Speaker 1: Hey, everybody, Jay Widener here, thanks for watching and hit
Speaker 1: like and all that stuff. Well, after what we thought
Speaker 1: was going to take three months ended up taking them
Speaker 1: three weeks, so we're really happy. We thanked the universe
Speaker 1: because A Clockwork Shining is up on Amazon right now
Speaker 1: and anyone can go watch it. It's a low price,
Speaker 1: not as low as our last one, but I had
Speaker 1: no choice on the price. Amazon shows everything for me.
Speaker 1: But it's up. It's good, and I I remember a
Speaker 1: quote from Quentin Tarantino where he said that no one's
Speaker 1: ever made a good film past year their sixtieth year.
Speaker 1: I think he's sixty two, so gotter be worried. And
Speaker 1: I know what he means, because directing is so physical
Speaker 1: that it's you know, it's like a baseball or football,
Speaker 1: so a young man's sport it really is, or a
Speaker 1: young woman's sport. It's just physical. There's nothing you do
Speaker 1: about it. You're exhausted every day, and you can't do
Speaker 1: it when you get older. So I always thought, oh, Quentin
Speaker 1: Tarantino's not really giving up making movies. He's just going
Speaker 1: to write and produce movies and let somebody younger direct
Speaker 1: and do all the extra I think that's what's about
Speaker 1: to happen anyway, That's the situation I got myself into.
Speaker 1: I quit making films, quit production in in twenty eighteen
Speaker 1: and retired and went to my put my ranch in
Speaker 1: Colorado and took up the two things I wanted to
Speaker 1: take up my whole life and never got to, which
Speaker 1: was being a really good cook or a good chef
Speaker 1: and gardening. And I did both. And then two years ago,
Speaker 1: a year and a half ago, Yeah, Rider and I
Speaker 1: were talking and we decided to make a Clockwork Shining.
Speaker 1: That was our first decision, and then only later did
Speaker 1: we change our mind and go first with your Akax.
Speaker 1: And I think that was the best thing we ever
Speaker 1: could do because it was a great way to launch
Speaker 1: our combination of skills and see where we're weak or
Speaker 1: where we're strong and all that, so that when we
Speaker 1: did do a Clockwork Shining, it would be amazing. And
Speaker 1: it is. I think it's actually the best film of
Speaker 1: twenty twenty four. I know that sounds crazy. Hey Ryder,
Speaker 1: how you doing.
Speaker 2: How's it going, Jay? Thanks for having me on? And man,
Speaker 2: I am so excited. Holy crap. When I woke up
Speaker 2: this morning, I'm not gonna lie. I actually had a
Speaker 2: dream last night, right before I woke up. Then I
Speaker 2: checked Amazon and it was on there. And that's not
Speaker 2: bulls shedding nothing. I legitimately had a dream that it
Speaker 2: was on Amazon, and it was right before I woke up,
Speaker 2: and that was the first thing that I did was
Speaker 2: roll over, grab my phone, check Amazon, and then it
Speaker 2: was on there, and it was like, Holly crap. And
Speaker 2: then I called you and I was like, Jay, it's
Speaker 2: on Yeah.
Speaker 1: I had to get up really early this morning, had
Speaker 1: a cat, had to go to the doctor, and I
Speaker 1: checked I could do as soon as I get up.
Speaker 1: So it was seven o'clock my time, and it wasn't up.
Speaker 1: And then I got back about an hour later, I
Speaker 1: checked it, it wasn't up. And then you called me about
Speaker 1: two hours alater and it was up. So it was
Speaker 1: in that window of time that it went up, and
Speaker 1: it's on Amazon Prime. Everyone's got to go see it.
Speaker 1: You're really gonna like it. It's the even if you
Speaker 1: remove the shining from the film, let's see you just
Speaker 1: go in and remove the shining. It's the best history,
Speaker 1: I believe, of the MK Ultra programs ever. But when
Speaker 1: you wrap it in a pop culture icon like Stanley
Speaker 1: Kubrick's The Shining and then you see because it does
Speaker 1: shake you, you know, you do wonder if he wasn't
Speaker 1: making a movie about this, right.
Speaker 2: Yes, it's very difficult to argue with our analysis, I believe,
Speaker 2: and I've shown it to a few people so far.
Speaker 2: They got to see the screen or copy of it,
Speaker 2: and they are just completely blown away. They're literally like,
Speaker 2: there's so much information in here. I got to rewatch
Speaker 2: it again, and that's really what's There's it's really fast
Speaker 2: paced and moves really quickly, but there are some breaks
Speaker 2: in there where you can kind of catch your breath,
Speaker 2: but you don't catch your breath for very long, and
Speaker 2: then it's like right back into it. It's a pretty
Speaker 2: long movie. It's almost two hours. It's I think o'
Speaker 2: clocks in it around an hour and fifty minutes.
Speaker 1: But doesn't feel like it though.
