RadixJournal - Unconscious Cinema - Less Human Than Human

00:00:00.000 Blade Runner, so one of the things that I like

00:00:25.680 about Blade Runner, and I'm talking about the original here,

00:00:30.060 it's an amazing film, but one of the things

00:00:34.360 that I really like about it is that it was the first time

00:00:38.460 that I think I might have given my interpretation

00:00:41.340 to someone in high school, and they were like,

00:00:43.500 oh my God, man, you just blew my mind.

00:00:48.220 And I saw it when I was not.

00:00:50.680 He's a wept-looking dude, yeah.

00:00:52.240 Don't give it away!

00:00:53.520 Yeah, exactly.

00:00:57.340 It actually deteriorated into a violent argument,

00:01:00.200 not a violent argument, but it deteriorated into

00:01:02.360 an impassioned argument in my case.

00:01:04.540 It's pretty funny.

00:01:05.660 It's funny, you have the exact same impression,

00:01:07.500 because we're roughly the same age,

00:01:09.160 so I think we'll have analogous stories,

00:01:11.180 very similar stories.

00:01:12.560 Yeah, so when I was growing up in high school,

00:01:15.720 we were watching this stuff on VHS in the 90s,

00:01:19.260 and so the film was 10 or 12, 15 years old,

00:01:24.540 and I discovered it on VHS.

00:01:27.560 I was way too young to see it when it was first released,

00:01:30.320 and I just thought it was awesome.

00:01:33.420 Like, the whole world that was created

00:01:35.500 was cyberpunk and really badass.

00:01:39.220 It was well ahead of its time.

00:01:40.940 And again, it was one of those, like,

00:01:44.460 blow-your-mind moments

00:01:46.300 where I was talking to a classmate of mine,

00:01:49.880 and, you know, I said, like,

00:01:52.960 you know, well, I think the ultimate message

00:01:54.640 is that Deckard is a replicant.

00:01:57.220 And the guy was just, like, staring at me,

00:01:59.060 and he was, like, had to sit down.

00:02:01.060 He was like, wait.

00:02:03.060 Like, whoa, whoa.

00:02:04.460 Oh, my God.

00:02:05.440 You know, this is, like, pre-internet.

00:02:08.540 Like, today, and today's, you know,

00:02:10.380 day and age, like, there are a million reviews

00:02:12.340 and weird, there are, like, a million fan theories

00:02:15.020 about, you know, every movie that comes out,

00:02:17.760 or popular ones, at least.

00:02:19.160 But, yeah, it is a kind of mind-blowing movie.

00:02:22.800 It's an amazing aesthetic film in its own right.

00:02:26.540 And Ridley Scott, who struggles as a filmmaker

00:02:30.680 in many ways in terms of storytelling

00:02:33.780 and other things, does not struggle

00:02:37.160 when it comes to visuals and set and costume design

00:02:41.560 and shot composition and mise-en-scene.

00:02:45.020 I mean, he is absolutely amazing.

00:02:47.840 The world that he creates is unique and provocative

00:02:53.900 and also really pretty timeless.

00:02:56.520 Like, Ridley Scott's films,

00:02:58.580 when you think about some of the big ones,

00:03:00.480 Alien, Blade Runner,

00:03:02.080 even some of his lesser films,

00:03:04.840 like these overstuffed historical dramas,

00:03:08.320 they still hold up.

00:03:10.300 And they look good 20, 30 years on.

00:03:14.800 And in a way that other films

00:03:17.360 will often look junky or something.

00:03:19.760 So, you know, an amazing job there.

00:03:23.700 And so this film became, like,

00:03:25.280 it was not successful originally.

00:03:26.820 It became an underground legend.

00:03:30.240 And it built up this cult fan base.

00:03:34.580 And part of that, I think,

00:03:36.400 was the ambiguity of the film.

00:03:38.560 It wasn't just the amazing visuals,

00:03:40.580 like these models and the flames bursting forth

00:03:44.360 of this city that always seems to be raining.

00:03:47.960 And he's living in, like,

00:03:49.380 some weird dystopic version of Tokyo.

00:03:52.440 You know, it's not just that.

00:03:55.920 I think it's also this idea

00:03:57.220 that there seems to be a lot more going on,

00:04:00.900 that, A, there's that question

00:04:03.760 of Descartes' real identity.

00:04:06.420 You know, have you ever given yourself these tests?

00:04:08.560 Like, who are you really?

00:04:10.100 What do you remember?

00:04:11.400 What's the meaning of the unicorn?

00:04:13.400 And then also, I think,

00:04:14.700 because of some of these symbolism,

00:04:17.080 which maybe even ham-fisted

00:04:20.180 or too on the nose,

00:04:21.260 but the fact that

00:04:23.600 the...

00:04:25.340 Rudger Hauer's character

00:04:29.520 at the end of the original Blade Runner

00:04:33.020 is, you know, literally impaling his hand

00:04:36.800 with a nail.

00:04:38.960 He is becoming a Christ-like figure.

00:04:40.920 He releases a dove.

00:04:42.200 At the end, he basically saves humanity

00:04:46.440 to a degree,

00:04:47.880 or perhaps it's not humanity,

00:04:49.860 represented by Descartes.

00:04:51.160 I mean, it's very ambiguous.

00:04:52.860 And releases a dove

00:04:54.320 and kind of lives for someone else

00:04:56.580 and regrets that his own experience

00:05:00.480 is being lost in time,

00:05:02.200 like tears and rain.

00:05:03.760 It's a beautiful, poetic line.

00:05:06.460 But there does seem like...

00:05:09.640 Again, I think that's one of the reasons

00:05:11.480 why Blade Runner has this cult following

00:05:14.400 and probably will.

00:05:15.300 I mean, it will probably have a cult following

00:05:16.500 30 years from now

00:05:17.220 in the sense that it...

00:05:19.120 The visuals are amazing,

00:05:20.520 but it seems to be

00:05:22.200 at least reaching for something more,

00:05:25.660 mythologically speaking.

00:05:27.740 Yeah, I think everything you've said

00:05:29.420 is accurate.

00:05:30.880 The film, I mean,

00:05:33.080 visually, it's an outstanding film,

00:05:35.120 obviously.

00:05:36.680 That first frame, though,

00:05:38.040 in particular,

00:05:39.000 is really compelling.

00:05:41.280 And so much is conveyed

00:05:42.440 in that first frame.

00:05:44.840 It's...

00:05:45.620 You know, you basically see

00:05:47.340 it's kind of this...

00:05:48.820 The other thing I would add, too,

00:05:50.020 is that the music for the film

00:05:51.400 is outstanding, right?

00:05:52.880 And that, I think,

00:05:54.380 is one of the true innovations

00:05:55.640 of the film.

00:05:56.580 And it's also one of the things

00:05:58.500 that's separated aesthetically

00:06:00.100 from other of Ridley Scott's efforts.

00:06:03.060 I mean, the music is just

00:06:03.980 this very, like,

00:06:05.120 sublime, sort of wane,

00:06:07.940 you know, sorrowful,

00:06:10.060 you know, dirge-like,

00:06:12.180 in some ways, music.

00:06:14.240 Very innovative music.

00:06:16.920 That is a good point.

00:06:17.800 It's Vangelis, or Vangelis.

00:06:20.140 I think it's Vangelis.

00:06:21.480 Vangelis?

00:06:22.680 Vangelis, yeah.

00:06:23.320 Maybe Vangelis.

00:06:24.980 But it's interesting

00:06:26.460 because it is kind of

00:06:28.320 almost contradictory.

00:06:29.060 Like, it has a Kraftwerk

00:06:31.880 or even, like, synth-pop,

00:06:35.440 you know, electronic

00:06:36.360 aspect to it.

00:06:38.680 But then at the same time,

00:06:40.360 it's deeply sad.

00:06:42.580 Yes.

00:06:43.320 And full of regrets

00:06:45.200 and melancholy,

00:06:46.980 it's, it's,

00:06:48.160 which you wouldn't usually

00:06:49.600 associate with electronic music,

00:06:52.080 which you would associate with,

00:06:53.460 you know,

00:06:54.120 hard,

00:06:55.100 pumping, you know,

00:06:56.180 dance tracks,

00:06:57.620 you know,

00:06:57.960 kind of thing.

00:06:58.580 But he actually does it

00:07:00.320 in a way

00:07:00.860 that is sorrowful,

00:07:02.480 and that's remarkable.

00:07:04.180 Yes.

00:07:04.760 And so it's,

00:07:05.720 it's definitely one of the,

00:07:07.000 the great virtues of the film.

