaker 1>feel safe anymore. Then you go into a dream like

759
00:42:49.960 --> 00:42:52.599
<v Speaker 1>state and you're unconscious on loads and you get all

760
00:42:52.599 --> 00:42:55.519
<v Speaker 1>of these horrible images because you realize, I can't trust

761
00:42:55.559 --> 00:42:57.760
<v Speaker 1>the military, I can't trust the government. I can't trust

762
00:42:57.920 --> 00:43:01.519
<v Speaker 1>my favorite celebrity. I like Jim Morrison, he was working

763
00:43:01.519 --> 00:43:04.079
<v Speaker 1>for the million. You might have that kind of unconscious

764
00:43:04.239 --> 00:43:07.760
<v Speaker 1>reaction that might contribute to it too. I wanted to

765
00:43:07.760 --> 00:43:10.440
<v Speaker 1>ask you. One of the more I don't know if

766
00:43:10.480 --> 00:43:14.119
<v Speaker 1>it's mundane, but just kind of random, sort of mundane

767
00:43:14.199 --> 00:43:17.679
<v Speaker 1>things in the film that doesn't make any sense is

768
00:43:17.679 --> 00:43:21.599
<v Speaker 1>that Kubrick was a probably one of the best directors.

769
00:43:22.039 --> 00:43:23.519
<v Speaker 1>You put him on a list. He's one of the

770
00:43:23.559 --> 00:43:28.800
<v Speaker 1>best directors ever in my opinion, and yet he had

771
00:43:28.960 --> 00:43:39.239
<v Speaker 1>like the most unbelievable, ridiculous issues with continuity in this film,

772
00:43:39.280 --> 00:43:41.719
<v Speaker 1>maybe because he kept changing the script. I don't think

773
00:43:41.719 --> 00:43:44.039
<v Speaker 1>that's what it was. I mean, it was so obvious

774
00:43:44.079 --> 00:43:46.880
<v Speaker 1>that I think it was intentional. What's the reasoning behind that?

775
00:43:46.960 --> 00:43:50.519
<v Speaker 1>Like the light switch on the wall like just gone,

776
00:43:51.119 --> 00:43:55.239
<v Speaker 1>I mean, that's really obvious. Continuity experts don't miss that

777
00:43:55.800 --> 00:43:58.719
<v Speaker 1>more than once. They certainly don't miss it over and

778
00:43:58.719 --> 00:44:02.119
<v Speaker 1>over and over again. Continuity issues that are really obvious

779
00:44:02.119 --> 00:44:04.679
<v Speaker 1>that anybody could point out. What's the deal with that?

780
00:44:05.480 --> 00:44:10.559
<v Speaker 2>Yeah, there are several in the movie, and I'm pretty

781
00:44:10.559 --> 00:44:13.320
<v Speaker 2>sure that we did a really good job pointing out

782
00:44:13.400 --> 00:44:16.159
<v Speaker 2>all of those. The first one that we show is

783
00:44:16.199 --> 00:44:20.320
<v Speaker 2>whenever Danny is on his tricycle or the big wheel

784
00:44:20.440 --> 00:44:24.400
<v Speaker 2>or whatever and he's driving around the writing around the overlook,

785
00:44:25.239 --> 00:44:29.440
<v Speaker 2>there's a if you zoom in to the top right

786
00:44:29.480 --> 00:44:33.960
<v Speaker 2>hand side of the frame, there's like this this plastic

787
00:44:35.039 --> 00:44:39.920
<v Speaker 2>scalfloting scalfloting. I'm pryn of seeing that, right, It's like

788
00:44:39.920 --> 00:44:42.920
<v Speaker 2>like weird plastic thing like for like a set, you

789
00:44:42.960 --> 00:44:46.800
<v Speaker 2>know what I mean, And that's draped over the handrail there.