Speaker 2: That's what other people have said as well. They've said
Speaker 2: that it's once you start watching it, you can't stop
Speaker 2: watching it, is what people have told me, like my
Speaker 2: friends that have seen it so far, And of course
Speaker 2: it just got released today, so the majority of people
Speaker 2: have not gotten the scene see it I've only sent
Speaker 2: it to a handful of my really close friends, and
Speaker 2: they're like, yeah, this is a very fast pace. It
Speaker 2: moves quick, you want to rewatch it again. And it
Speaker 2: encompasses so much in there that that they're pretty much like,
Speaker 2: there's so much going on that it that I really
Speaker 2: recommend people to just buy it. And that's really what's
Speaker 2: going on, because you're gonna, I think you can when
Speaker 2: you rent it, you can watch it for like twenty
Speaker 2: four hours over and over again. But you're gonna it's
Speaker 2: kind of like with jfk said. The same thing with
Speaker 2: jfk X when we made it, was that you're gonna
Speaker 2: want to buy it because you're gonna want to watch
Speaker 2: it several times over and over and over again. And
Speaker 2: I think that we did a really good job with
Speaker 2: encompassing everything that we wanted. I mean, I could have
Speaker 2: made this movie like three hours long. This could easily
Speaker 2: have been a three or four hour long.
Speaker 1: Movie, but.
Speaker 2: Because there's so much stuff that we could have said
Speaker 2: in there. But we might do end up doing a
Speaker 2: director's cut or something later on with the movie as well.
Speaker 2: But yeah, that's kind of where where we're at right now.
Speaker 2: And I'm really excited about it.
Speaker 1: And yeah, we brought We brought out a whole bunch
Speaker 1: of information in the film that's really never been presented before,
Speaker 1: including this idea that perhaps perhaps because of the failure
Speaker 1: of Barry Linton, which is Stanley Kubrick's greatest failure of
Speaker 1: all his films, he was he had just signed a contract,
Speaker 1: excuse me, a fight, no line infection, he just signed
Speaker 1: contract with Warner Brothers, and he's delivered with clockwork Orange.
Speaker 1: But he failed massively. And what happened is, and I
Speaker 1: find this really fascinating, is in around nineteen seventy three
Speaker 1: or four, he was offered to do The Exorcist, and
Speaker 1: Warner Brothers had this incredibly great idea that what we
Speaker 1: will do is we'll take a horror novel that's a
Speaker 1: bestseller and we'll marry it to a type a top
Speaker 1: director and an A list director. And so they got
Speaker 1: William Friedkin, who was hot off of the French connection,
Speaker 1: who's a great director. He doesn't nobody can argue with that.
Speaker 1: He is a great director. And they married him together
Speaker 1: and they had one of the biggest hits of all time,
Speaker 1: The Exorcist, and Cuba could turn that down. So it's
Speaker 1: really important to understand that he chose to do Barry Linden,
Speaker 1: which was a very expensive movie, and it lost a
Speaker 1: lot of money. And I believe I can't prove this
Speaker 1: by speculating the film. I believe that around nineteen seventy five,
Speaker 1: when The Shining had not yet come out as a novel,
Speaker 1: Stephen King's The Shining, he was given I know he
Speaker 1: was given a pre sale copy of the book. I
Speaker 1: believe he was told by Warner Brothers that you kind
Speaker 1: of have to make this, this kind of has to
Speaker 1: be your next project. Why, because they're trying to get
Speaker 1: you know, Double Lightning. They wanted a top A list
Speaker 1: director married to a top best selling horror novel, which
Speaker 1: The Shining was. And I think because he had turned
Speaker 1: down The Exorcist before, Hubert kind of read the writing
Speaker 1: on the wall. I don't think anybody forced him to
Speaker 1: do it or anything, but he took the book and
Speaker 1: decided to make it. And it's you know, as we
Speaker 1: point out in the film, Kubrick didn't believe in the supernatural,
Speaker 1: and that's all that book is, this ghosts and trying
Speaker 1: to influence his family and everything. And Cubert just just
Speaker 1: wasn't his cup of tea. And you know, everybody has
Speaker 1: their belief systems, that was his. He was a firm
Speaker 1: believer in grit reality. So he had a lot of
Speaker 1: problems with the book, is what we speculate, right.
Speaker 2: Yeah, it's really interesting because we bring it up in
Speaker 2: the film too. It's like, is this really a horror film?
Speaker 2: Because it's really not. There's not really anything that happens
Speaker 2: in the movie that is considered to be horror us
Speaker 2: besides the last like thirty minutes of the movie is
Speaker 2: the only parts of that are like horror. And I
Speaker 2: gotta be honest with you, Jay, like the first time
Speaker 2: that I seen it, and I gotta be honest with
Speaker 2: the audience too. I did not like the shining. I
Speaker 2: thought that it was boring. There was nothing going on,
Speaker 2: and I was like, what is this? Why? Why have
Speaker 2: people so fascinated with this? It makes zero sense? And
Speaker 2: then it wasn't until I was sort of forced to
Speaker 2: watch it several times over and over and over again.
Speaker 2: And then I watched it when I was bringing you
Speaker 2: on my show around two years ago. Yeah, and I
Speaker 2: was like, huh, there's a lot of really strange things
Speaker 2: in here. And it started to click with me, and
Speaker 2: I'm like, holy crap, this is over here. This is
Speaker 2: super symbolic. This is going on. There's a poster over here,
Speaker 2: there's a there's something on in the background of the
Speaker 2: gold Room. There's a freaking swastika in the background of
Speaker 2: the gold room, you know, like all this different stuff.
Speaker 2: There's a handprint on the lady's asses walking by after
Speaker 2: Jack gets up from the bar, before he bumps into Grady.