00:07:09.360 But the,

00:07:10.280 the cinematography

00:07:11.280 is obviously outstanding.

00:07:12.460 And actually,

00:07:13.620 as a technical,

00:07:14.840 technical achievement,

00:07:16.940 it's,

00:07:17.500 it's more impressive

00:07:19.140 in a lot of ways

00:07:21.060 than the,

00:07:21.380 than the most recent film.

00:07:23.740 You know,

00:07:24.460 just,

00:07:24.760 just from kind of

00:07:25.740 the difficulty

00:07:26.340 in achieving that aesthetic

00:07:27.620 from a purely

00:07:29.480 technical filmmaking,

00:07:30.800 you know,

00:07:31.360 production perspective.

00:07:32.220 You know,

00:07:33.900 nowadays,

00:07:34.700 one of the things

00:07:35.520 that probably people

00:07:36.380 who haven't been involved

00:07:37.860 with film

00:07:38.280 or know much about

00:07:39.240 the actual making of films,

00:07:42.100 nowadays,

00:07:43.880 essentially,

00:07:44.380 everyone can look

00:07:45.460 at a monitor

00:07:46.140 on the set

00:07:47.060 and see more or less,

00:07:48.520 you know,

00:07:48.700 what the film

00:07:49.080 is going to look like.

00:07:50.720 And then from there,

00:07:51.920 it goes to an editor

00:07:52.640 who has all these,

00:07:54.220 you know,

00:07:54.740 who is a kind of

00:07:55.900 panoply of,

00:07:58.700 or rather an array

00:07:59.880 of things

00:08:00.840 that he can use

00:08:01.620 to adjust the image

00:08:03.260 to make it

00:08:03.960 exactly perfect.

00:08:05.740 And that,

00:08:07.360 that was absolutely

00:08:08.620 less the case

00:08:09.540 when Blade Runner

00:08:10.940 was made.

00:08:12.140 And in fact,

00:08:12.860 it may have been the case

00:08:13.940 that they didn't have

00:08:14.500 monitoring at all,

00:08:15.540 or if they did have

00:08:16.380 a video monitor,

00:08:17.700 it was some very

00:08:19.100 primitive looking image

00:08:20.200 that everyone else

00:08:20.940 on the set saw.

00:08:22.160 So in other words,

00:08:22.720 the DP had to know

00:08:24.140 exactly what he was doing,

00:08:25.640 you know what I mean?

00:08:25.980 And they were shooting

00:08:26.540 on film as opposed

00:08:27.420 to shooting on video.

00:08:28.160 So he had to go

00:08:29.580 around the set

00:08:30.160 with a light meter

00:08:31.560 and know exactly,

00:08:33.320 you know,

00:08:33.840 anticipate exactly

00:08:34.920 how the film would react.

00:08:37.260 You know,

00:08:37.740 obviously there was

00:08:38.320 some processing

00:08:38.940 that they could do

00:08:39.600 after the film was shot,

00:08:40.900 but, you know,

00:08:42.920 it's nothing

00:08:43.540 compared to the extent

00:08:45.100 to which they may

00:08:46.120 modify the film now.

00:08:47.400 And it's sort of

00:08:48.000 the irony now

00:08:48.840 is that the whole challenge

00:08:49.980 of the most recent effort

00:08:51.600 is to kind of

00:08:52.240 recreate this look,

00:08:54.480 which is a very cinematic

00:08:56.080 and filmic look,

00:08:57.580 you know,

00:08:57.880 produced on film

00:08:58.840 in a very like

00:09:00.060 kind of exacting

00:09:00.960 and difficult manner.

00:09:03.480 Now they are,

00:09:05.120 their challenge

00:09:05.840 is to reproduce that look,

00:09:08.320 but they've got

00:09:09.680 all these advantages

00:09:10.440 in that effort

00:09:11.400 to reproduce the look.

00:09:12.540 But there is this sort

00:09:14.040 of irony in filmmaking

00:09:14.860 in general

00:09:15.520 that, you know,

00:09:17.280 they'll even shoot

00:09:17.920 these videos

00:09:18.440 at 24 frames per second

00:09:19.920 for no objective reason.

00:09:21.760 I mean,

00:09:21.960 there's no,

00:09:22.460 it doesn't make the image,

00:09:24.580 you know,

00:09:24.940 I mean,

00:09:25.100 you could shoot a video

00:09:26.760 as they,

00:09:27.420 or a film

00:09:28.400 like Lord of the Rings,

00:09:29.940 you know,

00:09:31.320 on 60 frames per second.

00:09:34.820 But it has,

00:09:36.600 and ostensibly

00:09:37.500 you're getting a clearer,

00:09:38.920 you know,

00:09:39.160 more vivid image.

00:09:40.400 But the truth is

00:09:41.120 a lot of

00:09:41.920 our aesthetics

00:09:44.700 is tied to this

00:09:45.560 kind of nostalgia,

00:09:46.780 right?

00:09:47.060 And kind of the look

00:09:48.140 of film

00:09:49.300 at some certain point,

00:09:51.980 you know,

00:09:52.280 during the development

00:09:53.020 of cinema,

00:09:53.520 we're attached

00:09:54.200 to this look

00:09:54.940 of film,

00:09:55.380 which is this kind

00:09:56.040 of 24 frames per second

00:09:57.560 look.

00:09:59.860 So you're almost

00:10:01.900 going for a more

00:10:02.640 antiquated look

00:10:03.580 when you're making

00:10:04.480 something filmic,

00:10:05.560 right?

00:10:06.120 Yeah.

00:10:06.860 In any case,

00:10:07.720 that's neither here

00:10:08.380 nor there.

00:10:08.860 But I mean,

00:10:09.360 it's...

00:10:09.680 Well,

00:10:09.900 it's an important issue

00:10:11.340 because these,

00:10:13.140 you know,

00:10:13.320 what are the films

00:10:14.820 that are making

00:10:16.680 billions of dollars

00:10:18.060 that are entering

00:10:19.940 the public imagination.

00:10:22.240 There are these

00:10:23.340 reboots,

00:10:24.760 effectively,

00:10:25.300 of older genres,

00:10:26.660 and there's this

00:10:27.320 kind of attempt

00:10:28.120 to evoke nostalgia

00:10:29.540 through CGI.

00:10:31.480 I mean,

00:10:31.640 I'm thinking of

00:10:32.480 Star Wars in particular,

00:10:34.400 that they have

00:10:35.740 all of these

00:10:36.760 new technologies

00:10:38.200 at their disposal,

00:10:39.260 but they're

00:10:41.040 basically,

00:10:42.120 like,

00:10:43.240 going back

00:10:44.160 to 70s era stuff,

00:10:45.520 like lightsabers,

00:10:47.000 you know,

00:10:47.500 like,

00:10:48.260 modeling.

00:10:49.540 They're trying

00:10:49.860 to recreate

00:10:50.540 the energy

00:10:51.280 of a 1977 film

00:10:54.620 that was using

00:10:55.120 stop-motion animation

00:10:56.320 and other models,

00:10:58.820 like in wires

00:10:59.440 and, you know,

00:11:00.840 these big dark rooms,

00:11:02.520 which was done.

00:11:03.960 I mean,

00:11:04.080 whatever you think

00:11:04.700 about Star Wars,

00:11:06.640 you know,

00:11:07.000 for the budget,

00:11:08.180 for its budget,

00:11:09.280 what George Lucas

00:11:11.460 achieved in those,

00:11:12.440 you know,

00:11:12.700 final battle scene

00:11:13.700 or something

00:11:14.120 is nothing

00:11:14.800 short of miraculous

00:11:16.480 with just the energy,

00:11:18.920 just these flying

00:11:19.780 spaceships everywhere

00:11:20.840 and laser battles.

00:11:22.180 I mean,

00:11:22.360 it's incredible.

00:11:23.580 And the fact

00:11:24.440 that it still holds up

00:11:25.600 and looks cool now

00:11:27.020 is also remarkable.

00:11:28.360 But, yeah,

00:11:29.260 it's like we've

00:11:30.120 reached this level

00:11:31.440 of, you know,

00:11:32.280 we now have,

00:11:33.100 you know,

00:11:33.700 supercomputers

00:11:34.680 and effectively,

00:11:36.840 you know,

00:11:37.140 people can,

00:11:37.900 you know,

00:11:38.100 they could make

00:11:38.580 an entire movie

00:11:39.560 in CGI,

00:11:40.700 but we're trying,

00:11:42.060 what we're ironically

00:11:42.940 trying to do

00:11:43.620 is to recapture

00:11:44.600 that lost authenticity

00:11:46.640 of another age.