790
00:44:47.360 --> 00:44:50.159
<v Speaker 2>Then the other ones that we show are the light

791
00:44:50.239 --> 00:44:56.199
<v Speaker 2>switches outside of Olmen's office before Jack goes in there's

792
00:44:56.239 --> 00:44:58.119
<v Speaker 2>one there, and then later on in the film, whenever

793
00:44:58.159 --> 00:45:01.400
<v Speaker 2>he goes in to destroy the radio to prevent Wendy

794
00:45:01.400 --> 00:45:07.159
<v Speaker 2>from calling the police, it's gone. Whenever Windy, whenever Hallerin

795
00:45:07.280 --> 00:45:10.440
<v Speaker 2>is taking Wendy around, they overlooking, giving them a tour

796
00:45:10.519 --> 00:45:16.400
<v Speaker 2>of the kitchen and showing them the pantry. The storage room,

797
00:45:16.440 --> 00:45:19.480
<v Speaker 2>which we also talk about in the movie, which it

798
00:45:19.519 --> 00:45:22.280
<v Speaker 2>doesn't really sound like he says storage room. It sounds

799
00:45:22.280 --> 00:45:25.599
<v Speaker 2>like he says the story room. But we get into

800
00:45:25.639 --> 00:45:28.639
<v Speaker 2>that in the documentary. There's a there's like a light

801
00:45:28.719 --> 00:45:34.280
<v Speaker 2>switch like slash plug in thing like an outlet there.

802
00:45:34.559 --> 00:45:39.079
<v Speaker 2>And then whenever Wendy is carrying Jack's body into the

803
00:45:39.119 --> 00:45:45.480
<v Speaker 2>storage room, it's missing. There's a chair that disappears behind

804
00:45:47.840 --> 00:45:50.360
<v Speaker 2>Jack whenever he's talking to Windy, whenever Wendy comes in

805
00:45:50.400 --> 00:45:53.239
<v Speaker 2>to kind of like confront not really not confront him,

806
00:45:53.239 --> 00:45:56.320
<v Speaker 2>but ask him if he wanted anything to eat or whatever,

807
00:45:56.360 --> 00:45:58.239
<v Speaker 2>and he's, no, I'm in here working. When you see

808
00:45:58.239 --> 00:46:01.280
<v Speaker 2>me in this chair in his room, you know that

809
00:46:01.360 --> 00:46:04.599
<v Speaker 2>I am working. There's a chair that disappears behind Jack

810
00:46:05.039 --> 00:46:07.159
<v Speaker 2>when Danny stands up in the hallway to go into

811
00:46:07.199 --> 00:46:11.440
<v Speaker 2>room two thirty seven. The carpet which switches angles. Uh.

812
00:46:11.920 --> 00:46:15.880
<v Speaker 2>And then in the very first one is the there's

813
00:46:15.920 --> 00:46:23.559
<v Speaker 2>a sticker on Danny's door before the doctor comes to

814
00:46:23.599 --> 00:46:28.639
<v Speaker 2>examine Danny that disappears in the next shot. So there's

815
00:46:28.639 --> 00:46:33.400
<v Speaker 2>a lot of these types of continuity airs and within

816
00:46:33.480 --> 00:46:38.719
<v Speaker 2>the movie, and I think that some of them are

817
00:46:39.119 --> 00:46:45.559
<v Speaker 2>continuity airs like he had to have been that he

818
00:46:45.800 --> 00:46:51.119
<v Speaker 2>wasn't so much concentrated on like the filming aspects and

819
00:46:51.159 --> 00:46:57.159
<v Speaker 2>getting everything precisely incorrectly right, because he did a lot

820
00:46:57.199 --> 00:47:00.559
<v Speaker 2>of takes. Like Stanley Kubrick was a notorious for doing

821
00:47:01.639 --> 00:47:02.559
<v Speaker 2>hundreds of takes.

822
00:47:02.679 --> 00:47:05.840
<v Speaker 1>Yeah, like hitching off the actors, a lot of takes.

823
00:47:06.119 --> 00:47:11.360
<v Speaker 2>Yeah, hundreds of takes. It was reported by Shirley Duvall

824
00:47:11.519 --> 00:47:13.639
<v Speaker 2>that they did. I would have to look it up,

825
00:47:13.639 --> 00:47:15.519
<v Speaker 2>and I think it's around in the one hundred and

826
00:47:15.519 --> 00:47:19.719
<v Speaker 2>twenty range of the famous staircase scene.