Speaker 2: You know, there's all this stuff that's that's going on
Speaker 2: that I really don't think that a lot of people
Speaker 2: have seen, which is really wild that you can watch
Speaker 2: it still and find things that people still haven't seen,
Speaker 2: you know. And that's what my kind of problem was
Speaker 2: with it was whenever I was, you know, watching it
Speaker 2: and running my analysis through it, I was like, I'm
Speaker 2: not going to find anything that people haven't seen in
Speaker 2: this movie yet. But it turns out that I did,
Speaker 2: and and there were several things that the swastika in
Speaker 2: the in the gold Room, I don't I believe that
Speaker 2: no one has ever seen that. Ever. It was probably
Speaker 2: because I seen it on a big screen. I saw
Speaker 2: that in the theater. They did a replay of it
Speaker 2: for Halloween last year, so I went to the theater
Speaker 2: and I got to see it on the big screen.
Speaker 2: And that's the only way that I would have even
Speaker 2: noticed that that was even there, because I've seen it
Speaker 2: on the big screen.
Speaker 1: But it's interesting because you were.
Speaker 2: Talking about William Freaking earlier and I had I listened
Speaker 2: to a lot of well, you know how it is
Speaker 2: when you're making a documentary and you're trying to find footage.
Speaker 2: You listen to a lot of interviews, a lot of
Speaker 2: b roll, a lot of information and stuff. And I
Speaker 2: listened to an entire thing with William Freaking. I listened
Speaker 2: to probably two or three hours of interviews with him
Speaker 2: that I actually wanted to put in the movie but
Speaker 2: I had to be cut for time. And he was
Speaker 2: talking about how he hates filmmaking. He said, I hate it.
Speaker 2: It's the worst thing that I've ever done. It's annoying,
Speaker 2: it's frustrating, it takes up too much time. But then
Speaker 2: he said, the thing that I love about filmmaking is
Speaker 2: the editing process. The editing process is the most fun.
Speaker 2: It's the most enjoyable. And I think that that's really
Speaker 2: what hearing him say that actually got me through completing
Speaker 2: the film and I'll care.
Speaker 1: Yeah, well, if you think about it, as people have
Speaker 1: played out in the past, film was a bastard are
Speaker 1: The music comes from you know, classical music. Mostly the
Speaker 1: acting comes from stage. The writing comes I mean, the
Speaker 1: screenplays come from novels. So there's always a precursor art
Speaker 1: form for all the things that make up movies. Costumes
Speaker 1: come from theater. But there's only one thing that makes
Speaker 1: movies making stand out from all other art forms, and
Speaker 1: that is editing. You when you're the editor, you are
Speaker 1: you are God. You are in control of it. You
Speaker 1: are the master of your own universe. And I've always
Speaker 1: thought that you really can't call yourself a filmmaker if
Speaker 1: you don't edit. So you can say you can call
Speaker 1: yourself whatever you want, but you can't call yourself a
Speaker 1: filmmaker unless you're the person sweating bullets in the booth editing.
Speaker 1: That's that, That is what filmmaking is. Filmmaking is not
Speaker 1: pointing cameras. Filmmaking is not writing screenplays. The real essence
Speaker 1: of filmmaking is what happens in the editing, and what
Speaker 1: happens it is that a person who edits becomes a
Speaker 1: better filmmaker because they see all the mistakes that get
Speaker 1: made and I'm never gonna do that one, right. And
Speaker 1: so by the time the guy's done like four or
Speaker 1: five films editing, he's now pretty much ready to direct
Speaker 1: because now he knows all the mistakes that everybody makes
Speaker 1: and he doesn't want to do it. And frequently they're
Speaker 1: the best editors.
Speaker 2: Yeah, during this movie, I wanted to bang my freaking
Speaker 2: head against the wall several times making this thing, just
Speaker 2: because it was you know, it's a long movie, and
Speaker 2: when you're editing a long movie like that, the amount
Speaker 2: of times that you have to watch it is unbelievable.
Speaker 2: And I've probably seen The Shining more than anybody on
Speaker 2: the planet. I've probably watched it more times than anybody
Speaker 2: has ever seen it. And I've definitely watched our movie
Speaker 2: more times than anybody is probably ever going to watch
Speaker 2: it too. But the editing process is a lot of
Speaker 2: fun in you know, putting everything together and telling a
Speaker 2: cohesive story because yeah.
Speaker 1: It's like a jigsaw puzzle, right, but you know what,
Speaker 1: you had a jagsaw puzzle that was like twenty five
Speaker 1: feet by twenty five feet. That was your problem. Yeah, well,
Speaker 1: find the first piece, right where do you start?
Speaker 3: You know?
Speaker 2: But I think it's important to have a vision with it.
Speaker 2: And I kept my vision through the entire editing process.
Speaker 2: Like I knew where everything needed to be, and I
Speaker 2: knew how everything needed to hit because I had already,
Speaker 2: you know, raked it over in my mind several times.
Speaker 2: I mean, from the time that we decided to start
Speaker 2: shooting this movie. Every single night, all I did was
Speaker 2: think about how I wanted this movie to flow, and
Speaker 2: the ideas and where I wanted everything in my head.
Speaker 2: That's what I did, and that's what I had to
Speaker 2: do because I knew when it came down down time
Speaker 2: to actually do it, I couldn't waste my time trying
Speaker 2: to figure out where everything needed to go. I already
Speaker 2: knew where everything needed to go.
Speaker 1: Yeah. Yeah, And then we got a lot of We've
Speaker 1: got a lot of surprising information in the interviews we did.
