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00:02:25.960 The Shining, set up a lot of synchronicities that he may or may not have intended.

00:02:31.060 So Rodney, how about you fill us in a little bit about yourself and your background?

00:02:35.340 Well, you know, I've been, you know, a filmmaker and a teacher, you know, for 15 plus years.

00:02:44.100 Room 237 is my first feature film and it kind of picks up a thread that I started, you know,

00:02:50.380 maybe a year or two before with a short film, another sort of experimental documentary that

00:02:55.120 probed people's childhood phobias of the Screen Gems logo.

00:02:59.340 And in both cases, you know, there's sort of the stories about the way that, you know,

00:03:04.060 mass culture has a way of getting underneath of our skins, you know, and drawing us into,

00:03:11.940 you know, these sort of these puzzles.

00:03:15.440 You know, one thing I was fascinated by, you know, talking to the people I did in Room 237,

00:03:21.020 you know, folks who spent a lot of time thinking about The Shining is that they had

00:03:25.100 sort of a two-way relationship with it, you know, that their personal experience, you

00:03:30.160 know, kind of colored the lens that they looked at the film through, but thinking about the

00:03:37.700 film in some ways affected their lives too.

00:03:43.220 So where are you coming from when you, when you approach the subject of symbolism or synchronicity?

00:03:47.860 Well, synchronicity and certainly the way Andras understands it wasn't something that was at

00:03:56.260 all on my radar, you know, when I began the film, you know, the project started when a

00:04:02.500 friend of mine, Tim Kirk, went on to produce the film, discovered one of these deep, for

00:04:08.380 me, mind-blowing, you know, kind of symbolic analyses of The Shining.

00:04:12.460 And I've been a lifelong Kubrick fan, and something about that movie and the unnerving way, effect

00:04:22.780 that it has on you, and that sort of, I don't know, kind of creepy deja vu, this eerie familiarity

00:04:30.360 of all the scenes.

00:04:31.400 I was, I was ready to believe, you know, that there was some strange sort of magic baked

00:04:37.680 into its DNA.

00:04:39.300 So when people started, when it came to my attention, the way that people were exploring

00:04:45.740 it and trying to solve it, you know, I wasn't, I lost interest in most everything else.

00:04:51.140 The two of us spent, you know, years talking and thinking about nothing other than The Shining

00:04:56.740 and what it might really mean.

00:04:59.500 Well, you did a super job on the film.

00:05:02.040 It definitely, it left me with the creeps, and I ended up having a nightmare last night

00:05:07.420 too.

00:05:08.400 Well, how did it go?

00:05:09.720 It was very bizarre.

00:05:11.120 Of course, it was a big old haunted house, and there were these rooms I didn't want to

00:05:15.020 go into, much like The Lodge.

00:05:17.940 Yeah.

00:05:18.160 Wow, that's really powerful.

00:05:20.320 A lot of people have seemed to have had, you know, dreams about, if not Room 237 and The

00:05:24.800 Shining.

00:05:25.320 You know, John Phil Ryan, you know, one of our interviewees, one of our experts, you know,

00:05:29.380 talked about dreaming of that place.

00:05:31.600 And, you know, I know I could imagine myself falling down a flight of stairs or eating some

00:05:35.660 bad mushrooms and waking up, you know, inside of the Overlook Hotel.

00:05:39.600 It feels like such a real place in one that, you know, is sort of eerily familiar.

00:05:46.100 And, you know, I'm sorry if, you know, it stressed you out a little bit, but I'm thrilled to hear

00:05:53.700 that it worked as kind of a horror movie since, you know, The Shining is a horror movie I wanted

00:05:57.960 in as much as I could for Room 237, you know, to kind of mirror some of its qualities, some

00:06:04.180 of its horror, some of its comedy, some of its puzzles and enigmas.

00:06:08.960 It's, you know, if we could reflect the form or some of the feeling of The Shining as best

00:06:13.200 we could, you know, that was sort of one of our most ambitious goals.

00:06:18.460 Yeah.

00:06:18.640 Another funny note, my parents actually honeymooned in the Timberline Lodge in Oregon where the

00:06:23.840 exterior shots were filmed.

00:06:25.240 Yeah.

00:06:25.620 Yeah, that's great.

00:06:27.180 And one of our interviewees, his mother used to work at the Stanley Hotel, which was, you

00:06:31.880 know, the original hotel that Stephen King stayed in that inspired the book.

00:06:34.820 Oh, wow.

00:06:36.020 Interesting.

00:06:37.180 So speaking to you both, what subtextual messages jump out at you in the movie The Shining?

00:06:42.780 Well, it's interesting.

00:06:43.920 I think what Room 237 does really, really well is explores this incredible paradox that Stanley

00:06:54.700 Kubrick offers to us.

00:06:56.440 Something that in the realm of sync film, what we look for is we find synchronicity in films

00:07:01.800 where it's really clear that author's intent is not in play.

00:07:06.420 But with Stanley Kubrick, and this is something that Room 237 does excellently, Stanley Kubrick

00:07:11.220 was probably the most meticulous and successful and controlling director.

00:07:19.020 So in a sense, there's this interesting paradox where he is so in control of his medium and

00:07:26.460 so in control of everything that's in his shot, it's hard to, there really is a question when

00:07:32.960 synchronicities arise in his films of whether or not they're intentional or whether or not

00:07:38.760 they're intentional.

00:07:39.600 Sure.

00:07:39.820 So I think to me, I think that's why it's such a great sync film because it's not trying

00:07:46.360 to point out synchronicities, I don't believe.

00:07:48.360 I think that it's in a very intelligent way exploring this film and trying to get at the

00:07:54.880 nut of how much is Kubrick's intention, how much is the projection of the audience onto

00:08:02.760 this, one might say, a pretty close to perfect work of art, and how much of it is just, is

00:08:11.400 pure, is really just pure speculation.

00:08:15.500 So, and, you know, and then how much of it might just be the magic of film?

00:08:19.460 Because films, I do, you know, and this is where we come from in the sync film community,

00:08:23.000 that there is some ritualistic magic that gets created when a lot of people pay attention

00:08:28.940 to one image, and when that image is moving and those are real people, and in this weird

00:08:33.380 way it's capturing time, it opens up all these interesting possibilities that Stanley Kubrick

00:08:39.340 may or may not have been exploring subtextually in the film The Shining.

00:08:44.600 I jump in first because I know that there's nothing I could say or think about this film

00:08:49.780 that Rodney probably hasn't already said or thought, so you can take the rest.

00:08:53.600 I took the low-hanging fruit, Rodney.