00:11:49.440 No,

00:11:50.000 it is absolutely

00:11:51.000 the case.

00:11:51.600 And I think it's,

00:11:52.260 it's also the case

00:11:53.200 with this film,

00:11:53.840 which is nevertheless

00:11:55.120 a science fiction film,

00:11:56.420 right?

00:11:58.360 So,

00:11:59.060 he,

00:11:59.560 I think

00:12:00.140 the first film

00:12:01.340 was definitely

00:12:02.200 an aesthetic

00:12:04.380 achievement.

00:12:05.600 Now,

00:12:06.060 I mean,

00:12:06.300 I think that

00:12:07.240 on this topic

00:12:08.540 of aesthetics,

00:12:09.060 there's a lot

00:12:10.080 of things

00:12:10.360 that we could

00:12:10.660 talk about.

00:12:11.100 I mean,

00:12:11.460 the film

00:12:12.080 is,

00:12:13.140 it's a noir film,

00:12:14.540 it's a dark film,

00:12:16.320 and on some level

00:12:19.200 it's a,

00:12:20.000 you know,

00:12:21.060 it's kind of a gloomy

00:12:22.020 nocturnal film,

00:12:23.540 right?

00:12:23.920 And the film itself,

00:12:26.000 it contains

00:12:26.800 these very tragic themes.

00:12:29.020 So,

00:12:29.540 there is kind of a,

00:12:30.820 I would argue,

00:12:31.420 kind of a,

00:12:31.740 kind of demoralizing

00:12:33.180 even aspect

00:12:33.880 to watching the film

00:12:35.100 and the film

00:12:35.620 as an experience

00:12:36.440 is kind of a,

00:12:37.860 it operates

00:12:38.480 as kind of a depressive,

00:12:39.800 right?

00:12:41.020 No question.

00:12:42.120 It's like the,

00:12:43.140 remember,

00:12:43.600 I mean,

00:12:43.960 it's a 2001,

00:12:46.340 I mean,

00:12:46.680 was this made

00:12:47.760 about 15 years

00:12:48.620 after 2001

00:12:49.560 or 15 to 20 years

00:12:53.420 after Kubrick's 2001?

00:12:55.800 But you can see,

00:12:57.020 like,

00:12:57.720 what has happened

00:12:58.820 in the meantime.

00:12:59.940 I mean,

00:13:00.920 you know,

00:13:01.300 there was basically

00:13:02.220 a countercultural revolt

00:13:04.040 and a loss

00:13:05.200 of optimism

00:13:05.900 and so on.

00:13:06.740 I mean,

00:13:07.140 as,

00:13:07.460 i.e.

00:13:08.140 the late 1960s

00:13:11.260 and 70s

00:13:12.080 and there,

00:13:13.680 you even have

00:13:14.600 some,

00:13:14.880 like,

00:13:15.000 direct references

00:13:16.000 to 2001

00:13:16.900 with,

00:13:17.340 like,

00:13:17.480 the telephone

00:13:19.160 conversation

00:13:20.220 between Deckard

00:13:21.020 and Rachel

00:13:21.580 where,

00:13:23.220 you know,

00:13:23.460 in 2001,

00:13:24.280 he's talking

00:13:24.720 to his kids

00:13:25.500 in this almost

00:13:26.120 kind of,

00:13:26.540 you know,

00:13:26.880 1960s,

00:13:27.900 Mad Men era

00:13:28.600 type way

00:13:29.460 and in this one,

00:13:31.000 you know,

00:13:31.200 he's trying

00:13:32.100 to pick up

00:13:32.680 his robot bride

00:13:34.300 in this,

00:13:35.680 you know,

00:13:35.980 like,

00:13:36.540 totally graffiti-laden,

00:13:39.200 cracked and scratched up,

00:13:41.300 you know,

00:13:42.080 telemonitor,

00:13:43.820 you know,

00:13:44.280 and so on.

00:13:46.120 You know,

00:13:46.420 the,

00:13:47.240 as opposed to the 2001,

00:13:49.360 which is this,

00:13:50.060 you know,

00:13:51.360 clean,

00:13:52.280 it did include advertising

00:13:53.520 and corporations,

00:13:54.840 but it was,

00:13:55.460 but it was kind of clean

00:13:57.000 and futuristic

00:13:57.680 and forward-looking

00:13:58.760 and optimistic.

00:14:01.460 Lots of pessimism

00:14:03.020 there too,

00:14:03.480 but a generally

00:14:04.500 Faustian sense

00:14:06.120 of what we're

00:14:06.960 going to achieve

00:14:07.420 in space.

00:14:09.320 And in this one,

00:14:10.920 it's this,

00:14:11.780 you know,

00:14:12.620 terrestrial

00:14:13.380 sense

00:14:15.660 of corporate

00:14:17.540 domination

00:14:18.240 in the worst

00:14:20.100 possible way

00:14:21.420 of certainly

00:14:23.380 dehumanization.

00:14:25.140 We have a kind

00:14:25.660 of Asian-like

00:14:26.640 future

00:14:27.100 as opposed

00:14:28.680 to a Faustian

00:14:30.000 Nazi future,

00:14:31.020 which was

00:14:31.700 definitely

00:14:33.560 present in 2001.

00:14:36.180 It's this

00:14:37.340 very different

00:14:38.540 future

00:14:39.120 of,

00:14:40.860 you know,

00:14:42.400 again,

00:14:42.980 a future

00:14:45.580 which we all

00:14:46.360 live in a dystopic

00:14:47.440 Tokyo.

00:14:49.180 Yeah.

00:14:49.640 No,

00:14:49.860 I would argue

00:14:51.000 too that,

00:14:51.980 I mean,

00:14:52.400 probably

00:14:52.860 there's a darker

00:14:55.320 mind behind

00:14:56.160 2001

00:14:57.060 than either

00:14:58.280 Philip K.

00:14:59.100 Dick

00:14:59.340 or Ridley

00:15:02.040 Scott,

00:15:02.580 but I guess

00:15:03.040 that's neither

00:15:03.400 here nor there.

00:15:04.060 But I mean,

00:15:04.460 certainly there's

00:15:05.140 this kind

00:15:06.320 of sterile

00:15:07.480 kind of

00:15:08.660 clinical

00:15:09.060 appearance

00:15:09.580 to that film,

00:15:10.320 very white

00:15:11.940 on the

00:15:13.480 spacecraft.

00:15:15.100 So I

00:15:15.840 take your

00:15:16.420 point.

00:15:16.900 Yeah,

00:15:17.140 I mean,

00:15:17.420 but it's

00:15:18.040 almost like,

00:15:19.460 you know,

00:15:20.020 not to dwell

00:15:20.580 too long

00:15:21.120 on this film

00:15:21.920 because we've

00:15:23.280 got a very

00:15:24.060 interesting film

00:15:24.620 to discuss.

00:15:25.800 It's almost

00:15:26.500 like 2001

00:15:27.520 that this

00:15:29.820 sort of

00:15:30.320 bright exterior

00:15:31.240 is the

00:15:32.380 thing that

00:15:32.780 kind of

00:15:33.080 conceals

00:15:33.780 kind of

00:15:34.500 inner

00:15:34.700 cynicism,

00:15:36.060 whereas

00:15:36.760 Blade Runner

00:15:37.760 to some

00:15:38.180 extent is a

00:15:38.700 more genuine

00:15:39.320 film in the

00:15:40.080 sense that

00:15:40.500 it is

00:15:41.460 kind of

00:15:41.720 a tragic,

00:15:42.720 dark,

00:15:43.540 gloomy

00:15:44.020 film and

00:15:46.060 dealing with

00:15:47.180 tragic themes.

00:15:48.760 No question.

00:15:49.280 Yeah,

00:15:49.740 2001 does

00:15:50.880 have a lot

00:15:51.840 more cynicism

00:15:52.620 than one

00:15:53.340 might imagine,

00:15:53.900 no question.

00:15:55.020 The fact is

00:15:55.540 it is like

00:15:56.280 corporate

00:15:56.760 technocrats

00:15:57.520 lying to

00:15:58.300 the public

00:15:58.740 and obviously

00:16:00.180 going on

00:16:01.420 from there.

00:16:02.780 But you

00:16:03.560 can't really

00:16:04.200 imagine

00:16:04.900 the Blade

00:16:06.620 Runner

00:16:06.900 world

00:16:07.800 existing

00:16:08.280 in 2001.