Speaker 1: We interviewed Walter Bosley, we interviewed Kathy O'Brien, the victim
Speaker 1: of the Monarch MK Ultra programs. Walter Bosi, of course,
Speaker 1: was in the Air Force OSI the Special Investigation Arm
Speaker 1: of the Air Force. Plus he was in the FBI
Speaker 1: Mark Devlin, isn't it. He's a specialist in the entertainment world,
Speaker 1: and he brings in a whole bunch of incredible information
Speaker 1: Joe Attwill who's an expert on Catcher in Their Eye,
Speaker 1: And most people have never really caught the fact that
Speaker 1: at the beginning of the movie, the first time we
Speaker 1: see Shelley Devall, she's reading Catcher in Their Eye and
Speaker 1: there's this whole background behind that. Over and over we
Speaker 1: discover through the Shining pointers to m k Ultra programs,
Speaker 1: and they're all through the movie. I don't want to
Speaker 1: give away too much, so that's one of the most
Speaker 1: important ones. So and then when we look into Kubrick,
Speaker 1: and we were very nice to stan Lee in this movie,
Speaker 1: I think, oh, I know what I want to bring
Speaker 1: up before I go into that. So in our movie
Speaker 1: we present, you know, Stanley Kubrick's lesser, less known ending
Speaker 1: to The Shining. There was another ending to The Shining
Speaker 1: that cubric lopped off at the last second because well,
Speaker 1: we don't know. Maybe I think he had one excuse,
Speaker 1: but I think the real excuse is because the alternate ending,
Speaker 1: the ending that was at the first time first cut
Speaker 1: of The Shining reveals that it actually is an MK
Speaker 1: Ultra operation and we show a AI generated We showed
Speaker 1: the ending in our movie an AI generated ending, and
Speaker 1: that's really interesting what happens in it, and we explained
Speaker 1: all of it in the film, But it gave away
Speaker 1: too much, don't you think?
Speaker 2: Absolutely? And I think that that was a big reason
Speaker 2: because the excuse was is that q Break ran test
Speaker 2: screenings of his movies to the test screenings of the
Speaker 2: movie the shining to people and uh, people were just
Speaker 2: getting up and leaving before the credits has had rolled,
Speaker 2: and they were just not talking to each other. They
Speaker 2: weren't you know, they weren't conversing with each other, and
Speaker 2: they would just get up, and so he decided to
Speaker 2: have his.
Speaker 1: Editor go to the.
Speaker 2: Movie theaters to where it was showing and splice the
Speaker 2: ending of the film. And that's how we get the
Speaker 2: you know, the famous ending of the film with Jack,
Speaker 2: you know, being frozen outside basically and dying and then
Speaker 2: a zooms into the picture on the wall, and but
Speaker 2: there was a whole other ending that completely got cut out,
Speaker 2: and that ending that really does reveal the entire movie.
Speaker 2: It tells you exactly what it is and That's the
Speaker 2: thing about Stanley Kubrick is he's his movies are very ambiguous.
Speaker 2: He wants the audience to put two and two together
Speaker 2: on their own and come up with their own interpretation.
Speaker 2: And that's one of my favorite things about Stanley Kubrick
Speaker 2: and the way that he makes films. It's not even
Speaker 2: so much as filming style. It's it's the way that
Speaker 2: he puts together a movie and doesn't give everything away
Speaker 2: in exposition, because that's a really big problem with movies nowadays.
Speaker 2: In the past two to three decades, everything is given
Speaker 2: away an exposition. It's all given away between the dialogue
Speaker 2: between the characters, you know, and instead of letting the
Speaker 2: audience put everything together themselves. And that's another thing that
Speaker 2: I've heard about our movie at Clockwork Shiny is that
Speaker 2: it's a it's an intelligent movie that gives you payoffs
Speaker 2: longer longer that you wait in the movie, it gives
Speaker 2: you payoffs. So it's like a it's an intelligent movie
Speaker 2: that you have to stick with. And that's what Stanley
Speaker 2: Kubrick was trying to do with pretty much all of
Speaker 2: his movies. He wanted the audience. That's why he also
Speaker 2: didn't do interviews. He hated doing interviews because if he
Speaker 2: told the audience what he thought that the film was
Speaker 2: really about, then that squashes anything that they thought that
Speaker 2: it was about. So when a filmmaker tells you, this
Speaker 2: is what my foot movie's about, completely res all theories
Speaker 2: and speculation that they could come up with their on
Speaker 2: their own. And that's one of the great things about
Speaker 2: Stanley Kubrick, not only him, you know, being a great
Speaker 2: filmmaker and you know, leaving the camera on the subject
Speaker 2: for a long period of time before cutting. That's another
Speaker 2: thing that filmmakers nowadays really need to get away from
Speaker 2: is all these you know, these jump cuts. But in
Speaker 2: a documentary it's different. You have to do a lot
Speaker 2: of cuts and edits and stuff in a documentary. But
Speaker 2: when you're making an actual film, like There's Yeah, they
Speaker 2: call him what is it called not action scenes, but
Speaker 2: like shaky cam. They do the shaky cam and the
Speaker 2: all the jump cuts in there, and they don't leave
Speaker 2: the camera on a subject. There's been very few films
Speaker 2: that's been made recently that has that style of filmmaking.
Speaker 2: But that coupled with not giving away everything within the
Speaker 2: exposition and the dialogue between the characters and the way
Speaker 2: that he filmed films was really made Stanley cuperit great.
Speaker 1: Yeah. The first rule to me of filmmaking is show them,
Speaker 1: don't tell them. That's really what you have to do.