00:08:55.380 No, that's great.

00:08:55.960 What about you?

00:08:56.120 Well, I mean, one thing, you know, what you're saying, you know, makes me think about it,

00:09:02.380 you know, I didn't come across sync film until 237 was sort of in its very late stages, but

00:09:10.280 a revelation to me, you know, a lot of people have asked me questions about, you know, how

00:09:15.820 important is it, you know, the figure of Stanley Kubrick, you know, this meticulous, reclusive

00:09:21.080 genius as a behind-the-scenes character, you know, for The Shining.

00:09:25.400 Would this whole thing have, would this project not be possible with a director who has less

00:09:30.600 of a mystique?

00:09:31.320 And I used to think it would not be possible with anybody else that you needed, you know,

00:09:38.460 a figure that, you know, inspires, you know, the kind of following and the kind of study

00:09:43.760 of Stanley Kubrick to justify looking at all the little details of the film, you know, symbolically

00:09:49.020 in this way.

00:09:49.940 But it's a very different, it becomes a very different situation when, you know, sync filmmakers,

00:09:59.240 you know, are looking at such a wide variety, you know, of popular culture, you know, much

00:10:04.980 of which has not been made, you know, by a guru-like figure like Stanley Kubrick.

00:10:11.140 Now, people have said a lot of things about him because of some occult symbolism that comes

00:10:15.160 up or maybe some Masonic symbolism.

00:10:17.440 Do you guys know what he was really involved in, if any of those things?

00:10:23.360 Well, I mean, he was a pretty private person, you know, so I wouldn't be surprised that,

00:10:31.660 you know, hard evidence of his involvement in that kind of stuff is difficult to find.

00:10:37.560 And he strikes me as one of the most scholarly filmmakers.

00:10:45.080 His, everything I've read about him says his research was, and this is explored in room

00:10:50.520 237, his research was just meticulous beyond meticulous.

00:10:55.500 And he's a person who was very visually oriented.

00:10:59.700 And so when you start, when you're a visually oriented person who is, you know, a deep scholar,

00:11:07.200 you're going to come across, you know, sacred geometry pretty quick, and you're going to

00:11:13.200 explore that.

00:11:14.340 And whether or not he was, you know, just as a viewer, it seems like whether or not he was

00:11:22.160 a, quote, practitioner or an initiate, he clearly was someone who enjoyed playing with occult

00:11:32.100 symbolism.

00:11:33.300 And, you know, as do many of us.

00:11:37.280 His films are consistently about one thing, man, where man is, where man's going.

00:11:43.360 Yeah, well, and a lot of people, you know, have looked at The Shining as sort of the flip

00:11:46.940 side of 2001 A Space Odyssey.

00:11:49.140 If one is the evolution of mankind to a higher level, the other is a descent into savagery,

00:11:54.540 which, you know, in some part inspired John Phil Ryan's amazing experiment of, you know,

00:12:01.480 projecting The Shining simultaneously backwards and forwards.

00:12:05.180 Just to me, a very great example of that, of sync, of where this film merges, of where

00:12:12.180 Room 237 merges with sync film.

00:12:14.680 Because an experiment like running The Shining backwards and forwards is pure sort of sync

00:12:20.940 genius.

00:12:21.580 It's like repurposing this thing and just by running them, by doing something very simple,

00:12:28.820 changing the context slightly in that way and brilliantly, something entirely new is

00:12:33.220 revealed about the genius of the film that really does probably transcend the author's

00:12:38.800 intention in a way that I would think that Kubrick would have to get a huge kick out of.

00:12:45.200 Anyway, you were going to ask a question.

00:12:47.120 Well, I was going to ask about the number 237 for Rodney.

00:12:51.040 I mean, is this a synchronistic number for you?

00:12:53.740 Do you have any personal connection with it?

00:12:55.140 And we see it come up in Stephen King's stories.

00:12:57.960 Was it Shawshank Redemption?

00:12:59.780 The Shining, obviously.

00:13:00.900 Stand By Me.

00:13:01.980 Do you have any connections with the number?

00:13:04.400 Only a handful of small ones.

00:13:06.420 You know, there was, you know, an important, I was, you know, on the phone discussing some

00:13:12.620 film business and, you know, there was a point about a year ago when that was, you know, almost

00:13:18.080 the only thing that I was, that I'd ever be talking about, you know, and I would come

00:13:21.260 up to a friend, a neighbor's house, which was numbered 237.

00:13:24.820 There was an interview that we had that I was doing and it was interesting because we were

00:13:30.120 talking about synchronicity and the weird synchronicities that occurred, you know, within

00:13:35.280 room 237, things like one of our first screenings at Sundance was in a theater on a road named

00:13:44.020 Sidewinder, which is the same road that leads to the Overlook Hotel, you know, and it was

00:13:48.380 in the middle of a blizzard.

00:13:50.040 And, you know, when our film, you know, had our theatrical premiere, the movie 42, you

00:13:54.560 know, was also opening and billboards all over town said 42 and 42 is a number that people

00:14:00.040 talk about a lot in the course of, of, of room 237.

00:14:04.780 So having one of those kinds of conversations, you know, I looked up at the clock radio and

00:14:09.540 it was 237.

00:14:12.240 But beyond that, you know, there was maybe a secret prequel to room 237, which was years

00:14:21.500 ago, I had done a project.

00:14:24.440 I was getting kind of aggravated by, you know, some of those slideshows that they used to do 0.97

00:14:29.940 the multiplex before the movies came, you know, those idiotic trivia questions and advertisements. 0.73

00:14:36.460 So I made this mean spirited parody of it, you know, that would both be, you know, sort 0.89

00:14:40.420 of shocking stills from horror movies or impossible puzzles or, you know, or, you know, unscramble

00:14:51.360 phrases that, you know, were, were kind of horrible phrases when you figure them out.

00:14:56.260 And one of them was, you know, a dissertation on the number 237 from, there was a book, Kubrick

00:15:03.060 inside a filmmaker's maze by Thomas Allen Nelson.

00:15:05.720 And he has about a half a page of footnotes talking about the number 237 and parsing, parsing

00:15:12.680 the possible meanings of it.

00:15:14.100 And so I made a little slide that had like the blood coming out of the elevators, but

00:15:18.480 like a FYI and a little, in like a little, you know, college graduate cap kind of tipped

00:15:24.840 on the side and, you know, just like three paragraphs of 10 point type, you know, kind

00:15:29.040 of the absolute opposite kind of, you know, trivia lesson that you would ever see.

00:15:34.700 Well, I mean, because at that point, the idea that people would go into a normal movie theater

00:15:40.000 and, and spend time thinking about the numerology of The Shining, you know, seemed patently absurd.