827
00:47:20.760 --> 00:47:23.519
<v Speaker 1>That's a lot. That's a lot of takes. Yeah, that's

828
00:47:23.800 --> 00:47:26.039
<v Speaker 1>like a joke in another a joke in a movie

829
00:47:26.119 --> 00:47:27.920
<v Speaker 1>or a TV show where you just can't get it right.

830
00:47:27.920 --> 00:47:29.840
<v Speaker 1>They're like, all right, I can SpongeBob, Like, all right,

831
00:47:29.880 --> 00:47:32.880
<v Speaker 1>take two thousand, seven hundred and thirty six. You know,

832
00:47:32.960 --> 00:47:36.280
<v Speaker 1>take three thousand kubric did a ton of takes. Do

833
00:47:36.519 --> 00:47:38.960
<v Speaker 1>you think that maybe, okay, some of them are maybe

834
00:47:39.159 --> 00:47:42.519
<v Speaker 1>legitimate continuity issues we just missed. Maybe some was because

835
00:47:42.559 --> 00:47:46.679
<v Speaker 1>he was trying to film it quick to get the content,

836
00:47:46.880 --> 00:47:49.159
<v Speaker 1>because he was changing things and they have to send

837
00:47:49.239 --> 00:47:51.239
<v Speaker 1>dailies to the studio and they have to look at it,

838
00:47:51.280 --> 00:47:53.760
<v Speaker 1>and he wanted to get what he wanted done and

839
00:47:53.800 --> 00:47:57.400
<v Speaker 1>filmed and cut. Do you think maybe some of it

840
00:47:57.440 --> 00:48:01.199
<v Speaker 1>has to do with I remember what this show called Evil,

841
00:48:01.880 --> 00:48:05.519
<v Speaker 1>and the main character in this TV show Evil, she's

842
00:48:05.559 --> 00:48:09.159
<v Speaker 1>having this dream about an incubus coming into her room,

843
00:48:09.760 --> 00:48:12.920
<v Speaker 1>the male demon trying to have sex with her, and

844
00:48:13.039 --> 00:48:15.440
<v Speaker 1>she goes and talks to If I remember this correctly,

845
00:48:15.480 --> 00:48:18.000
<v Speaker 1>I think she talks to her psychologist and he says,

846
00:48:18.039 --> 00:48:21.480
<v Speaker 1>to tie a string around your wrist. And when you

847
00:48:21.519 --> 00:48:23.920
<v Speaker 1>tie the string around your wrist, he said in the dream,

848
00:48:24.320 --> 00:48:26.239
<v Speaker 1>look down to see if the string is still there,

849
00:48:26.639 --> 00:48:29.239
<v Speaker 1>and if it is, you'll know you're awake, and if

850
00:48:29.280 --> 00:48:32.360
<v Speaker 1>it's not, you'll know that you're dreaming. And I've heard

851
00:48:32.400 --> 00:48:35.000
<v Speaker 1>that also in terms of people that are having nightmares,

852
00:48:35.079 --> 00:48:37.519
<v Speaker 1>to look around the room, see if there's anything that

853
00:48:37.519 --> 00:48:40.440
<v Speaker 1>looks bizarre or look at yourself. Do you look normal?

854
00:48:40.719 --> 00:48:42.960
<v Speaker 1>Is there something weird about you? Are you missing a

855
00:48:43.039 --> 00:48:46.639
<v Speaker 1>ring or a necklace or something like that. I thought,

856
00:48:46.639 --> 00:48:48.519
<v Speaker 1>maybe that's what it could be. If it's making it

857
00:48:48.599 --> 00:48:51.519
<v Speaker 1>so obvious that there are these issues and that the

858
00:48:51.559 --> 00:48:53.639
<v Speaker 1>background is changing, that maybe it has something to do

859
00:48:53.679 --> 00:48:55.599
<v Speaker 1>with the mind. Maybe it has something to do with

860
00:48:55.639 --> 00:48:59.559
<v Speaker 1>it with different levels of awareness by the characters in

861
00:48:59.599 --> 00:49:04.719
<v Speaker 1>the movie, and that the consciousness of the individual is

862
00:49:04.760 --> 00:49:07.960
<v Speaker 1>shifting from conscious to unconscious something along. I mean, I