Speaker 1: And we accomplished that in this movie. We don't tell them,
Speaker 1: We show them. And by that and you know, I
Speaker 1: did a I showed it here locally to six or
Speaker 1: seven people that weren't friends the people I know, but
Speaker 1: I made sure I didn't show to anybody that was
Speaker 1: a tight friend of mine, because you know, they'll massage
Speaker 1: the data, if you know what I mean. So there
Speaker 1: are just people I know, I work with or whatever,
Speaker 1: and they came over and we had it. We showed it.
Speaker 1: This is whenever we finished it, So it must have
Speaker 1: been in August, and and I stayed out of the room.
Speaker 1: I stay out of the ruinary of viewing. I listened, though,
Speaker 1: because I hear people talking and I know they're not
Speaker 1: watching the film, so I so I went outside. It
Speaker 1: was the summer day, and I looked up, sat out
Speaker 1: in my front porch and I listened to them watching.
Speaker 1: Nobody said a word, by the way, for the whole
Speaker 1: hour and fifty minutes and then they all came out
Speaker 1: and they said, they said, oh, it was really good.
Speaker 1: Everybody complimented me. But they're they're all acting kind of
Speaker 1: odd and there looked like they'd been hit by a truck,
Speaker 1: and uh, including my wife, and and so they all
Speaker 1: left and then I said, so, what'd you think? And
Speaker 1: she's just kind of staring at the wall, actually didn't
Speaker 1: really talk to me or anything. I thought, what's going
Speaker 1: on here? And then the next day I was I
Speaker 1: get up a lot earlier than my wife, and I
Speaker 1: was up doing work around the house or something, and
Speaker 1: she comes in, she staggers in, and she goes all
Speaker 1: I did last night was dream about that movie. All
Speaker 1: I can. I cannot get over that movie. And you
Speaker 1: really shook me up. You shook me up even about
Speaker 1: my own life. And well that's a really weird reaction.
Speaker 1: So then I waited just a couple more days than
Speaker 1: I call the other five people on the phone and
Speaker 1: asked them, you know, give me a review, right. I
Speaker 1: wanted to make sure they had enough time to cognate
Speaker 1: the whole thing. And I got all six people said
Speaker 1: that the movie shook them up, made them wonder about reality,
Speaker 1: made them wonder if these programs aren't exactly what's going
Speaker 1: on everywhere right now. And they all had personal things
Speaker 1: like did I get influenced by this on when I
Speaker 1: was young? Right? Everybody had these kind of same reactions.
Speaker 1: And then I knew that we had a hit. And
Speaker 1: I don't know if we have a hit because we
Speaker 1: just put it up today, but I can tell I
Speaker 1: always do screenings after I do a movie, and I
Speaker 1: can tell from the screening if it's going to be
Speaker 1: a hit or not. And I knew you have X
Speaker 1: is going to be a hit because of the screening here,
Speaker 1: and I got the reaction I was looking for, and
Speaker 1: this one got a reaction I've never gotten from any
Speaker 1: film I've been involved in. I never I never thought
Speaker 1: that people were gonna say they were affected viscerally by
Speaker 1: a movie. Right I've been affected viscerally by films, and
Speaker 1: it's not always a pleasant feeling. But man, you never
Speaker 1: forget that film, the one that tore your guts out,
Speaker 1: And I think that's the fact that it's going to happen.
Speaker 1: I think what I really like is for people to
Speaker 1: get the film and to show it to your normy friends,
Speaker 1: because that's really the goal of the film is to
Speaker 1: convert Normies's that's the goal. Let a Normy come in
Speaker 1: all they're a big Shining fan. Yeah, I love the Shining, dude,
Speaker 1: and then they watch our film and we have another
Speaker 1: conversion from the normies over to our side. And I
Speaker 1: think that's really what's gonna happen. I really do.
Speaker 2: I think so too, because there's a lot of uncomfortable
Speaker 2: things that are talked about within the movie that really
Speaker 2: make you question Hollywood, the music industry, the film industry,
Speaker 2: the counterculture, the sixties, like Charles Manson, like all these
Speaker 2: different things that are all wrapped up into this documentary.
Speaker 1: And I think that.
Speaker 2: From the first three or four interviews that we shot
Speaker 2: for this documentary, before we even did our parts of
Speaker 2: the documentary, I knew that it was going to be
Speaker 2: something really special, Like I felt it in my bones.
Speaker 2: And that was exactly my reaction to it as well,
Speaker 2: because I was like, this is going to be It's
Speaker 2: not only a film about the Shining and Stanley, but
Speaker 2: it's also an it's an exposing film. It exposes a
Speaker 2: lot of different things. And one of those things that
Speaker 2: we folks heavily focus on is the music industry of
Speaker 2: the sixties, and once you realize really what's going on there,
Speaker 2: they're going to be like, holy crap. What Because that's
Speaker 2: how I felt as well. I was like I had
Speaker 2: that realization as I was making the movie. I was like,
Speaker 2: this is why people can try the hardest that they
Speaker 2: can ever try and never get anywhere with anything.
Speaker 1: I can't tell you how many times in my life
Speaker 1: I was Okay, I could tell my story because I
Speaker 1: got lucky when I went to Hollywood, all right, but
Speaker 1: luck ran out after just three years. But for three
Speaker 1: years I was lucky. I got actually got work and everything.
Speaker 1: But I was willing to work hard. But I can
Speaker 1: tell you I know people who some aren't even around anymore,
Speaker 1: who were the best musicians I've ever known in my life.