00:15:48.300 Well, isn't that the way art works?

00:15:52.120 It starts out as an absurd inside joke.

00:15:54.500 And then the next thing you know, it's dominating your life.

00:15:59.300 Go figure.

00:15:59.800 So what did you both think of Jay Widener's film Kubrick's Odyssey on Kubrick and Apollo?

00:16:06.340 Do you think Kubrick had anything to do with the staging, the moon landing?

00:16:12.380 I'll defer to you, Rodney.

00:16:14.260 Well, actually, I haven't seen it.

00:16:17.900 Jay Widener's essay on that topic, you know, was certainly something very important when we

00:16:23.680 were researching 237.

00:16:25.100 And I had a long conversation for the film, you know, where Jay talks about it.

00:16:29.160 But he finished the film, you know, while we were in the middle of editing 237.

00:16:34.140 And I decided not to watch it because I didn't want it, you know, to unduly, I knew we'd be

00:16:39.320 covering some of the same material and I didn't want to be, you know, kind of unduly influenced.

00:16:43.820 My partner, Tim, watched it, you know, just to make sure that nothing I did, you know, would

00:16:48.920 repeat it in a way that, I don't know, we didn't, that, that we didn't want.

00:16:53.060 Certainly, I'm very familiar with, you know, Jay's ideas, you know, about Kubrick's involvement

00:16:59.100 in the moon landing.

00:17:00.020 And, you know, one of the things I always go back to is he was, Kubrick was first rumored

00:17:06.700 to have been involved with it, you know, in the early 70s, you know, well before The Shining

00:17:11.880 was made.

00:17:12.400 I don't think anyone pegged The Shining as his confession before Jay, but people had

00:17:17.500 talked about possible involvement and knowing Kubrick's, you know, reputation for research

00:17:22.880 and archiving.

00:17:24.300 And that he also had sort of an interest in conspiracy theory, according to an interview

00:17:28.580 with, you know, one of his daughters.

00:17:31.120 You know, I have to believe he was very aware of it.

00:17:34.240 And that being the case, you know, when he framed that close-up of the Apollo rocket on

00:17:38.840 Danny's sweater, he had to have known that that was a very loaded image that he was playing

00:17:44.740 with.

00:17:46.980 You know, so I can't see that as purely accidental.

00:17:50.580 Well, one speaker in the film said, Kubrick plays on ignorance of your visual information.

00:17:56.160 He leaves clues in the corner, but people miss them.

00:17:59.180 So do you think that there's other films or a lot of movies that are using this tactic

00:18:03.280 or that it just synchronistically happens on its own?

00:18:05.760 Well, you know, I just read an interview with Paul Schrader, you know, and he did that

00:18:10.720 new movie with Brady Snellis and Lindsay Lohan, The Canyons.

00:18:16.720 And he talks about ending a scene in a psychiatrist's office by panning over to a painting of, oh, I

00:18:26.400 forget his name.

00:18:27.240 He's like a absurdly well-known poet.

00:18:33.240 But in any case, it was only his face.

00:18:35.700 There's no caption, you know, labeling his name.

00:18:38.760 And most people wouldn't recognize him by the face.

00:18:42.380 But he's still sort of subliminally trying to cast, you know, an aura over the film by

00:18:49.040 making that visual connection.

00:18:51.700 You know, so as recently as The Canyons, you know, which, you know, just came out a couple

00:18:56.960 of months ago, people are putting little things in the frame to help color the way, you know,

00:19:04.300 you read a scene.

00:19:05.580 Well, and I mean, it seems that film is, I mean, I think in that way, film is the most

00:19:11.120 intentional medium.

00:19:13.020 Not to say that there's not a lot of accidental stuff that sneaks through and a lot of laziness

00:19:19.680 that has things just going on their own inertia.

00:19:22.980 But what's in the frame is definitely in the frame for a reason in most cases.

00:19:30.680 You know, there's a reason that the bookshelf is where it is and that the books and someone

00:19:34.160 picks out the books that are on that bookshelf.

00:19:36.240 Unless you're, you know, you're filming in somebody's house and then that's a different

00:19:39.720 kind of specificity.

00:19:42.420 But that's, I think, the thing that's really interesting about Kubrick is that he's an artist

00:19:48.300 who, because he was very successful, because he was able to be a successful marketer and

00:19:53.840 businessman as well, and that he had a great eye, he was able to be one of the most intentional

00:20:00.720 filmmakers in the most, one of the most intentional mediums.

00:20:05.800 I think every filmmaker tries to sneak in something in the, you know, somewhere into the backgrounds

00:20:14.060 of their films or into their scripts or into the, you know, secretly in their casting.

00:20:20.020 You know, and again, unless they're incredibly lazy, and there are certainly examples of that.

00:20:24.660 And I think, you know, we haven't really talked about it, but the sync film stuff that, like

00:20:30.480 the films that Will Morgan's been doing, exploring the very, you know, I worked as an

00:20:35.680 actor, I've mostly been in very bad films by people who were pretty, made by people who

00:20:40.020 were either lazy or under the gun, because finances didn't allow for the same kind of

00:20:45.400 intentionality of a Kubrick.

00:20:47.540 And I think there's something really, you know, that's the other side of this sync conversation

00:20:51.840 that, you know, even if it's not intentional, the camera captures everything.

00:20:56.840 And so sometimes the, the laziness of filmmakers or the, you know, the under the gunness of

00:21:03.840 filmmakers allows for these other strange magical things to creep through.

00:21:08.840 And then today you also have a lot of political, psychological warfare going on TV.

00:21:13.760 It's a, it's an onslaught, you know, there's the hammer and the sickle and there it is folks,

00:21:18.020 you know?

00:21:18.360 Well, yeah, there's also the, there's also very clearly, there are some things that are

00:21:22.720 big budget enough, uh, that, that the quite, that there, they really are more of a, they

00:21:29.820 can be, it's easy to see where the propaganda aspect comes in.

00:21:33.600 Um, I don't want to take us too far away from room two, three, seven, but recently someone

00:21:39.260 was, I was just having a conversation with someone about, um, zero dark 30 and a film like

00:21:45.200 that, like, is it a film or is that, is that just pure propaganda?

00:21:51.060 Yeah, exactly.

00:21:52.160 You know, cause I like, you were talking about how we all, we both like the director, Catherine

00:21:55.880 Bigelow.

00:21:57.080 Um, but is that a Catherine Bigelow film or, you know, at that point when you're making

00:22:00.440 that movie zero dark 30, are you, do you get to make your own movie?