863
00:49:08.000 --> 00:49:11.599
<v Speaker 1>can't adequately maybe explain my point of view on it,

864
00:49:11.639 --> 00:49:13.840
<v Speaker 1>but it might have something to do with like switching

865
00:49:13.880 --> 00:49:17.360
<v Speaker 1>between different states of reality. And since the film is

866
00:49:17.559 --> 00:49:20.639
<v Speaker 1>I think your documentary proves it quite clearly about the

867
00:49:20.760 --> 00:49:25.400
<v Speaker 1>mind and psychological experimentation, in essence, not being able to

868
00:49:25.440 --> 00:49:28.599
<v Speaker 1>figure out what is real and what is not real,

869
00:49:28.960 --> 00:49:32.559
<v Speaker 1>which is what good programming and psychological trauma does to

870
00:49:32.599 --> 00:49:34.840
<v Speaker 1>a person. They can't figure out what's real and what's

871
00:49:34.880 --> 00:49:37.400
<v Speaker 1>not real. Was the light switched there? I don't remember?

872
00:49:37.519 --> 00:49:40.000
<v Speaker 1>Was the chair there? I don't remember? Maybe it has

873
00:49:40.039 --> 00:49:40.760
<v Speaker 1>something to do with that.

874
00:49:42.480 --> 00:49:45.679
<v Speaker 2>I think that's very plausible that it does, because throughout

875
00:49:45.760 --> 00:49:48.239
<v Speaker 2>the movie, when you watch the shining on its own.

876
00:49:49.320 --> 00:49:54.519
<v Speaker 2>Jack is slowly going into what could be considered a

877
00:49:56.360 --> 00:50:01.079
<v Speaker 2>a psychosis. Now we pausited that it's something, is that

878
00:50:01.079 --> 00:50:04.519
<v Speaker 2>it's an experiment that's being ran at the Overlook Hotel,

879
00:50:04.559 --> 00:50:09.480
<v Speaker 2>and that's the calls of him going into these kinds

880
00:50:09.519 --> 00:50:12.760
<v Speaker 2>of delusions. But it would make sense that would actually

881
00:50:12.760 --> 00:50:15.800
<v Speaker 2>even make more sense Ryan if that was the case,

882
00:50:15.920 --> 00:50:19.440
<v Speaker 2>because he would not only want to do that within

883
00:50:19.480 --> 00:50:21.920
<v Speaker 2>the characters of the movie, but he would also want

884
00:50:21.960 --> 00:50:24.400
<v Speaker 2>to do that to the audience. So as Jack is

885
00:50:24.440 --> 00:50:27.719
<v Speaker 2>going further and further into these delusions, he would want

886
00:50:27.760 --> 00:50:31.800
<v Speaker 2>to make it seem like the audience is sort of

887
00:50:32.039 --> 00:50:36.559
<v Speaker 2>going down this road with him by removing certain things

888
00:50:36.559 --> 00:50:39.440
<v Speaker 2>and putting things in one scene and then not having

889
00:50:39.440 --> 00:50:42.400
<v Speaker 2>them there, and the next scene changing the carpet and

890
00:50:43.199 --> 00:50:47.960
<v Speaker 2>subliminally giving that to you. Now, there are other things

891
00:50:48.000 --> 00:50:51.840
<v Speaker 2>within the movie that I have seen personally that nobody

892
00:50:51.840 --> 00:50:56.559
<v Speaker 2>else has ever seen. And one of those is a

893
00:50:57.920 --> 00:51:02.400
<v Speaker 2>swastika is on the wall in the background of the

894
00:51:02.400 --> 00:51:06.159
<v Speaker 2>gold room. No one has ever seen that before. I'm

895
00:51:06.199 --> 00:51:09.920
<v Speaker 2>the first person that I know of that. I didn't

896
00:51:09.960 --> 00:51:12.119
<v Speaker 2>read it anywhere, I didn't see it anywhere, I didn't

897
00:51:12.119 --> 00:51:15.079
<v Speaker 2>hear anyone talking about it. I literally seen it because

898
00:51:15.079 --> 00:51:16.039
<v Speaker 2>I saw the shining.