Speaker 1: I mean absolutely stunning songwriting skills, studying musicians, study piano playing,
Speaker 1: guitar playing.
Speaker 4: And.
Speaker 1: Got to their fifties and never made it and could
Speaker 1: not understand why they never made it. Well, you watch
Speaker 1: our film, you'll find it out. Why all these people
Speaker 1: that try to make it never make it because they
Speaker 1: don't have the connections. It's all about it.
Speaker 2: They don't have the backing, they don't know the people
Speaker 2: that knows the people, And dare I say they're not
Speaker 2: a part of a specific family of that has connections.
Speaker 1: Yeah, it's kind of like a cadre of families where
Speaker 1: they kind of they've been around and ruling our country
Speaker 1: for a long time and they and these are their chill,
Speaker 1: you might say. And and the actors too, So forget
Speaker 1: Jack Dickolson is the number one actor of the Laurel
Speaker 1: Canyon film scene of the nineteen sixties. We start an
Speaker 1: easy rider and Psycho not Psycho psyched out and the
Speaker 1: Monkeys film had the monkeys lived in Laurel Canyon. People
Speaker 1: don't know that either. The monkeys were completely made up bad. Yeah,
Speaker 1: they were completely accepted in Laurel Canyon as peers, proving
Speaker 1: that there was more in the Laurel Canyon scene than
Speaker 1: we've been led to believe.
Speaker 2: That's right, And we actually went out to Laurel Canyon
Speaker 2: and checked all that out. That was a really interesting,
Speaker 2: right it was. It turned it's not a nice area
Speaker 2: up there anymore. It's really strange.
Speaker 1: Like it's strange. I lived in Laurel Canyon in the
Speaker 1: eighties and it was like really nice upscale. All the movie,
Speaker 1: the industry lived there. They all had good jobs and everything.
Speaker 1: And then we went through there last April, I guess,
Speaker 1: and I'm CD LA was CD. I was really surprised
Speaker 1: by California and how far had gone down, at least
Speaker 1: southern calf. I haven't been to the Bay Area or
Speaker 1: north but I was really surprised. But you know, I
Speaker 1: was talking to a person I know in the movie industry,
Speaker 1: still in the industry, and he says to that, you know,
Speaker 1: he gets his usual fifty emails a day from people
Speaker 1: who want jobs in Hollywood right looking for a job
Speaker 1: from him because he hires people and basically he has
Speaker 1: one email now he just copies and paste and sims
Speaker 1: it says, there's nothing here for you. Stay in your
Speaker 1: own hometown, make your films there. Don't come here because
Speaker 1: there's nothing here. So I think the film industry is dying.
Speaker 1: I really do. I think it's going to be little
Speaker 1: films with a lot of heart, like the Clockwork Shining,
Speaker 1: that are going to be what succeeds from here on out.
Speaker 1: And I think the big budget films are likely going
Speaker 1: to die off. For the most part.
Speaker 2: I agree with that it's going to be independent filmmaking
Speaker 2: I was actually listening to an interview interview with Kevin
Speaker 2: Smith the other day, and that's exactly what he was saying.
Speaker 2: He was like, it's all about independent filmmaking and right
Speaker 2: now is your shot. Right now is your time to shine, baby,
Speaker 2: And that's what we're doing. We're shining with the clockwork,
Speaker 2: shining baby. But Lookout Mountain within the film is also
Speaker 2: a really interesting aspect that we that we bring in
Speaker 2: because Lookout Mountain was a military base on top of
Speaker 2: Laurel Canyon and a This is where a lot of
Speaker 2: films were made, a lot of military films, and a
Speaker 2: lot of them are still classified to this very day.
Speaker 2: It had really well known actors that was associated with it.
Speaker 2: Old Reagan was associated with it, like Marilyn Monroe, all
Speaker 2: these people carry Grant like all these famous people were
Speaker 2: all associated with this military base on top of Lookow Mountain.
Speaker 1: That's right, And you know what we're gonna do. We're
Speaker 1: going to show this shine. We're going to show our trailer,
Speaker 1: our newest trailer, all right.
Speaker 4: Hallucinogenic drugs, hypnosis, electric shocks to the brain, some of
Speaker 4: the methods used in secret CIA mind control experiments.
Speaker 2: There are many theories as to what the shining is
Speaker 2: really about, from the faking of the moon landing to
Speaker 2: Native American genocide and the Holocaust.
Speaker 1: Now, if he did fake the Apollo moon landing, then
Speaker 1: he probably has really deep connections into the intelligence world.
Speaker 1: Why are there these gigantic continuity airs in this movie?
Speaker 3: The occulted meeting has to be comprehensible. It's just hidden,
Speaker 3: usually in a very systematic way, so that it could
Speaker 3: be understood by someone coming along later on, who knows
Speaker 3: what the real meaning is supposed to be.
Speaker 2: We believe that there's something even more sinister lurking beneath
Speaker 2: the surface of this masterful film.
Speaker 1: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
Speaker 5: You realize that there's no such thing as a coincidences
Speaker 5: like that.
Speaker 2: As Lookout Mountain studios ran by the Air Force.
Speaker 6: And told the story of nuclear weapons testing by the
Speaker 6: United States of.
Speaker 1: The Army Navan Air Force.
Speaker 7: The Air Force was known to be the most excited,
Speaker 7: the most turned on by mk ultran its prospects.
Speaker 5: Reportedly, there were more films might at Lookout Mounting than
Speaker 5: at all the other film studios in Hollywood.