00:16:09.120 I mean,

00:16:09.260 I would

00:16:09.480 imagine

00:16:09.900 a kind

00:16:10.260 of

00:16:10.440 happy

00:16:11.100 technological

00:16:11.920 suburbs

00:16:12.600 is how

00:16:13.040 everyone

00:16:13.380 lives

00:16:13.700 in 2001.

00:16:14.540 In Blade

00:16:14.840 Runner,

00:16:15.340 you see

00:16:16.560 this just

00:16:17.020 massive

00:16:17.840 humanity

00:16:18.760 with next

00:16:20.120 to no

00:16:20.480 money

00:16:20.800 living in

00:16:21.280 a kind

00:16:21.720 of

00:16:22.140 techno

00:16:22.620 poverty

00:16:23.240 in

00:16:24.280 these

00:16:24.640 Tokyo

00:16:25.380 like

00:16:26.020 cities

00:16:26.800 in which

00:16:27.620 they're

00:16:28.120 also

00:16:28.480 the

00:16:28.860 connection

00:16:30.200 to the

00:16:30.860 natural

00:16:31.340 world

00:16:31.940 is

00:16:32.180 explored

00:16:32.960 as a

00:16:34.300 real

00:16:34.700 loss.

00:16:35.460 I mean,

00:16:35.600 that's

00:16:35.900 certainly a

00:16:36.340 theme in

00:16:36.720 the

00:16:37.000 Dick

00:16:37.740 novella.

00:16:39.520 But,

00:16:40.400 you know,

00:16:41.260 this idea

00:16:41.960 that animals

00:16:43.460 are effectively

00:16:44.760 gone,

00:16:45.340 that we're

00:16:45.580 living on

00:16:46.260 protein farms

00:16:47.340 and fake

00:16:48.880 food and

00:16:49.860 noodles and

00:16:50.800 all this

00:16:51.140 kind of

00:16:51.400 stuff,

00:16:51.860 and that

00:16:52.400 we're just

00:16:52.780 totally

00:16:53.340 disconnected

00:16:53.980 from the

00:16:54.600 natural

00:16:55.000 world,

00:16:57.280 is,

00:16:58.020 you know,

00:16:58.520 is presented

00:16:59.380 like far

00:17:00.320 more bluntly

00:17:01.700 in Blade

00:17:03.360 Runner than

00:17:03.920 in Kubrick's

00:17:05.080 film.

00:17:05.340 Yeah,

00:17:07.380 well,

00:17:08.020 regarding

00:17:09.080 first

00:17:09.520 impressions

00:17:09.960 of the

00:17:10.300 film

00:17:10.620 and just

00:17:11.080 kind of

00:17:11.280 a general

00:17:11.740 impression

00:17:12.280 of the

00:17:12.880 first

00:17:13.200 film,

00:17:13.900 what I

00:17:14.640 would

00:17:15.140 remark

00:17:15.480 is that,

00:17:16.040 I mean,

00:17:16.220 obviously

00:17:16.540 the most

00:17:16.940 striking

00:17:17.260 theme,

00:17:18.460 or rather

00:17:19.020 the most

00:17:19.380 striking

00:17:19.640 scene

00:17:20.240 and also

00:17:21.640 theme

00:17:22.020 is the

00:17:23.700 scene

00:17:24.580 with a

00:17:25.700 Rucker

00:17:25.920 Howard's

00:17:26.340 death

00:17:26.540 scene

00:17:26.820 at the

00:17:27.060 end

00:17:27.160 of the

00:17:27.380 film.

00:17:29.600 And

00:17:29.620 within

00:17:29.980 that,

00:17:30.720 you know,

00:17:31.820 to some

00:17:32.260 extent,

00:17:32.660 it seems

00:17:32.960 like that

00:17:34.020 scene may

00:17:34.740 have occurred

00:17:35.160 as kind

00:17:35.540 of a

00:17:35.760 happy

00:17:36.040 accident,

00:17:36.740 right?

00:17:39.140 And we

00:17:39.760 can go

00:17:40.040 into that

00:17:40.380 a little

00:17:40.580 more,

00:17:40.960 but I

00:17:41.320 think that

00:17:41.820 Ridley Scott

00:17:42.540 with that

00:17:43.900 scene,

00:17:44.420 I mean,

00:17:44.640 I think

00:17:44.860 that that

00:17:45.280 is the

00:17:45.640 scene that

00:17:46.020 really is

00:17:46.640 kind of

00:17:46.860 the master

00:17:47.300 scene of

00:17:48.160 the film

00:17:48.600 and is

00:17:49.860 one of the

00:17:50.200 most remarkable

00:17:50.780 scenes probably

00:17:52.080 in cinema

00:17:52.520 history.

00:17:53.580 And all of

00:17:54.440 it has to

00:17:54.820 do with

00:17:55.020 this kind

00:17:55.300 of subtext,

00:17:56.200 which seems

00:17:57.200 to have

00:17:57.480 appeared

00:17:57.860 kind of

00:17:58.240 from a

00:17:58.740 Jungian

00:17:59.200 source

00:17:59.960 and may

00:18:01.060 not have

00:18:01.380 even

00:18:01.680 necessarily

00:18:02.400 been

00:18:02.760 intended.

00:18:03.500 Though,

00:18:03.900 I mean,

00:18:04.240 Ridley Scott

00:18:04.640 must have

00:18:05.220 had some

00:18:05.940 sentience,

00:18:08.100 but effectively

00:18:09.300 you see

00:18:09.980 this kind

00:18:10.480 of,

00:18:10.760 this Aryan

00:18:11.640 man who's

00:18:12.760 kind of a

00:18:13.080 Superman

00:18:13.500 as he's

00:18:14.840 developed,

00:18:15.640 you know,

00:18:15.840 as the

00:18:16.660 figure of

00:18:16.960 the replicant

00:18:17.460 is developed

00:18:17.920 in that

00:18:18.280 first film.

00:18:19.080 He's this

00:18:19.740 Aryan

00:18:20.200 Superman

00:18:20.660 kind of

00:18:22.540 dying in

00:18:23.520 this Asianized

00:18:24.740 ruin of,

00:18:25.960 you know,

00:18:26.740 Los Angeles.

00:18:28.360 And it's

00:18:30.240 striking.

00:18:31.400 And it,

00:18:32.640 and I

00:18:33.960 think it's

00:18:34.360 really what

00:18:35.220 makes the

00:18:35.840 film a

00:18:37.680 film that

00:18:38.000 we now

00:18:38.380 talk about.

00:18:40.520 Yeah,

00:18:41.940 well,

00:18:42.220 we can,

00:18:42.820 let's go

00:18:43.620 here,

00:18:43.980 because I

00:18:44.380 think I

00:18:44.840 can actually

00:18:46.000 pick up on

00:18:46.860 some themes

00:18:47.400 that you

00:18:47.680 just gesture

00:18:48.100 towards and

00:18:48.600 then segue

00:18:49.080 to the

00:18:49.640 new film,

00:18:50.840 because that

00:18:51.140 is what we

00:18:51.720 want to

00:18:52.180 focus on.

00:18:53.480 But it's

00:18:54.180 Roy Batty

00:18:55.060 and his,

00:18:56.460 you know,

00:18:56.660 the Tears

00:18:57.560 in Rain

00:18:58.300 monologue,

00:18:59.620 which is

00:19:00.320 a really

00:19:01.300 beautiful

00:19:02.060 scene.

00:19:03.820 And I'll

00:19:04.400 just read

00:19:05.540 it,

00:19:05.760 really.

00:19:05.900 It's just

00:19:06.140 a couple

00:19:06.520 of sentences

00:19:07.000 long.

00:19:07.720 I've seen

00:19:08.100 things you

00:19:09.160 people wouldn't

00:19:10.080 believe.

00:19:11.200 Attack ships

00:19:12.140 on fire

00:19:12.940 off the

00:19:13.540 shoulder of

00:19:14.140 Orion.

00:19:15.220 I've watched

00:19:15.800 sea beams

00:19:16.520 glitter in

00:19:17.400 the dark

00:19:17.900 near the

00:19:18.440 Tannheuser

00:19:19.300 gates.

00:19:20.380 All those

00:19:20.960 moments will

00:19:21.620 be lost

00:19:22.260 in time,

00:19:23.220 like tears

00:19:24.160 in rain.

00:19:25.180 time to

00:19:26.420 die.

00:19:27.000 That was

00:19:27.420 actually

00:19:27.620 written by

00:19:28.580 Rutger

00:19:29.000 Hauer.

00:19:29.840 It was

00:19:30.240 added in.

00:19:30.920 It shows

00:19:31.420 the power

00:19:31.940 of, you

00:19:32.320 know,

00:19:32.420 improvisation.