00:22:05.440 You know, that, and, and I, you know, in some ways maybe that's, that's a more interesting

00:22:10.900 and a more current conversation about like the manipulation of film and images.

00:22:14.380 Is, you know, from a conspiracy standpoint, then whether or not Kubrick was involved

00:22:19.140 with the, with faking the moon landing, although that's still an interesting conversation.

00:22:25.920 Um, it's sort of like Kubrick was the first, if he was that, then he was the first of many

00:22:32.520 to get tapped in that way.

00:22:34.320 Well, Andrus, if we move on to you, I watched the two videos Will Morgan created exploring

00:22:38.780 the sinks in your film career.

00:22:40.420 You've been in 14 movies, according to IMDb, is that right?

00:22:44.520 14 and counting.

00:22:45.620 14 and counting.

00:22:47.060 Now, why is there a gap from, in your career from 2001 to 2011?

00:22:51.360 What was going on then?

00:22:53.160 Um, I, uh, I guess I, you know, I guess I hit a wall.

00:22:57.760 I just personally, I, uh, that was right before, uh, some things happened in my life personally.

00:23:04.620 And I, uh, I was like mid thirties, early mid thirties.

00:23:08.980 And I'd been touring as a musician for a decade and making films.

00:23:13.340 And, um, and I just, I ran out of steam, uh, sometime in 2002, 2003, started working more

00:23:24.420 promoting other artists and then got very involved in Radio 8 Ball.

00:23:28.280 It's funny what Rodney was saying about how, like, this room 237 started out as this sort

00:23:34.880 of absurd joke that sort of, that was part of another project.

00:23:39.700 Radio 8 Ball was sort of my late night escape from being the leader of a, of a band and acting

00:23:48.220 and being on output about Andros Jones, Andros Jones, Andros Jones.

00:23:53.080 Um, and so Radio 8 Ball would became, but when I ran out of steam on those things, Radio

00:23:59.080 8 Ball became a really great and fulfilling project.

00:24:02.520 Uh, we've talked about it on the show before.

00:24:04.320 It's the, the musical divination show where we answer questions by picking songs at random

00:24:09.060 and interpreting them like musical tarot cards.

00:24:11.660 And that's a lot, in a lot of ways, what led me to the sync community.

00:24:14.920 Um, and in a way, the interesting thing is that my interaction with the sync community

00:24:20.180 has really sort of drawn me back into the realm of being a creative artist rather than

00:24:25.580 just, um, a promoter of other artists.

00:24:29.320 Um, and it's been super fun.

00:24:31.580 Um, so.

00:24:33.320 Now, these videos that Will Morgan created, I know it's just better if someone goes and

00:24:37.000 watches them, which we'll link them up so people can see.

00:24:39.140 But the first video explores your syncs was titled The Sacred Kind.

00:24:43.500 So, get into that a little bit.

00:24:45.920 It's about, you get into redheads, a little bit of sexuality, and how it ties into your 0.99

00:24:50.220 sync.

00:24:50.460 So, tell us about it.

00:24:51.900 Well, it's just, uh, what Will did, and this is something that people do in the realm of

00:24:57.360 sync film a lot, is they'll follow an actor and look for certain archetypes that show up

00:25:02.420 in their films.

00:25:03.820 And mostly what this has been focused on is big name, you know, real stars.

00:25:08.800 Uh, the Jim Carrey's of the world, the, uh, Uma Thurman's of the world.

00:25:13.760 Sometimes, you know, certain, uh, certain sync filmmakers like Jake Kotsa noticed interesting

00:25:21.580 syncs around the actress Robin Tunney, who's maybe not as big a star as some of those other

00:25:25.660 ones, but still someone who's been in a lot of major Hollywood films.

00:25:29.380 Um, then Will and I met and Will started finding interesting syncs in my films, and I'm well

00:25:39.780 below that bar in terms of my relationship with mainstream Hollywood.

00:25:44.400 Most of the films I've been in, uh, other than Nightmare on Elm Street, which was, you

00:25:49.200 know, very low on the big budget in the big budget world, although it made a lot of money.

00:25:53.760 There's still classics.

00:25:55.180 Yeah.

00:25:55.660 And it's a classic in its own way, but it's still at the time was considered ghetto.

00:25:59.780 And most of my work has been, as an actor has been in the Hollywood ghetto, which is

00:26:05.540 still, you know, it's, it's a nice, it's a nice neighborhood to be in, but it's not where

00:26:11.200 Stanley Kubrick or the great intentional filmmakers live.

00:26:15.460 It's, you know, a lot of exploitative films, um, that are using their imagery is more geared

00:26:22.400 to being salacious and titillating than, uh, you know, than revealing the nature of humanity.

00:26:32.180 Um, so, but Will started going through all of these films and finding sync threads like

00:26:40.600 these archetypes that were showing up that were kind of overwhelming.

00:26:44.820 And when he pointed them out to me, there were things that I wasn't aware of.

00:26:47.400 Um, and so he's made several films.

00:26:51.960 One is called the sacred kind in which he finds that there are constantly redheads around me 1.00

00:26:57.560 in these films.

00:26:58.560 Uh, and then he all in his next one, what's wrong with the mirror?

00:27:02.180 He finds mirrors and TV screens everywhere.

00:27:05.080 Um, sometimes verbally in puns.

00:27:07.960 I mean, it's interesting.

00:27:08.720 He's doing kind of what Rodney does with a great film like the shining and looking for

00:27:14.820 these strange connections that we have to wonder if Kubrick intended, except that he's looking

00:27:19.740 at films where there's clearly no linking.

00:27:22.560 Like it's not even like one director's work.

00:27:25.460 He's looking at one actor who's bouncing around from production to production based upon who's

00:27:30.820 going to cast him.

00:27:31.640 I'm there's, I'm not a producer on any of these projects.

00:27:34.660 I'm not in favor of it.

00:27:36.040 Most of these projects is works of art.

00:27:38.220 Um, although Will has done an amazing thing and that he, like, he made those films interesting

00:27:45.020 to me in a way they never were.

00:27:46.840 Um, go on.

00:27:49.640 No, I was just wondering what it was like for you after, after, you know, being watching

00:27:55.020 so many sync films, being confronted with one about yourself.

00:28:00.260 Um, it was, it's been really, because I love sync, it's really excellent.

00:28:10.200 I love it.

00:28:11.080 But, you know, I am a bit of a psychedelic war.

00:28:13.480 It's like, it's a very long and strange trip.

00:28:17.000 Like I described it to, to Will, it was like, it's sort of like having your brain operated

00:28:22.000 on while you're awake.