899
00:51:17.199 --> 00:51:19.840
<v Speaker 1>Was that you pointed it out to J two You

900
00:51:19.920 --> 00:51:22.159
<v Speaker 1>showed Jay Jay Widener.

901
00:51:23.119 --> 00:51:26.679
<v Speaker 2>And I saw that because I went to the theater

902
00:51:26.840 --> 00:51:31.599
<v Speaker 2>and actually watched the shining in the theater. They did

903
00:51:31.639 --> 00:51:37.599
<v Speaker 2>like a special Halloween showing of the Shining in Wyoming

904
00:51:37.840 --> 00:51:41.320
<v Speaker 2>or around a year ago, and I watched it, and

905
00:51:41.400 --> 00:51:45.039
<v Speaker 2>I seen that in the movie, and I'm like, holy shit,

906
00:51:45.199 --> 00:51:50.000
<v Speaker 2>this connects with my entire hypothesis of what the movie

907
00:51:50.199 --> 00:51:51.519
<v Speaker 2>actually is about.

908
00:51:51.639 --> 00:51:58.239
<v Speaker 1>And there might have been toward the end where jackets frozen.

909
00:51:59.039 --> 00:52:02.800
<v Speaker 1>It's kind of like the mustache, the Hitler mustache you

910
00:52:02.840 --> 00:52:05.400
<v Speaker 1>pointed out. Is that correct? Or am I misremembering that?

911
00:52:06.039 --> 00:52:10.199
<v Speaker 2>Yeah? There is a And I'm not the person to

912
00:52:10.239 --> 00:52:14.440
<v Speaker 2>talk about this. They talked about this and another several

913
00:52:14.480 --> 00:52:18.559
<v Speaker 2>people have seen the Hitler mustache on Jack. I wasn't

914
00:52:18.599 --> 00:52:22.000
<v Speaker 2>the first person to see that. They've been talking about

915
00:52:22.039 --> 00:52:23.400
<v Speaker 2>that for a really long time. But it's at the

916
00:52:23.440 --> 00:52:26.239
<v Speaker 2>end of the movie whenever the frame the picture frame

917
00:52:26.280 --> 00:52:29.840
<v Speaker 2>on the wall fades from the far out view into

918
00:52:29.880 --> 00:52:33.800
<v Speaker 2>the close up view of Jack. In a split second.

919
00:52:33.920 --> 00:52:37.400
<v Speaker 2>Within that fade, the top of Jack's head in the

920
00:52:37.480 --> 00:52:43.119
<v Speaker 2>smaller picture, you can forms a Hitler mustache on Jack's

921
00:52:43.199 --> 00:52:45.360
<v Speaker 2>face whenever it fades into the bigger picture of it.

922
00:52:46.199 --> 00:52:49.440
<v Speaker 1>And that connects to your swastika that you saw, which

923
00:52:49.440 --> 00:52:52.639
<v Speaker 1>also connects to mind control experiments, because I mean, in

924
00:52:52.719 --> 00:52:56.920
<v Speaker 1>the I think the mainline history of mind control experimentation,

925
00:52:57.079 --> 00:52:59.039
<v Speaker 1>a lot of that came from Whilston, came from the

926
00:52:59.039 --> 00:53:01.159
<v Speaker 1>Soviet Union, but a lot of I also came from

927
00:53:01.519 --> 00:53:06.079
<v Speaker 1>Nazi Germany quite famously. So that is another piece of

928
00:53:06.400 --> 00:53:11.360
<v Speaker 1>very intentionally subliminal proof that the movie is more about

929
00:53:11.519 --> 00:53:16.480
<v Speaker 1>mind control and driving people into psychosis and altered states

930
00:53:16.480 --> 00:53:21.320
<v Speaker 1>of awareness and consciousness through drugs and maybe through frequencies.

931
00:53:21.360 --> 00:53:23.119
<v Speaker 1>But you didn't put any in the movie, so don't

932
00:53:23.119 --> 00:53:28.360
<v Speaker 1>worry and things like that. I think it's a fantastic film.

