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