00:28:23.780 Um, and luckily Will and I have become really good friends and are working creatively on

00:28:30.600 we've, during this process, we've worked creating these sync films about other actors.

00:28:36.700 And so there's a part of me that is doing the operating.

00:28:42.680 Um, and you know, it's like a great, it is a great friendship.

00:28:46.780 You know, when you, when you have a friendship with someone and you are constantly stumbling

00:28:50.140 upon, Oh my God, you recognize this too?

00:28:52.340 I don't think anyone ever got that before, or maybe even, you know, to something that

00:28:56.660 I didn't even get before.

00:28:58.020 So it's been, uh, actually it's been really great.

00:29:00.540 It's, uh, strange.

00:29:02.760 Um, but I think that's the nature of film.

00:29:07.340 Um, when you start to really focus in on what's really going on with film, it gets very

00:29:15.500 strange and very psychedelic.

00:29:17.220 And especially if you're in it or you're part of the process, it gets even more so.

00:29:22.340 Now, what is your connection to redheads? 1.00

00:29:24.520 Do you have them in your life?

00:29:27.220 Well, it's interesting during the process of this, a, uh, a redhead did come into my life.

00:29:34.740 He will did predict this.

00:29:36.300 Um, and this will tie this all together in a nice way.

00:29:41.180 I, uh, had a very strange synchronicity with her around watching a TV.

00:29:48.420 So Will's thing about me is he's, he finds redheads, TVs and movie screens and mirrors.

00:29:53.700 And, uh, the, the, uh, the next film is about him finding about the magician, the role of

00:30:00.680 the magician and the magic book and Matt and show magic versus, you know, sort of showman

00:30:07.460 versus shaman kind of magic.

00:30:09.380 Um, but anyway, at any rate, so I'm with the redhead and we're watching, and I want to

00:30:15.780 show her eyes wide shut, uh, which is, you know, Kubrick's last film.

00:30:20.460 And I think one of the great, I think it's, yeah, I think it's great in every possible

00:30:25.120 way that a film can be great.

00:30:26.500 And, uh, so we're, we're watching it and I, you know, I get into films ritualistically

00:30:34.940 when people smoke pot in a movie, I like to smoke pot with them and especially in a movie

00:30:41.320 like that.

00:30:41.760 So when Tom Cruise and Nicole Kidman go to smoke their joint and have their conversation,

00:30:45.800 uh, that, that sets the whole film in motion in a big way, uh, I did.

00:30:51.500 And, and we started watching this and, uh, and when Nicole Kidman was sort of having her

00:30:57.700 sort of, she's having this wonderful, wonderfully rational, irrational argument with Tom Cruise's

00:31:05.320 rational, irrational defense systems, whatever is going on there that anyone who's ever been

00:31:09.960 in a relationship can recognize, um, is going that that's just engaging.

00:31:15.940 She gets up to go to the bathroom and I paused the film.

00:31:18.200 And when she came back, the pausing was misinterpreted and what ended up happening is all of a sudden

00:31:23.020 that scene emerged right there in like in the room.

00:31:27.400 And there I was in my, this is pretty much the same black underwear that Tom Cruise is

00:31:31.280 wearing in that film on the bed, finding myself in the same posture, her having the same art

00:31:36.500 argument.

00:31:36.900 And, uh, and it, it's, it is this, and I'm here and then there's a part of me in my head

00:31:42.360 and will name checks eyes wide shut in the film he made about me.

00:31:46.760 And so here I am like multiple, multiple, multiple levels deep in the psychedelic trip

00:31:54.240 of cinema as a participant, as a viewer, as someone who's feels caught up in the strange

00:32:02.660 ritual spell of that film.

00:32:05.500 Um, and so, you know, when you ask like what, what the experience is like, it's lots of experiences

00:32:13.860 like that.

00:32:14.960 That was pretty intense, but, uh, but yeah, the redheads, the redhead energy has come on 1.00

00:32:21.400 very strong.

00:32:22.140 It, there is a predictive power to sync film when it's done correctly, I guess.

00:32:29.640 Yeah.

00:32:30.120 Henrik and I have been noticing a lot of redheads in TV these days are the, the feisty journalist. 1.00

00:32:35.520 Have you noticed that?

00:32:38.320 Really?

00:32:39.020 Oh yeah.

00:32:40.120 Oh, well that's, well, who are some of the examples?

00:32:42.180 Well, and the latest one would be under the dome.

00:32:45.860 Yeah.

00:32:46.440 I know there's some other ones I'll have to comb through my little film.

00:32:49.280 Isn't the new, isn't the new Lois Lane a redhead? 1.00

00:32:52.120 Okay.

00:32:52.560 So there, I mean, I guess it might be, it, it could also be that, that, that is a theme

00:32:58.040 that is emerging.

00:33:00.460 I mean, the, the interesting thing about Will's films is that these are, you know, most, as

00:33:04.560 you say, most of them are from before 2000.

00:33:08.380 Actually, I think almost everything was shot pre 9-11.

00:33:14.300 Like it's all, which, you know, from the standpoint of sync film and Jake Coates' work is the opening

00:33:18.960 of the Stargate that, uh, at the very least, because Jake Coates says it does usher in the

00:33:26.940 realm of, you know, the world of sync film, uh, at least in this current incarnation.

00:33:31.900 I can't imagine that a lot of other people haven't also viewed sync film, viewed cinema

00:33:38.360 the same way.

00:33:39.700 Uh, Rodney, you're a bit more of a scholar than that, than, than I am in this regard.

00:33:44.100 Are you, do you, like when you see the stuff that we're working with in the realm of sync

00:33:49.620 film, is there a part of you that's like, ah, French impressionism, it's coming back or,

00:33:55.360 you know, well, a little bit though, I may be hard pressed to, um, you know, to, to come

00:34:04.040 up with a concrete example on the fly.

00:34:06.180 Um, you know, but I know, but I mean, I also associate, you know, sync film with sort of

00:34:10.760 a history of collage films, you know, and people making visual connections of recurring

00:34:15.020 iconic images, um, you know, to, to, to, to wildly different ends, you know, which goes

00:34:20.680 back to, well, at least before the sixties.

00:34:24.040 Um, and actually I was just struck, I'm reading a book called the dungeon master, which is

00:34:30.600 a, um, a true detective book about a detective written, this is written in the eighties, you

00:34:36.300 know, searching for a missing teenager.

00:34:39.020 And, you know, it's not exactly sync film, but at one point he's called by a psychic who

00:34:44.580 tells him that the answer to his mystery is in an episode of Starsky and Hutch.