933
00:53:28.920 --> 00:53:31.239
<v Speaker 1>We only have a few minutes here, maybe two minutes

934
00:53:31.719 --> 00:53:34.599
<v Speaker 1>before we have to bring up the music. So Rider

935
00:53:34.679 --> 00:53:37.559
<v Speaker 1>Lee did the editing. I mean, I know he worked

936
00:53:37.639 --> 00:53:39.960
<v Speaker 1>very hard. I'm good friends with writer and we talk

937
00:53:40.000 --> 00:53:42.119
<v Speaker 1>a lot, and he worked very hard on this documentary.

938
00:53:42.159 --> 00:53:45.400
<v Speaker 1>So if you get a chance, please go watch it.

939
00:53:45.440 --> 00:53:47.320
<v Speaker 1>If you don't have a chance, make a chance, make

940
00:53:47.400 --> 00:53:50.480
<v Speaker 1>some time to go watch this film. If you're scared

941
00:53:50.519 --> 00:53:53.840
<v Speaker 1>about subliminal things, watch it during the daytime. So it's

942
00:53:53.880 --> 00:53:58.079
<v Speaker 1>like what three dollars on Amazon to rent ten ninety

943
00:53:58.119 --> 00:54:01.880
<v Speaker 1>nine to buy make any money off of it? And

944
00:54:01.960 --> 00:54:04.960
<v Speaker 1>I know that writer, you know he gets a percent.

945
00:54:05.000 --> 00:54:06.880
<v Speaker 1>It's not like he makes one hundred percent of the

946
00:54:07.079 --> 00:54:11.920
<v Speaker 1>profit from it. So support independent filmmakers at the very least.

947
00:54:12.039 --> 00:54:14.800
<v Speaker 1>This movie will freak you out. Even if you don't

948
00:54:14.880 --> 00:54:16.880
<v Speaker 1>like the shining, I mean what it says about the

949
00:54:16.920 --> 00:54:20.800
<v Speaker 1>government and the military take notes. I want to watch

950
00:54:20.840 --> 00:54:23.440
<v Speaker 1>it again. I normally never watch documentaries a second time,

951
00:54:23.480 --> 00:54:27.599
<v Speaker 1>but I'm definitely going to watch it again Amazon A

952
00:54:27.679 --> 00:54:31.480
<v Speaker 1>Clockwork Shining Writerly, thank you so much about a minute

953
00:54:31.480 --> 00:54:34.000
<v Speaker 1>and a half. Tell us anything else that we might

954
00:54:34.039 --> 00:54:36.960
<v Speaker 1>need to know or any other interesting details about the film,

955
00:54:37.480 --> 00:54:37.960
<v Speaker 1>go ahead.

956
00:54:39.960 --> 00:54:42.199
<v Speaker 2>Yes, thanks so much for having me on, Ryan, I

957
00:54:42.280 --> 00:54:45.480
<v Speaker 2>really appreciate it. It was a lovely conversation. It's always great

958
00:54:45.519 --> 00:54:49.719
<v Speaker 2>to be on your show. Always an honor and a privilege. Yeah,

959
00:54:49.760 --> 00:54:53.239
<v Speaker 2>if people would just hope maybe we can get a

960
00:54:53.280 --> 00:54:55.440
<v Speaker 2>link in the description or however you want to do it,

961
00:54:55.559 --> 00:54:59.639
<v Speaker 2>or if not, they can just go to Amazon Prime

962
00:55:00.119 --> 00:55:03.239
<v Speaker 2>Video and you can just download the app, or you

963
00:55:03.280 --> 00:55:05.400
<v Speaker 2>can if you already have the app on your TV

964
00:55:05.559 --> 00:55:07.880
<v Speaker 2>or whatever, just type in A Clockwork Shining and you

965
00:55:07.920 --> 00:55:10.840
<v Speaker 2>can rent it or buy it off of there. And

966
00:55:10.960 --> 00:55:14.000
<v Speaker 2>I really hope people enjoy it. And if you have

967
00:55:14.039 --> 00:55:18.000
<v Speaker 2>any weird experiences after you watched it, weird dreams or whatever,

968
00:55:18.079 --> 00:55:21.000
<v Speaker 2>please please contact me and let me know, because I

969
00:55:21.039 --> 00:55:24.840
<v Speaker 2>feel like that is a reoccurring thing. The four people,

970
00:55:24.920 --> 00:55:26.920
<v Speaker 2>five people that Jay did a screening for, had the

971
00:55:26.960 --> 00:55:30.239
<v Speaker 2>same thing happened to them. Ryan had it happened to him.