00:19:33.420 Really?

00:19:34.000 And how

00:19:34.880 Ridley Scott

00:19:35.540 maybe, you

00:19:36.240 know, again,

00:19:36.900 he's a

00:19:38.380 hugely

00:19:38.820 successful

00:19:39.560 visual

00:19:41.820 filmmaker,

00:19:43.560 like no

00:19:44.040 question.

00:19:45.240 But he

00:19:46.040 might,

00:19:46.740 could do

00:19:47.760 with some

00:19:48.420 help when

00:19:49.640 it comes

00:19:50.100 to,

00:19:50.560 you know,

00:19:52.020 the screenplay

00:19:53.900 when it

00:19:54.340 comes to

00:19:55.060 the deeper

00:19:56.380 philosophy of

00:19:57.420 his films.

00:19:58.140 But I

00:19:58.800 think it's

00:19:59.220 also no

00:19:59.820 coincidence,

00:20:01.560 and it's

00:20:02.060 evocative as

00:20:02.660 well,

00:20:02.820 that he,

00:20:03.260 you know,

00:20:04.340 discusses

00:20:05.160 Tannheuser

00:20:06.000 gate,

00:20:07.100 which is,

00:20:07.800 of course,

00:20:08.900 seemingly a

00:20:10.520 reference to

00:20:11.280 the, you

00:20:11.840 know,

00:20:12.000 Wagner's

00:20:13.220 opera,

00:20:14.260 Tannheuser,

00:20:15.300 which is

00:20:15.700 about a

00:20:16.320 pilgrimage,

00:20:17.640 by the way.

00:20:19.220 We could

00:20:19.600 go into that

00:20:21.100 deeper.

00:20:21.540 I'm not sure

00:20:22.180 there's a

00:20:22.500 direct reference,

00:20:23.160 but it is

00:20:23.500 this reference

00:20:24.040 to, you

00:20:24.780 know,

00:20:24.860 a great

00:20:25.520 European past

00:20:27.080 and obviously

00:20:27.880 a composer

00:20:28.860 who's,

00:20:29.960 you know,

00:20:31.240 one of,

00:20:32.520 you know,

00:20:32.680 obviously the

00:20:33.060 greatest artists

00:20:33.640 in European

00:20:34.420 history,

00:20:34.920 but is also

00:20:35.520 one famously

00:20:36.700 beloved by

00:20:37.660 fascist and

00:20:39.620 national socialist

00:20:40.560 and has a

00:20:41.080 kind of,

00:20:41.520 you know,

00:20:41.820 deeply Aryan

00:20:42.580 quality,

00:20:43.100 someone who

00:20:43.380 was himself

00:20:44.180 quite anti-Semitic.

00:20:46.220 Just the fact

00:20:47.200 that Roy Batty

00:20:48.160 says the word

00:20:49.600 Tannheuser

00:20:50.320 does seem,

00:20:51.700 it adds an

00:20:52.460 Aryan-like

00:20:53.480 quality to

00:20:54.220 him if it

00:20:54.660 wasn't there

00:20:55.080 already in

00:20:56.140 his looks

00:20:56.720 and Superman

00:20:58.020 abilities.

00:20:58.960 He's stronger

00:20:59.700 than Deckard,

00:21:00.580 he's faster,

00:21:01.400 he's smarter,

00:21:02.200 he's more

00:21:03.100 ruthless and

00:21:03.900 brutal,

00:21:04.400 but also more

00:21:05.200 compassionate.

00:21:06.600 And whereas

00:21:07.640 Deckard is

00:21:08.400 literally a

00:21:09.320 hired gun,

00:21:11.440 Roy Batty

00:21:12.080 seems to have

00:21:12.760 a greater

00:21:13.860 sense of

00:21:15.140 being his

00:21:16.440 savior and

00:21:17.540 of saying,

00:21:18.460 of not just

00:21:19.740 simply killing

00:21:20.660 him.

00:21:21.840 And he's a

00:21:22.960 childlike figure

00:21:23.940 in a way as

00:21:24.840 well.

00:21:25.180 Like that was,

00:21:26.280 you know,

00:21:26.560 in the acting,

00:21:27.700 in his acting

00:21:28.400 along with

00:21:29.320 also his,

00:21:32.120 I'm forgetting

00:21:32.740 her name at

00:21:33.600 the moment.

00:21:34.700 What was,

00:21:36.520 oh gosh,

00:21:37.240 what is it,

00:21:37.980 Daryl Hannah,

00:21:38.700 what was her

00:21:39.060 character's name?

00:21:39.780 I'm forgetting

00:21:40.100 at the moment.

00:21:40.320 Was it Pris,

00:21:41.480 the first name?

00:21:42.080 Pris, yeah,

00:21:42.460 Pris,

00:21:42.900 which is also

00:21:43.580 an interesting

00:21:44.120 name choice.

00:21:44.760 But they

00:21:46.100 almost were

00:21:46.780 children,

00:21:47.680 the way they

00:21:48.080 would look at

00:21:48.560 each other

00:21:49.060 and make faces

00:21:50.000 and kind of

00:21:50.700 frown and

00:21:51.400 things like

00:21:51.780 that,

00:21:52.040 and pout.

00:21:53.480 So he's

00:21:54.260 both a

00:21:54.580 child,

00:21:55.240 but then

00:21:55.500 he's also

00:21:56.120 a greater,

00:21:57.700 more humane

00:21:58.540 person than

00:21:59.320 Deckard,

00:21:59.720 who is just

00:22:00.240 a cynical

00:22:01.020 hired gun.

00:22:03.520 But,

00:22:04.240 you know,

00:22:04.920 I do,

00:22:05.960 whatever the

00:22:06.740 replicants

00:22:07.240 represented in

00:22:08.380 Philip Dick's

00:22:09.620 novella,

00:22:10.820 it's hard not

00:22:11.880 to see them

00:22:12.540 as Aryan-like

00:22:13.800 figures in

00:22:15.060 Blade Runner,

00:22:16.700 the original

00:22:17.400 Blade Runner,

00:22:18.240 in the sense

00:22:18.800 that they

00:22:19.240 stand out.

00:22:20.340 They're in

00:22:20.520 this Asiatic,

00:22:23.200 you know,

00:22:23.780 decrepit world

00:22:24.720 of ant people,

00:22:25.660 and they

00:22:26.240 stand out

00:22:27.060 as the

00:22:27.520 true,

00:22:28.320 you know,

00:22:29.140 charismatic

00:22:29.620 and beautiful

00:22:31.600 villainous

00:22:32.980 Aryans,

00:22:33.820 you know,

00:22:34.060 within this

00:22:34.520 world.

00:22:34.800 And even

00:22:35.160 Deckard,

00:22:35.700 played by

00:22:35.980 Harrison Ford,

00:22:36.660 is kind

00:22:37.000 of,

00:22:37.800 you know,

00:22:38.260 he's kind

00:22:38.580 of a lesser

00:22:39.220 man.

00:22:40.020 You know,

00:22:40.200 he's far

00:22:41.900 more cynical,

00:22:42.880 he's a

00:22:43.180 drunk,

00:22:43.800 he's,

00:22:45.880 you know,

00:22:46.780 he's very

00:22:48.060 far from

00:22:48.640 being an

00:22:49.100 idealist.

00:22:50.280 He only

00:22:50.840 finds love

00:22:51.620 in robots,

00:22:53.000 you know,

00:22:53.300 he's talented,

00:22:55.880 but kind

00:22:56.280 of a lesser

00:22:56.820 human,

00:22:57.440 whereas Roy

00:22:57.980 Batty and

00:22:58.640 company become

00:23:00.020 supermen,

00:23:01.480 you know,

00:23:01.760 in that sense.

00:23:02.540 And,

00:23:03.340 you know,

00:23:03.620 I don't,

00:23:04.620 I don't quite

00:23:06.780 know what to

00:23:07.320 make of it,

00:23:07.720 but it's worth

00:23:09.180 looking,

00:23:09.840 thinking about

00:23:10.500 this title

00:23:11.940 of the

00:23:12.440 new film,

00:23:13.340 you know,

00:23:13.640 Blade Runner

00:23:14.280 2049,

00:23:15.640 and not

00:23:16.140 a lot of

00:23:16.900 emphasis has

00:23:18.340 been put on

00:23:19.020 that in

00:23:20.900 critical reviews

00:23:22.020 that I've

00:23:22.380 seen.