00:34:51.040 And, uh, and I said, well, that's an important predecessor.

00:34:53.840 That might be an important predecessor.

00:34:57.260 That's it actually.

00:34:58.420 Well, you know, I, I, I, I had, uh, have you seen the movie chapter 27 about, uh, uh, Mark

00:35:06.800 David Chapman?

00:35:07.980 No, I haven't.

00:35:08.860 Um, he's the, wait, I'm again, he's the one who shot John Lennon, right?

00:35:14.300 Yeah.

00:35:14.860 Yeah.

00:35:15.680 Uh, it's, it's about, I mean, it's very scary in terms of, well, what it's about, but it's

00:35:22.200 about a guy who is doing sync with, uh, catcher in the rye and John Lennon.

00:35:30.100 And there's even a point in the film where he goes off on this, he's outside of the Dakota

00:35:34.600 and he goes off on getting on, like having his mind blown by the idea that Rosemary's

00:35:40.940 baby was shot in the Dakota.

00:35:44.480 And it's a movie by the director whose wife got killed by Charles Manson, which was inspired

00:35:49.620 by a Beatles song.

00:35:50.640 And he's going off on this thing that I've heard sink heads go off on many times.

00:35:55.140 And to watch this character sort of rattle that way, um, and, you know, obviously winding

00:36:02.900 himself up to kill John Lennon as the, you know, in, at least in the portrayal in the

00:36:08.040 film.

00:36:08.300 And, uh, Jared Leto is pretty incredible as the character.

00:36:11.560 It's a pretty amazing acting performance.

00:36:14.280 Um, but I mean, I, there's something about sync that is the madness that film and media

00:36:20.840 create, um, and it's sort of being able, uh, working with it.

00:36:26.240 I think the game is like being able to surf it and have, and have fun with it, but it

00:36:30.160 is a play.

00:36:30.660 It is, it can be a road to a kind of madness that, you know, we, we hope doesn't lead people 0.99

00:36:36.340 to do stupid things like kill one of the best songwriters, you know, songwriters ever. 0.86

00:36:42.700 But, uh, but there is something about the nature of film that eventually leads to this 0.99

00:36:47.540 kind of pleasant madness for most people, you know?

00:36:54.280 Yeah.

00:36:55.000 No, well, I, I guess, you know, thinking about Manson and the Beatles, you know, and

00:36:59.820 inspiring, you know, what it did, you know, that there could be a related danger to, you

00:37:05.220 know, if you've seen those videos, those YouTube videos where people, you know, talk about,

00:37:09.440 you know, sort of pop stars as being members of the Illuminati.

00:37:11.940 And, and we can feel a lot of tension, you know, and fear and even anger in some of those

00:37:18.380 videos, you know, which, um, you know, not that, you know, Beyonce or Nicki Minaj, you

00:37:23.700 know, needs me fretting over them, but, um, it makes, it does make me pause.

00:37:32.060 Well, I think the, the, that's one of the things that I love about the sort of what are

00:37:38.220 the best of sync film, you know, and say Jake Cotsay being a really great example, uh, that

00:37:44.500 there is a sense of, that our attention is part of the authorship of sync film.

00:37:52.520 Um, that, you know, these stars that they're, they are, we are projecting onto them.

00:37:58.960 They're stepping into this particular role.

00:38:01.600 And when you step into that particular light there, you're going to resonate with some

00:38:07.900 archetype.

00:38:08.680 And then someone who is an artist around you is going to fill the screen with things that

00:38:15.060 resonate with that archetype.

00:38:16.820 You know, and those, those, I'll just say this, those archetypes exist for a reason.

00:38:20.560 They're not, you don't need someone to sneak them in because they will emerge if you just

00:38:26.220 turn a camera on and allow them to emerge.

00:38:29.020 Do you think new ones will be emerging or are we stuck to the, the ones that are already

00:38:34.740 written?

00:38:36.480 I think there's something that's, there are some things that are universal.

00:38:40.300 We, you know, as long as we live in these bodies, we're going to be, you know, to some

00:38:44.280 degree binary, but then as I don't think we got it in the recording, but I said, I'm someone

00:38:49.480 who loves the gray, you know, like, uh, that you, any actor knows that you can play any

00:38:56.240 archetype and you run it through who you are, your specificness, and there's a new ring on

00:39:03.480 that archetype.

00:39:05.100 Um, and so, yeah, there, you know, there, I don't think any, there's not going to be a

00:39:10.900 new, any new cards in the deck, but there's going to be certainly new players playing those

00:39:16.660 cards and it'll be new and interesting every time.

00:39:19.100 Um, if that makes sense.

00:39:20.660 Yeah, sure.

00:39:22.300 Um, unless, you know, unless we're that exceptional, but I don't think we're that exceptional a

00:39:26.820 generation of artists that we're going to create a new archetype that far greater artists,

00:39:32.700 you know, never hit upon.

00:39:34.760 Yeah.

00:39:35.260 I mean, are there any new Stanley Kubrick's emerging?

00:39:38.080 I can't think of one.

00:39:39.500 Well, I mean, I think the thing about Stanley Kubrick is that, you know, he was firing on

00:39:44.320 every cylinder that his films are visually beautiful.

00:39:48.260 They're dramatically compelling.

00:39:50.140 They work as allegories.

00:39:53.380 Um, you know, it's, they, they work on level after level after level.

00:39:57.220 And it's, I can easily, you know, think of some filmmakers whose movies might be visually

00:40:01.940 come close, but dramatically they don't.

00:40:05.000 Or no, I don't know of anyone who brings the whole, that, that, that whole arsenal together

00:40:12.540 the way he did.

00:40:14.280 Yeah.

00:40:14.700 He had a, he had a depth.

00:40:16.080 It's the age old question.

00:40:17.440 Who are we?

00:40:18.040 Where do we come from?

00:40:18.900 Where are we going?

00:40:19.840 So that's going to be the most powerful theme of them all.

00:40:22.800 Yeah.

00:40:24.180 There's a few out there that I think that I'm, I don't know, like who, it's hard to

00:40:29.160 compare anyone, you know, anyone to a master while they're still working.

00:40:34.360 But I think P.T.

00:40:35.580 Anderson is doing, is, is keeping a, like, is honoring a certain level of quality and

00:40:44.260 intention that, uh, that Kubrick would appreciate.

00:40:47.740 Well, I love P.T.

00:40:48.880 P.T.

00:40:49.220 Anderson is, you know, one of the, one of my very favorite filmmakers working today, though,

00:40:54.920 when I think of his films, these striking, just iconic images don't pop out at me the

00:41:02.520 way they do with the Kubrick film.