972
00:55:30.639 --> 00:55:33.880
<v Speaker 2>I've had it happen with watching the Shining, So let

973
00:55:33.960 --> 00:55:38.400
<v Speaker 2>us know if you experience anything strange or weird. And yeah,

974
00:55:38.519 --> 00:55:42.760
<v Speaker 2>thank you for having me on. And please support independent

975
00:55:42.800 --> 00:55:47.239
<v Speaker 2>filmmakers because this is the way that it's going. Streaming

976
00:55:47.280 --> 00:55:50.239
<v Speaker 2>services are the way that it is. And you know,

977
00:55:50.320 --> 00:55:53.960
<v Speaker 2>Hollywood is not putting out good original content. They just

978
00:55:54.000 --> 00:55:57.440
<v Speaker 2>want to remake everything, reboot it and turn it into

979
00:55:58.639 --> 00:56:05.079
<v Speaker 2>recognizable IP And we did something very original here with

980
00:56:05.239 --> 00:56:09.199
<v Speaker 2>this movie A Clockwork Shining on Amazon Prime Video. Thank

981
00:56:09.199 --> 00:56:11.280
<v Speaker 2>you guys very much, and thank you again, Rain.

982
00:56:12.559 --> 00:56:15.400
<v Speaker 1>You're welcome. Writer Raised by Giants is also Writer's show

983
00:56:15.400 --> 00:56:18.199
<v Speaker 1>you can find on YouTube the link where both his

984
00:56:18.280 --> 00:56:21.400
<v Speaker 1>show and for the documentary are in the description of

985
00:56:21.639 --> 00:56:25.320
<v Speaker 1>this episode of The Secret Teachings Radio Monday through Friday,

986
00:56:25.360 --> 00:56:27.920
<v Speaker 1>ground zero Dot Radio, and of course in the archive

987
00:56:27.960 --> 00:56:30.440
<v Speaker 1>the Secret Teachings at Info. I'll say one last thing

988
00:56:30.519 --> 00:56:32.679
<v Speaker 1>is I bring the music up here. Writer. The only

989
00:56:32.679 --> 00:56:35.199
<v Speaker 1>thing that would have made your documentary better if you

990
00:56:35.199 --> 00:56:37.079
<v Speaker 1>would have put a chick in it and made her

991
00:56:37.159 --> 00:56:40.440
<v Speaker 1>lame and gay, that would have made it much better.

992
00:56:42.760 --> 00:56:44.480
<v Speaker 2>Put a chicken in macergate.

993
00:56:45.760 --> 00:56:49.360
<v Speaker 1>This linguini is. It doesn't taste good, but it's pasta.

994
00:56:50.199 --> 00:56:52.079
<v Speaker 1>I believe I told the chef to put a chick

995
00:56:52.119 --> 00:56:56.079
<v Speaker 1>in it and make her gay, make her lame. Writer,

996
00:56:56.239 --> 00:56:59.079
<v Speaker 1>had a great night. Okay, thank you brother, all right,

997
00:56:59.079 --> 00:57:01.599
<v Speaker 1>bye bye. This is the Secret Teaching. Stay safe, stay inform,

998
00:57:01.679 --> 00:57:04.599
<v Speaker 1>stay healthy, and I will talk to you on the

999
00:57:04.639 --> 00:57:09.280
<v Speaker 1>next broadcast. If you're listening on ground zero tomorrow night

1000
00:57:09.400 --> 00:57:13.119
<v Speaker 1>Friday night, we will hear the sphere Bean. What do

1001
00:57:13.199 --> 00:57:17.119
<v Speaker 1>I call it? Dark Fleet sphere Bean Alliance of Blue

1002
00:57:17.239 --> 00:57:20.880
<v Speaker 1>Chickens and Super Soldier Secret Space Programs. That's tomorrow night's show.

1003
00:57:20.920 --> 00:57:23.360
<v Speaker 1>You don't want to miss it. Brown zero Dot Radio