00:23:23.500 They,

00:23:24.140 I think the

00:23:24.520 title is

00:23:25.100 usually just

00:23:25.600 treated as,

00:23:27.180 oh,

00:23:27.240 well,

00:23:27.500 you know,

00:23:27.660 it's just a

00:23:28.060 futuristic title,

00:23:29.020 like 2001,

00:23:30.620 or,

00:23:30.980 you know,

00:23:31.520 you know,

00:23:33.580 what is it,

00:23:34.380 Death Race

00:23:34.900 2000,

00:23:35.700 or whatever,

00:23:35.980 it's just some,

00:23:36.920 it's just a

00:23:37.780 futuristic number

00:23:39.740 like that,

00:23:40.360 but I'm

00:23:41.140 not so

00:23:41.440 sure.

00:23:43.300 The,

00:23:44.240 you know,

00:23:44.680 2049 is

00:23:46.760 one year

00:23:47.920 below 2050,

00:23:49.960 and 2050

00:23:51.640 has almost

00:23:54.380 always been

00:23:55.340 this magical

00:23:56.380 date that

00:23:57.780 has been,

00:23:59.120 that is seen

00:23:59.760 as the day

00:24:00.460 that whites

00:24:01.100 become a

00:24:01.800 minority in

00:24:02.840 the United

00:24:03.180 States.

00:24:04.440 Actually,

00:24:05.240 with the,

00:24:05.620 with the

00:24:06.180 radical

00:24:06.780 transformation

00:24:07.420 in Western

00:24:08.000 Europe,

00:24:08.340 2050 is

00:24:10.100 also becoming

00:24:10.620 a date as

00:24:11.440 well.

00:24:11.780 I think it's

00:24:12.320 technically now

00:24:13.080 2042 or

00:24:14.420 something when

00:24:14.900 whites will

00:24:15.220 become a

00:24:15.540 minority,

00:24:15.980 but that's

00:24:17.100 not particularly

00:24:18.620 important.

00:24:19.340 It is basically

00:24:20.100 2050 that is

00:24:21.280 seen as

00:24:22.020 the time.

00:24:23.580 That's when

00:24:24.200 everything will

00:24:25.220 change.

00:24:25.700 This was

00:24:25.940 announced by

00:24:26.580 Bill Clinton.

00:24:28.340 There's

00:24:28.860 organizations like

00:24:29.660 Project

00:24:30.300 2050 and all

00:24:31.340 these kinds

00:24:31.740 of things.

00:24:32.900 And the

00:24:33.520 fact that

00:24:34.080 this is

00:24:34.540 occurring at

00:24:35.340 2049 seems

00:24:36.640 to indicate

00:24:37.020 that it's,

00:24:37.440 we're just

00:24:38.640 on the

00:24:39.600 verge of

00:24:40.740 this

00:24:41.160 transformation.

00:24:42.640 This is

00:24:43.120 the year

00:24:43.620 before it

00:24:44.460 all changes.

00:24:46.180 And it

00:24:46.860 is interesting

00:24:47.760 that within

00:24:49.200 the film,

00:24:49.900 one of the

00:24:50.560 key aspects

00:24:52.340 of this

00:24:52.940 is that

00:24:53.620 the replicants

00:24:56.420 are not so

00:24:57.820 much becoming

00:24:58.440 sentient,

00:24:59.540 but becoming

00:25:01.160 aware of

00:25:03.100 themselves as

00:25:03.740 a collective

00:25:04.320 and effectively

00:25:05.460 politically

00:25:06.120 aware.

00:25:08.140 And so

00:25:08.700 this is

00:25:09.900 definitely

00:25:10.120 played up

00:25:10.740 in the

00:25:10.960 film.

00:25:11.300 I think

00:25:12.020 it's a

00:25:12.700 quite explicit

00:25:13.560 theme in

00:25:14.300 the sense

00:25:14.600 that K,

00:25:16.660 the new

00:25:19.660 replicant

00:25:20.400 played by

00:25:21.060 Ryan Gosling,

00:25:22.100 is a good

00:25:23.040 dog.

00:25:23.940 He's literally

00:25:25.660 referred to

00:25:26.480 as such

00:25:27.040 by his

00:25:29.180 overseer,

00:25:31.120 Robin Wright,

00:25:32.200 who says,

00:25:32.780 attaboy.

00:25:34.340 There are

00:25:35.420 other

00:25:35.640 references to

00:25:36.400 dogs,

00:25:37.220 effectively,

00:25:37.840 that he

00:25:38.080 is a

00:25:38.940 retriever

00:25:39.560 who

00:25:39.780 obeys,

00:25:41.760 and so

00:25:42.480 on.

00:25:43.120 But it

00:25:44.400 seems like

00:25:44.760 one of the

00:25:45.020 fundamental

00:25:45.740 themes as

00:25:46.540 the movie

00:25:46.860 progresses is

00:25:47.840 basically

00:25:48.140 replicants

00:25:48.820 becoming

00:25:49.500 self-aware

00:25:50.220 and self-conscious.

00:25:51.760 Not so much

00:25:52.300 self-aware,

00:25:52.820 because they're

00:25:53.080 already self-aware.

00:25:54.200 I think

00:25:54.400 that's also

00:25:55.180 a cliche

00:25:57.300 of techno-futuristic

00:26:00.160 movies.

00:26:00.560 It's become

00:26:01.020 self-aware.

00:26:01.400 It's become

00:26:02.140 self-aware,

00:26:02.760 but it's

00:26:03.120 more than

00:26:03.560 being self-aware.

00:26:04.500 It's that

00:26:04.800 it's conscious

00:26:07.420 of itself

00:26:09.300 as part

00:26:10.160 of a

00:26:10.420 collective,

00:26:11.160 as having

00:26:11.600 a history,

00:26:12.700 as having

00:26:13.240 connections

00:26:13.940 to others,

00:26:15.180 and as

00:26:15.720 having a

00:26:16.560 collective

00:26:17.040 memory.

00:26:18.880 And so

00:26:19.720 there does

00:26:20.600 seem to be

00:26:21.100 this underlying

00:26:21.860 theme in

00:26:22.500 2049 of

00:26:23.820 2050 is going

00:26:25.520 to roll

00:26:25.800 around,

00:26:26.200 and there's

00:26:26.600 going to be

00:26:27.040 a robot

00:26:27.920 revolution.

00:26:28.680 There's going

00:26:28.820 to be a

00:26:29.060 replicant

00:26:29.580 revolt in

00:26:30.560 which this

00:26:31.520 now family

00:26:32.280 of replicants

00:26:33.840 who think

00:26:34.800 of themselves

00:26:35.220 as a people

00:26:36.380 and therefore

00:26:37.180 think of

00:26:37.860 themselves

00:26:38.140 politically.

00:26:39.060 They've been

00:26:39.460 this under

00:26:40.920 underappreciated

00:26:42.460 class of

00:26:44.840 slaves,

00:26:45.540 effectively,

00:26:46.180 and they

00:26:46.720 are going

00:26:47.160 to achieve

00:26:48.000 a political

00:26:49.840 expression.

00:26:51.520 And it's

00:26:52.660 hard not to

00:26:53.360 see that

00:26:53.720 connected to

00:26:54.480 2050.

00:26:54.960 I don't

00:26:56.780 believe that

00:26:57.360 the

00:26:57.500 replicants

00:26:57.960 are just

00:26:58.280 a cheap

00:26:59.200 and easy

00:26:59.780 stand-in

00:27:01.820 for Mexicans

00:27:02.680 or something.

00:27:03.960 There are

00:27:05.540 some lines

00:27:06.060 in here,

00:27:06.480 like all

00:27:07.220 civilizations

00:27:08.420 are built

00:27:09.320 through a

00:27:09.820 slave caste,

00:27:11.020 and that was

00:27:11.980 Neander

00:27:13.360 Wallace's line,

00:27:14.780 we need more

00:27:15.320 slaves,

00:27:15.900 effectively.

00:27:16.340 I don't

00:27:16.740 think it's

00:27:17.040 that simple.

00:27:18.580 But I'm

00:27:19.300 not saying

00:27:19.680 it's not

00:27:20.000 there.

00:27:20.440 I think

00:27:20.640 that's

00:27:20.900 actually

00:27:21.320 a pressing

00:27:22.480 theme

00:27:23.320 that's just

00:27:24.100 on the

00:27:24.620 level of

00:27:25.040 consciousness.

00:27:25.660 I think

00:27:26.020 people

00:27:26.740 watching this

00:27:27.560 film will

00:27:27.980 kind of

00:27:28.260 get it

00:27:28.920 without

00:27:29.320 really

00:27:30.320 articulating

00:27:30.920 it.