00:41:03.660 I think of characters or moments or scenes or, um, I come, I come at them differently,

00:41:10.360 you know?

00:41:10.760 Yeah.

00:41:11.600 I can see that.

00:41:12.680 He also gives a space and a room to breathe in his films, which I really like.

00:41:16.940 A lot of movies today, it's just constant noise and chatter and movement and sound effects.

00:41:22.220 Don't you notice that?

00:41:23.180 It's, it's geared for this ADD nation.

00:41:25.760 Well, and there's ambiguity in them.

00:41:27.280 I know, you know, I saw the master and I didn't quite get it.

00:41:29.760 And I, and I sort of compare this experience to a lot of people's, you know, viewings of

00:41:33.540 the shining, you know, where even new people who we talked to in the film didn't necessarily

00:41:37.600 like it or get it their first go round, but they get lured back.

00:41:41.800 And I didn't, you know, quite understand the last act of the master, but I've got faith

00:41:47.300 enough in PT Anderson that I assume it's my problem as a viewer.

00:41:52.820 Yeah.

00:41:53.360 And I'm, and I'm very interested in revisiting it and taking, and taking another try.

00:41:59.640 And I don't have that confidence with other filmmakers, I may hold up my hand and say,

00:42:05.160 I don't think there's anything here if I didn't get it or, or it's not for me, but he's someone

00:42:10.680 I have that same trust for, a trust with.

00:42:13.560 Yeah.

00:42:13.960 Is there anyone else that like, cause I'm, this is an interesting, I don't know, this

00:42:17.160 is an interesting rabbit hole to go down, but I, I don't, I actually, Lonnie take control

00:42:21.540 of the interview.

00:42:22.100 I'm sorry.

00:42:22.760 No, it's okay.

00:42:23.960 I was just letting this one go with the flow.

00:42:26.360 Actually.

00:42:26.760 I didn't really plan too much because I know how it is with you, Anders.

00:42:32.060 So how has the film been received by mainstream people?

00:42:37.900 Well, I'd say we've probably, if you, if you look at, you know, that if you look at the Amazon

00:42:42.560 reviews versus the Rotten Tomato reviews, we've done a lot better, you know, with critics

00:42:48.100 than we have with the general public.

00:42:50.300 Um, but you know, the fact that this movie played for more than 50 people in folding metal

00:42:54.880 chairs, um, you know, makes everything else great gravy for me.

00:42:59.580 Um, I think maybe the other advantage that maybe some of the critics had that, um, the

00:43:04.800 general population didn't is that they saw projected screenings, you know?

00:43:09.560 Um, and you know, any movie works better in a theater where you've got immersive sound

00:43:16.140 and you were, and the, and the image can really take over your entire visual line of sight.

00:43:22.840 But, you know, I noticed in particular people who see it in screenings tend to appreciate

00:43:28.040 it more than, um, you know, folks who clicked on it on iTunes.

00:43:31.800 Sure, yeah.

00:43:34.460 And I, I, you know, just to chime in, maybe, uh, sometimes you can't see your, the impact

00:43:40.960 of what you're doing from being inside of it.

00:43:43.520 Um, the, the film has got some pretty great press.

00:43:47.420 It's been, it got a big spread in Entertainment Weekly that a lot of people read.

00:43:51.960 It got a big, I think it got a really nice thing in the New York Times.

00:43:54.960 Um, it has, and from the standpoint of someone who is out in the world, uh, sort of hawking

00:44:03.360 synchronicity through Radio 8 Ball and trying to get that show to forward that show, there

00:44:08.540 has been a, there's a huge change in being able to say, oh, sync film?

00:44:14.800 Well, have you seen Room 237?

00:44:16.540 It's similar to that.

00:44:17.460 And now people kind of get that, which makes it also an interesting sync that, uh, that it

00:44:23.680 came out in, you know, in sync with the film 42 because just sort of as, as Jackie Robinson

00:44:31.420 broke the color barrier, uh, Room 237 is sort of breaking the sync barrier in a mainstream

00:44:37.760 way and making it a lot easier for those of us who are working below the radar to have

00:44:42.880 something to connect what we do to in a way that people can get it because people do know

00:44:48.760 Kubrick and do know The Shining and are very, and actually are very aware, most people who are

00:44:54.440 even vaguely hip about film are getting, are pretty aware of Room 237 now. And it's,

00:45:00.620 when it comes out on video, I think that's only gonna, that's only gonna multiply hugely.

00:45:06.000 Uh, so.

00:45:06.540 Well, the other good thing about that is you're introducing an idea of veiled messages,

00:45:11.720 veiled stories, something that's lurking subliminally. So maybe now people will pay attention

00:45:17.120 more, watch movies a little differently or read the news a little differently.

00:45:21.240 Well, yeah. One of my favorite, um, comments I see on Twitter now and again is, you know,

00:45:26.480 let's do a 237 about blank. Um, which, which, you know, is, is incredibly gratifying to me that,

00:45:34.700 you know, if, if, if the, if the title would become a verb of some sort, um, in, in interesting

00:45:40.280 sync is, you know, the DVD Blu-ray came out yesterday and it was the same day that Stephen King's

00:45:45.900 Dr. Sleep, his 36th year in the making sequel to The Shining was released.

00:45:51.880 So we're not the only, we're not the only people thinking about The Shining right now.

00:45:56.920 Wow. That's a super sync. I love that.

00:45:59.920 I have a funny, I have a funny question for you, Rodney.

00:46:02.680 Sure.

00:46:02.920 When I was watching Room 237, I saw there was footage, I don't know if it was from My Fair Lady,

00:46:07.560 but you captured and I wanted to know why.

00:46:09.940 There was a footage of a dancing llama costume with two heads because I have a thing with

00:46:15.620 llamas. It goes way back.

00:46:17.660 Yeah. Well, that's from Dr. Doolittle. It's a moment where Jay Widener is actually talking

00:46:21.400 about, you know, how many, what, what the landscape of film was like when 2001 came out.

00:46:28.920 But in that, in that moment plays a pretty strong counterpoint to 2001.

00:46:37.180 I just thought it was funny. Why, why choose a llama of all the things in that footage? It

00:46:40.480 was great. It made sense to me, but.

00:46:43.800 I don't know if I could articulate it, but scanning, scanning, scanning through footage,

00:46:48.260 that one just kind of leapt out as, as hitting exactly the right tone.

00:46:51.660 Mm-hmm. And Andres, last time you were on with me, remember we did Radio 8 Ball and

00:46:56.440 I asked a question about the Archons?