Speaker 1: We really don't know if these famous film directors were
Speaker 1: being recruited for what project or whatever was it? The
Speaker 1: Moon Landing.
Speaker 2: The CIA's MK Ultra programs were admitted to the public
Speaker 2: in nineteen seventy, five, years before the release of The Shining.
Speaker 5: These experiments were done without the informed consent of the patients.
Speaker 4: Look at some UFO cases and the things that are
Speaker 4: reported tells me that MK Ultra is likely being applied.
Speaker 6: My mk ultra mind control experience, I was taken to
Speaker 6: various military, NASA and DARPA installations for sophisticated mind control programming.
Speaker 5: Woke Disney, Marilyn Monroe, James Stewart, Carrie Groan, Ronald Reagan.
Speaker 5: Nobody really knows what they were doing.
Speaker 7: Up there, as well as high ranking military and Department
Speaker 7: of Defense personnel.
Speaker 1: But people don't realize is that many of the people
Speaker 1: that worked with Kubrick also worked with Kennedy. This is
Speaker 1: actually the smoking gun that Kubrick was working with the government.
Speaker 5: These were all CIA sponsored experiments.
Speaker 2: I said, I'm not gonna hurt you, I'm just gonna bash.
Speaker 5: Your brains and putting little symbolic cryptic clues and Easter
Speaker 5: eggs pertaining to the fact that they're still doing it.
Speaker 2: These clues include a hidden swastika in the background of
Speaker 2: the old room.
Speaker 6: What was the set up? What it was being told?
Speaker 6: And realized that it was a lie all along.
Speaker 5: But right there in the narrative in the dialogue, they're
Speaker 5: telling you that this was a very real program coming
Speaker 5: out of those nice folks in the cio.
Speaker 7: Here's Johnny, there it is folks.
Speaker 1: That was awesome. Yeah, So that's the trailer for our
Speaker 1: new film. Writer, just put that out today. I'll be
Speaker 1: putting it up on Reality Check isolated from this show also,
Speaker 1: And I really really really tells you what the film's about.
Speaker 1: It really does. It's a very good explanation in a
Speaker 1: short two and a half three minutes of what the
Speaker 1: film's about. And the cutting style was the same kind
Speaker 1: of cutting style it's in the film because saying editor
Speaker 1: did it. So it's up on Amazon. Tell your friends
Speaker 1: and family to watch it, because I really do believe
Speaker 1: it's one of the best films of twenty twenty four.
Speaker 1: Not that there's much competition this year, but you know,
Speaker 1: not too much good sort of about out anymore, but
Speaker 1: this one is good worth blatching and ryery just did
Speaker 1: a really good job on it.
Speaker 2: Thank you. I really appreciate that I worked was super
Speaker 2: hard on it. So I really hope people go out
Speaker 2: and support it. I mean, this is the this is
Speaker 2: the direction that everything is going. It's it's you know,
Speaker 2: independent filmmakers and you know people just grinding away at
Speaker 2: it because like we mentioned earlier, Hollywood is dead. There's
Speaker 2: there's nothing in Hollywood. There's nothing that really any of
Speaker 2: these studios can do for you that you can't do
Speaker 2: on your own, to be honest, like everybody can just
Speaker 2: can do it now if you have you know, the
Speaker 2: dedication in the you know, the moxie to actually do
Speaker 2: it and put it together. And I think that no
Speaker 2: matter if you are a Shining fan or you're not
Speaker 2: a Shiny fan, or if you've never even seen The
Speaker 2: Shining before, it won't really matter because there's so many
Speaker 2: other things in this movie that you will like that
Speaker 2: you do know about already and that you don't know
Speaker 2: it in the way that we're really presenting it. And
Speaker 2: that's something that really got me as well, because you
Speaker 2: were actually the one that talked about noticed that Wendy
Speaker 2: was reading Catcher in the Riot. I didn't even notice
Speaker 2: that I just noticed the other things, you know, throughout
Speaker 2: the movie that made sense in my theory in what
Speaker 2: I was trying to you know, put together and you know,
Speaker 2: realize and put out there. But that just the fact
Speaker 2: that that book is in the movie changes the whole game,
Speaker 2: like it really brings it all together, because what that
Speaker 2: book represents is a lot of people believe that it's
Speaker 2: like a Manchurian candidate style mk ultra trigger for assassinations.
Speaker 2: And what does Jenn do through the movie. He's trying
Speaker 2: to kill people in the movie.
Speaker 1: Yeah, and people don't realize. And we pointed out in
Speaker 1: the movie that two of the most famous assassination attempts
Speaker 1: of the early eighties was the assassinate successful assassination of
Speaker 1: John Lennon by Mark David Chapman and the unsuccessful assassination
Speaker 1: just a few months later of Ronald Reagan by John
Speaker 1: Hinckley and both Mark David Chapman. As soon as he
Speaker 1: shot Lennon, he sat the gun down, and he pulled
Speaker 1: out a catching the rye and sat down on a
Speaker 1: little stone wall waiting for the cops to come. He said,
Speaker 1: I'm waiting for the cops to come, right and Hankley
Speaker 1: had it on him too. And what's important, what we
Speaker 1: point out the film is that both of those assassinations
Speaker 1: and assassination attempts happened within one year of the release
Speaker 1: of The Shining, which features Shelley Duval reading a Catcher
Speaker 1: in the Rye at the beginning of the film. And
Speaker 1: we show with the great Joe Atwell that there is
Speaker 1: a lot more to The Catcher in the Rye than
Speaker 1: we've been led to believe. It's not just a movie
Speaker 1: about a disaffected teenager. It's a movie about a secret society.