00:27:32.100 No,

00:27:32.660 I think

00:27:32.920 that's

00:27:33.440 probably

00:27:33.740 a correct

00:27:34.160 reading.

00:27:34.940 So,

00:27:35.320 in other

00:27:35.720 words,

00:27:35.940 I think

00:27:36.200 that the

00:27:36.660 writers

00:27:37.860 of the

00:27:38.240 film,

00:27:39.320 maybe less

00:27:40.060 so the

00:27:40.380 director,

00:27:40.980 I don't

00:27:41.080 know,

00:27:41.580 the writers

00:27:42.340 of the

00:27:42.620 film were

00:27:42.940 probably

00:27:43.360 keyed in

00:27:44.660 on that

00:27:45.280 date as a

00:27:46.100 significant

00:27:46.460 date for

00:27:47.020 the reasons

00:27:47.400 that you're

00:27:47.780 articulating.

00:27:49.420 So,

00:27:50.040 I think

00:27:50.240 that's

00:27:50.460 absolutely

00:27:50.920 the

00:27:51.120 case.

00:27:51.640 Now,

00:27:51.860 I mean,

00:27:52.060 I don't,

00:27:52.820 I mean,

00:27:53.420 and we'll

00:27:53.900 get into

00:27:54.260 this,

00:27:54.640 but I

00:27:54.940 think it

00:27:55.360 is probably

00:27:56.220 a misreading

00:27:56.680 of the

00:27:56.980 film to

00:27:57.440 see the

00:27:57.920 film as

00:27:59.400 a,

00:28:00.220 you know,

00:28:01.140 a wink

00:28:01.680 to the

00:28:02.000 alt-right,

00:28:02.660 for example.

00:28:03.660 It's like,

00:28:04.060 this is when,

00:28:04.700 you know,

00:28:05.060 whites are

00:28:05.540 going to,

00:28:05.920 you know,

00:28:06.180 take over

00:28:06.840 the society

00:28:07.840 and reestablish

00:28:09.080 themselves as

00:28:09.760 a,

00:28:10.100 you know,

00:28:11.120 identitarian

00:28:11.760 group.

00:28:12.380 I don't think

00:28:13.640 that that message

00:28:14.240 is in there

00:28:14.700 necessarily.

00:28:15.540 I think

00:28:15.860 related messages

00:28:16.820 are in there.

00:28:18.640 Well,

00:28:18.780 let's go

00:28:19.380 there.

00:28:19.760 Let me,

00:28:20.460 maybe just

00:28:21.220 for the

00:28:21.700 sake of

00:28:22.640 being the

00:28:23.520 devil's

00:28:23.940 advocate,

00:28:24.520 let me

00:28:25.060 put forward

00:28:26.020 that reading.

00:28:27.840 All right.

00:28:28.420 So,

00:28:29.500 okay,

00:28:30.680 so in the

00:28:31.180 original Blade Runner,

00:28:32.620 the replicants

00:28:33.840 are actually

00:28:34.680 Aryans.

00:28:36.080 And we,

00:28:37.660 they shouldn't

00:28:38.280 be viewed

00:28:38.880 as,

00:28:40.100 you know,

00:28:40.820 just pathetic

00:28:41.540 little robots

00:28:42.380 like R2-D2.

00:28:43.880 They are

00:28:44.900 better than

00:28:45.760 human.

00:28:46.520 They should

00:28:47.060 not be

00:28:47.840 also

00:28:48.380 dismissed

00:28:49.660 as mere

00:28:50.580 robots.

00:28:51.900 They

00:28:52.020 aren't

00:28:52.380 robots,

00:28:52.980 in fact.

00:28:53.500 This is

00:28:53.980 another

00:28:54.360 unique

00:28:54.900 thing

00:28:55.220 about

00:28:55.420 Blade Runner,

00:28:56.140 which,

00:28:57.200 to its

00:28:57.880 credit,

00:28:58.300 it has

00:28:58.820 a real

00:28:59.340 original

00:29:00.000 conception

00:29:00.600 of the

00:29:01.680 replicant.

00:29:02.160 In other

00:29:03.100 films,

00:29:04.480 like the

00:29:05.240 Terminator,

00:29:07.000 replicants

00:29:07.740 are,

00:29:07.980 you know,

00:29:09.300 steel

00:29:09.800 skeletons

00:29:10.320 with rubber

00:29:11.400 skin,

00:29:12.300 or maybe

00:29:12.660 organic skin.

00:29:14.200 And even

00:29:14.980 in a film

00:29:15.280 like AI,

00:29:17.120 you know,

00:29:17.420 the David

00:29:17.780 figure,

00:29:18.120 you can

00:29:18.340 open him

00:29:18.880 up and,

00:29:19.680 you know,

00:29:19.880 he has,

00:29:20.280 you can

00:29:20.460 change his

00:29:20.880 oil,

00:29:21.400 you know,

00:29:21.760 not literally,

00:29:22.700 you know,

00:29:22.920 effectively,

00:29:23.440 he has a

00:29:24.120 chip in his

00:29:24.680 head,

00:29:25.020 you know,

00:29:25.140 he's more

00:29:25.860 obviously a

00:29:26.960 robot.

00:29:28.300 The replicants

00:29:29.460 of the Blade

00:29:30.920 Runner universe

00:29:31.380 are much less

00:29:32.360 obviously robots.

00:29:33.240 I mean,

00:29:33.340 they've been

00:29:33.740 genetically

00:29:34.340 engineered,

00:29:35.480 and so

00:29:35.980 you can't

00:29:38.180 really tell

00:29:38.680 the difference.

00:29:39.960 That's why

00:29:40.500 you have to

00:29:40.920 engage in all

00:29:41.500 these elaborate

00:29:42.160 testing techniques,

00:29:43.620 the Voight-Comp

00:29:44.280 test,

00:29:45.280 in the sense

00:29:45.820 that they've

00:29:46.600 had all their

00:29:48.160 little parts

00:29:49.040 created,

00:29:50.160 subcontracted

00:29:50.980 out.

00:29:51.480 It's actually

00:29:51.900 probably an

00:29:52.480 accurate vision

00:29:53.300 of what a

00:29:54.040 replicant making

00:29:54.700 would look like.

00:29:55.720 There are

00:29:55.960 thousands of

00:29:56.700 subcontractors

00:29:57.600 who will create

00:29:58.080 organs and so

00:29:59.060 on.

00:29:59.300 It will all

00:29:59.600 be put together

00:30:00.460 by a super

00:30:01.800 corporation

00:30:02.480 and genetically

00:30:04.140 engineered,

00:30:04.880 so it is a

00:30:05.460 living being.

00:30:06.660 It does not

00:30:07.320 have a steel

00:30:08.180 skeleton or

00:30:09.540 something like

00:30:09.980 that and a

00:30:10.440 microchip in

00:30:11.020 its brain.

00:30:11.420 It has

00:30:11.800 actual organs.

00:30:13.200 It bleeds.

00:30:16.040 It has

00:30:17.320 emotions.

00:30:18.280 It can't

00:30:19.100 help but

00:30:19.640 have that.

00:30:20.080 It's been

00:30:20.340 genetically

00:30:20.800 engineered,

00:30:21.300 so it is a

00:30:21.780 clone of a

00:30:22.480 human being.

00:30:23.700 It is not

00:30:24.520 just some

00:30:25.580 discardable

00:30:26.480 robot.

00:30:28.900 You have

00:30:31.720 this figure.

00:30:32.380 They are

00:30:32.720 more human

00:30:33.400 than human.

00:30:33.920 They are

00:30:34.160 super men.

00:30:35.120 and so in

00:30:36.960 this ant-like

00:30:37.780 world of

00:30:38.620 Asiatic

00:30:39.660 world, you

00:30:40.180 have these

00:30:40.620 blonde-haired

00:30:41.720 Aryans walking

00:30:43.000 around who

00:30:43.620 are better

00:30:44.200 than the rest

00:30:44.800 of humanity

00:30:45.420 and they

00:30:46.620 want to

00:30:47.300 achieve

00:30:47.680 consciousness

00:30:48.180 and recognition.

00:30:48.940 And then

00:30:50.680 in Blade Runner

00:30:52.900 2049, if we

00:30:54.500 extend this

00:30:55.500 interpretation,

00:30:57.460 effectively, this

00:30:59.920 group of people

00:31:00.880 that are better

00:31:01.720 than humans.

00:31:04.580 And so

00:31:04.860 these people

00:31:07.160 who are supermen

00:31:08.900 are treated

00:31:09.680 like golden

00:31:11.000 retrievers.