00:46:58.960 Yeah.

00:46:59.340 I got several emails. It was actually startling with other people who had that same question

00:47:04.440 in their mind.

00:47:06.060 Oh, that's great. Well, see, that, that is the thing. That is one of the wonderful things

00:47:10.120 about where you learn from working with Radio 8 Ball is that almost always one person's

00:47:16.220 question spoken to a large group of people. There's going to be a lot of other people who

00:47:19.960 are like, wow, who you end up being an oracle for because there's, you know, because we

00:47:27.220 are, the nature of reality is sync. So if you're having a question, there's going to be people

00:47:33.480 out there and especially you create a spell with your show. So there's going to be even

00:47:38.080 more people sort of resonating with the similar kind of questions that are percolating with

00:47:42.780 you.

00:47:43.680 Yeah. And it was Jay Weiner brought up in room 237. I mean, he's the guy who talks about

00:47:47.620 Archons a lot, but he was speaking about basically the idea in the film that demons are attracted

00:47:52.220 to humans and are feeding off of them, which is basically what I was getting at before with

00:47:55.960 you.

00:47:56.540 Well, I, I, I feel like a, you know, I got a lot to give so I can, the demons take just

00:48:04.900 as long as they don't take too much, you know, leave it, leave enough for me and for the,

00:48:09.560 for the good, for the goods, for the good ones. I'm, you know, I don't want to make waves.

00:48:13.860 I don't want to, you know, I pay my toll.

00:48:16.700 You know, I have to ask you both thinking back to Kubrick again in his film, 2001, a

00:48:20.960 space odyssey, which the story traces the development of man from man ape to what we

00:48:25.800 might undergo in the future. Where do you think humankind is heading?

00:48:31.460 I've talked a lot, Rodney.

00:48:32.680 Yeah. Well, you know, one thing I can see is, you know, if I look at my life over the

00:48:38.920 past, you know, 20 years, I sure spent an awful lot more of it in front of the computer

00:48:44.120 and plugged into the internet than I used to. And, you know, it doesn't exactly feel like

00:48:49.380 a William Gibson novel where I'm floating, you know, in a sensory deprivation tank, you

00:48:53.560 know, jacked into cyberspace, but the sort of instant connectivity between people, you know,

00:49:00.160 something that's only increasing. And, you know, you can look at Google Glass and imagining

00:49:03.680 those and imagining a very quick leap to, you know, contact lenses that you're wearing

00:49:09.260 around the clock, you know, sort of a continuous connection to almost everybody is certainly

00:49:15.640 going to, you know, change the way we live, you know, in ways that are kind of hard to

00:49:21.000 imagine.

00:49:21.360 You know, I tend to see, I mean, you can't help but see that on some level, things are

00:49:38.060 getting worse and worse. And I somehow think that on like, on a weird experiential level,

00:49:49.280 when things get worse, people get better. Even though I think people also probably on

00:49:53.800 some level, people get worse too. So I could be wrong there. But I feel like the worst things

00:49:59.100 get, the better I get. And that's all I have to go with. So, you know, I just, I try, it's

00:50:11.620 like watching a car wreck go in slow motion, you know, and I've just, you know, I'm just trying

00:50:15.540 to paint it and sing about it and laugh about it and, you know, make it as, you know, make,

00:50:20.060 make that trip as, as pleasant and as, you know, thought provoking in a fun way as you

00:50:25.940 can make it, you know, it's a, the re I think the reason to be an artist is because you're

00:50:30.940 trying to somehow make the best of an impossible situation. And I think that the times we're

00:50:37.060 in are going to make artists of all of us.

00:50:38.940 All righty guys, anything else you'd like to get off your chest?

00:50:45.280 Check out Room 237, people. It's a great, it's a, it's a great film about a great film.

00:50:53.000 And, and if you have time, go check out my IMDB page where I'm, I think I'm the only

00:50:59.540 semi-legitimate Hollywood actor who is displaying sync films as his demo reel. And as my new manager

00:51:08.380 says, uh, potentially melting the brains of people who might otherwise hire me, but don't

00:51:14.900 forget accidental initiations. Oh yes. My book, accidental initiations. Thank you. Uh, Rodney.

00:51:21.060 Uh, I appreciate that from sync book press. Oh, and we should re we, uh, make sure that in

00:51:25.720 the liner and in the podcast, we put a link to the sync books video page because that has

00:51:31.700 a really great, uh, compendium of, uh, Joe Alexander's work, Jake Coates's work, Will

00:51:38.180 Morgan's work and on and, uh, and on and on and really in a great collection of, um, what's

00:51:44.320 happening in sync film for those people who are interested in delving even a little bit

00:51:48.760 deeper than Room 237.

00:51:51.060 Rodney, anything you want to say? Your website?

00:51:53.960 Um, RodneyAsher.com. Nothing, um, no fires burning over here. The only, the, the, uh, you

00:52:04.120 know, the only other thing that might be interesting to check out is, um, this record that I finished

00:52:08.600 with, uh, Vernon Chapman, where we went through 80 some hours of, um, of recordings that Andy

00:52:16.120 Kaufman made secretly in the seventies and, um, cut the comedy album that he never got around

00:52:21.520 to finishing from it. Oh my God, Rodney, you're, we're going to, I got to talk with you as soon

00:52:26.300 as you get off of this. I'm on, I'm totally on an Andy Kaufman sync right now. I've been

00:52:30.300 watching all of taxi. Of course you are. This is insane. Okay. Wonderful. Alrighty guys. Thank

00:52:37.520 you both. It's been fun. Alrighty, everyone. I'll leave you with a song from the shining soundtrack.

00:52:43.720 Enjoy.

00:52:51.520 So

00:52:59.760 and

00:53:00.320 and

00:53:04.420 you

00:53:07.200 and

00:53:07.480 you

00:53:08.640 ¶¶

00:53:38.640 ¶¶

00:53:53.640 ¶ When shadows fall

00:53:56.300 ¶¶ And trees whisper day's ending

00:54:00.420 ¶¶ My thoughts are ever wending away

00:54:06.720 When crickets call, my heart is forever yearning

00:54:16.200 One's thought to be returning of hope

00:54:21.720 When the hills conceal the setting sun

00:54:30.760 The stars begin up peeping one by one

00:54:38.000 Night covers old and old

00:54:44.720 For you may forsake me

00:54:47.480 Sweet dreams will ever take me home

00:55:00.760 Sweet dreams will ever take me home

00:55:30.760 Sweet dreams will ever take me home

00:55:41.760 Sweet dreams will ever take me home

Room 237_ Stanley Kubrick_s The Shining

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