Speaker 1: Our book about secret societies, and and and we go
Speaker 1: through the whole thing in the movie. It's really really interesting.
Speaker 1: Here's my cat sona so much he's bothered. I don't
Speaker 1: know what to do about him.
Speaker 2: He's gotten so big, Holy crowd. They grew really quick.
Speaker 1: Yeah, they're gonna be huge cats.
Speaker 2: Well, they were just a little, tiny, little tiny kittens.
Speaker 1: All right, right, Ert listen, I really appreciate all your help,
Speaker 1: and I'm you know, we were told that it was
Speaker 1: going to take three months by various people who have
Speaker 1: films up on Amazon, that you have to wait three
Speaker 1: months for the time they accept the film to where
Speaker 1: they uploaded and ours went three weeks. So I think
Speaker 1: that's a testimony to Amazon what they think of us
Speaker 1: and the prospects of making them a whole bunch of money.
Speaker 2: And the testament how you know, good the film is
Speaker 2: as well, and they think that it's that it needs
Speaker 2: to be pushed out there quickly, and also to the
Speaker 2: help from the people that you know that we've been
Speaker 2: telling to continuously put it in and search for it
Speaker 2: as well, because you know how everything is about algorithms now,
Speaker 2: and you got to be got to do it at
Speaker 2: the right time and the post it at the right
Speaker 2: time and all that to get triggered in the algorithm.
Speaker 2: So I thank you everyone that has been searching for
Speaker 2: the movie, you know, waiting for it to come out.
Speaker 2: We've also been patiently waiting. We thought that it was
Speaker 2: going to take a lot longer than you know what
Speaker 2: it has taken, and I wanted it to be out
Speaker 2: before the election, Jay, and it came out a day
Speaker 2: before the election.
Speaker 1: Yeah, I think that might have had some reason why
Speaker 1: they did it so quickly.
Speaker 2: I think so too, And I think that it really
Speaker 2: explains a lot of things that are going on politically
Speaker 2: and you know, how we've all been fooled in a
Speaker 2: way by the intelligence community and you know, by the military,
Speaker 2: And that's going to be a really big revelation for
Speaker 2: a lot of people. And I think a lot of
Speaker 2: people already know that, but it's I think it's the
Speaker 2: way that we explain it and the way that we
Speaker 2: put everything together that's really going to hit home with people,
Speaker 2: because obviously it's going to be a lot of people
Speaker 2: listening to this and from this community, and they you know,
Speaker 2: a lot of people like to talk about all it's yeah,
Speaker 2: it's definitely MK ultra, that's MK. But they don't really
Speaker 2: know anything about it. They haven't looked into it or
Speaker 2: really searched into it. And I'm not seeing that people
Speaker 2: don't do that. They there are a lot of really
Speaker 2: good researchers and people that have read the documents and
Speaker 2: gone through everything and realize what's going on, but it's
Speaker 2: just been expanded to they tried to figure it out
Speaker 2: on an individual level. Once they figured it out on
Speaker 2: an individual level, they were like, Okay, well, let's just
Speaker 2: do this to everybody all at once, all at the
Speaker 2: same time, and what does that look like. It looks
Speaker 2: like what's.
Speaker 1: Happening right now the modern world.
Speaker 2: Yeah, and the Yuri Besmanov stuff that I that I
Speaker 2: put in there as well, Like that's that's a that's
Speaker 2: a kick in the ass too, because you listen to
Speaker 2: that whole Just that section that I put in there
Speaker 2: really tells you everything that you need to know about
Speaker 2: our culture and the way that our we've been ideologically
Speaker 2: subverted and how things have been put there on purpose
Speaker 2: in order for us to believe in and to distrust
Speaker 2: your neighbors, distrust your friends, distrust your family, you know.
Speaker 1: And uh everything. Yeah, And former director of the CIA,
Speaker 1: the late asshole Bill Casey, once said, we will know
Speaker 1: that we are successful when everything that everybody believes is bullshit.
Speaker 1: And that really is the whole point of the MK
Speaker 1: ultra operation is to make you not trust your own
Speaker 1: view of reality. And so I kind of look at
Speaker 1: a clockwork shining as you know, you guys used heavy
Speaker 1: duty propaganda on us for seventy years now, and this
Speaker 1: is us shooting back. This is us taking your propaganda
Speaker 1: and the methods of propaganda and pushing it right back
Speaker 1: in your face. And I think we did an excellent
Speaker 1: job with it.
Speaker 2: Yeah, once you realize that the entire counterculture movement was
Speaker 2: set up by the CIA, and then the also squashed
Speaker 2: it with the CIA, Like it's like, what's going on here?
Speaker 2: You got the whole Manson Tape murders, which was basically
Speaker 2: put there to squash the thing that they created.
Speaker 1: Yep, all right, everybody go watch it. It's on Amazon.
Speaker 1: I'll put a link below and right in and tell
Speaker 1: us what you think of the film. We'd like to
Speaker 1: hear what you think. And writer, he did a good job.
Speaker 1: And we're gonna be working on another project here soon.
Speaker 1: In fact, going to shoot it some of the new
Speaker 1: project here in about a week and so we have
Speaker 1: more product coming out. So hang on, folks, just gonna
Speaker 1: get more and more interesting. Thanks for watching, everybody, See
Speaker 1: you a writer, see you. Thank you.