00:31:11.720 And so

00:31:13.840 the process

00:31:14.920 that takes

00:31:15.380 place in

00:31:15.880 Blade Runner

00:31:16.320 2049 is

00:31:18.340 that they

00:31:20.480 achieve

00:31:21.740 consciousness

00:31:22.420 through memory.

00:31:24.280 And even

00:31:25.820 if these

00:31:26.720 memories are

00:31:28.000 synthetic,

00:31:29.320 even if they've

00:31:29.960 been implanted,

00:31:30.960 even if they've

00:31:31.420 been generated

00:31:32.520 by someone

00:31:33.680 else, that

00:31:34.660 doesn't make

00:31:35.420 them any

00:31:36.180 less real.

00:31:37.800 And so

00:31:38.100 one of the

00:31:38.860 turning points

00:31:39.500 of the film

00:31:40.020 is that Kay

00:31:41.120 or Joe,

00:31:42.520 he begins

00:31:43.520 to think

00:31:43.940 that his

00:31:44.340 memories are

00:31:44.940 actually real

00:31:45.640 and that he

00:31:46.240 might be the

00:31:46.780 one.

00:31:47.140 He might be

00:31:47.600 this miracle

00:31:48.860 child who

00:31:49.780 was born

00:31:50.800 of a

00:31:51.180 replicant.

00:31:52.620 And he

00:31:53.800 discovers that

00:31:54.620 he wasn't,

00:31:55.200 that it was

00:31:55.680 actually a

00:31:56.680 daughter.

00:31:58.200 And that,

00:31:59.000 in fact,

00:31:59.440 what's happening

00:31:59.940 is that she's

00:32:00.780 been creating

00:32:01.560 these memories

00:32:02.320 that she's

00:32:02.820 implanting in

00:32:03.720 all of these

00:32:04.460 replicants,

00:32:05.060 millions of

00:32:05.560 them,

00:32:05.760 effectively.

00:32:06.980 And that

00:32:07.320 they are

00:32:08.380 going to,

00:32:09.800 through this

00:32:10.820 collective

00:32:11.760 myth of

00:32:13.200 a miracle

00:32:14.300 birth,

00:32:15.260 through their

00:32:15.740 collective

00:32:16.320 consciousness,

00:32:17.180 which they

00:32:17.520 develop through

00:32:18.140 memory,

00:32:18.800 and through

00:32:19.300 that miracle

00:32:20.020 of someone

00:32:20.800 actually being

00:32:21.580 born.

00:32:22.260 That these

00:32:22.680 people aren't

00:32:23.220 just created

00:32:23.900 slaves,

00:32:24.780 that they

00:32:25.020 are born

00:32:26.860 symbolically

00:32:28.440 through her.

00:32:29.700 That they

00:32:30.140 have a

00:32:30.500 Christ figure,

00:32:31.320 they have a

00:32:31.840 collective memory,

00:32:33.080 a collective

00:32:33.480 story that

00:32:34.440 they're all

00:32:34.720 a part of,

00:32:35.860 and that they

00:32:36.940 can now become

00:32:37.780 a people.

00:32:38.420 They are being

00:32:38.900 recognized.

00:32:40.540 And so,

00:32:41.920 again,

00:32:42.780 using this

00:32:43.360 argument,

00:32:43.860 which I think

00:32:44.580 does have a

00:32:45.240 lot of truth

00:32:45.700 to it,

00:32:46.560 that this is

00:32:47.060 an alt-right

00:32:47.660 film in the

00:32:48.380 sense that

00:32:49.080 it shows

00:32:51.480 these supermen,

00:32:52.720 these Aryan

00:32:53.840 whites,

00:32:56.700 having a story,

00:32:59.380 having meaning

00:33:00.000 to their life,

00:33:00.880 and then being

00:33:01.640 on the verge

00:33:02.640 of a revolution

00:33:03.800 in which they

00:33:05.020 will rule,

00:33:05.640 because they're

00:33:06.940 better.

00:33:08.400 And so,

00:33:09.240 that is,

00:33:09.800 again,

00:33:10.520 that is my

00:33:11.160 provocative

00:33:11.740 reading.

00:33:12.320 I think that

00:33:13.140 there is

00:33:13.960 actually a

00:33:14.660 lot of

00:33:15.460 basis to

00:33:16.320 that.

00:33:16.600 I don't

00:33:16.840 think that's

00:33:17.700 what the

00:33:18.240 writers were

00:33:19.820 setting out

00:33:21.160 to go

00:33:21.520 after,

00:33:22.440 but there

00:33:23.340 are reasons

00:33:24.440 to believe

00:33:25.100 that.

00:33:25.540 Even if

00:33:26.000 this were

00:33:26.520 meant for,

00:33:28.080 say,

00:33:28.280 like,

00:33:28.900 this is an

00:33:29.380 Hispanic myth

00:33:30.380 about the

00:33:31.060 illegal immigrant

00:33:32.060 laborers being,

00:33:33.460 one day they

00:33:34.200 will become a

00:33:34.800 people or

00:33:35.280 something.

00:33:35.980 Even if you

00:33:36.520 want to say

00:33:36.900 that,

00:33:37.540 that doesn't

00:33:38.040 mean that we

00:33:38.760 can't see it

00:33:39.720 through our

00:33:40.220 eyes and

00:33:40.820 kind of see

00:33:41.300 ourselves in

00:33:41.960 it.

00:33:42.320 So,

00:33:43.000 yes,

00:33:43.740 that is my

00:33:44.940 provocative

00:33:49.280 interpretation of

00:33:51.080 Blade Runner

00:33:51.920 2049,

00:33:53.040 a myth for

00:33:53.620 the alt-right.

00:33:55.360 Look,

00:33:55.920 I think that

00:33:56.460 that reading

00:33:57.140 is a very

00:33:58.880 understandable

00:33:59.520 reading.

00:34:00.400 I think that

00:34:01.200 the identity,

00:34:02.480 I think that

00:34:02.860 really the

00:34:03.280 whole meaning

00:34:04.500 of the film

00:34:05.140 obviously hinges

00:34:06.040 on the

00:34:06.480 identity of

00:34:08.080 the androids

00:34:09.920 to the extent

00:34:10.380 that it can

00:34:10.680 be determined.

00:34:12.880 You know,

00:34:13.040 in the first

00:34:13.480 book,

00:34:14.240 rather in the

00:34:14.960 book that

00:34:15.420 Philip K.

00:34:16.280 Dick wrote,

00:34:18.480 it does seem

00:34:19.500 that they were

00:34:19.980 intended as

00:34:20.560 these kind of

00:34:20.920 Semitic figures.

00:34:22.340 I think that

00:34:22.880 that is

00:34:23.200 established in

00:34:23.840 the book.

00:34:25.700 And they're

00:34:26.700 also contrasted

00:34:27.600 in the book,

00:34:28.600 they're contrasted,

00:34:29.520 the androids are

00:34:30.180 contrasted with a

00:34:30.880 religion that

00:34:32.300 that resembles

00:34:33.160 Christianity in

00:34:34.540 some sort of

00:34:35.120 vague way.

00:34:35.740 I think very

00:34:36.540 imperfectly.

00:34:37.320 I don't think

00:34:37.920 that the

00:34:38.240 metaphor,

00:34:39.440 it's kind of

00:34:39.760 an imperfect

00:34:41.240 metaphor that

00:34:42.180 Philip K.

00:34:42.740 Dick develops

00:34:43.460 in the book.

00:34:45.080 But there's a

00:34:46.040 Mercer figure who

00:34:47.080 is a Christ-like

00:34:48.300 figure in the

00:34:50.600 book, and he's

00:34:51.300 especially, he's

00:34:52.900 especially kind of

00:34:53.640 the patron saint

00:34:54.460 of these specials,

00:34:56.680 these kind of,

00:34:57.400 these people who

00:34:58.660 have been made

00:34:59.300 less intelligent

00:35:00.040 by a radiation

00:35:01.720 infected earth.

00:35:03.560 And so he

00:35:04.780 kind of is

00:35:05.880 the, similar

00:35:06.820 to Christ, he's

00:35:07.600 kind of this

00:35:08.160 like hero of

00:35:09.080 the rabble,

00:35:09.820 right?

00:35:10.660 And he's

00:35:12.300 contrasted with

00:35:14.240 these androids

00:35:16.780 that are

00:35:17.500 Semitic figures

00:35:19.200 effectively, or

00:35:20.280 appear to be

00:35:20.760 Semitic figures.

00:35:22.080 The Tyrell

00:35:22.940 Corporation there

00:35:23.980 is called the

00:35:24.660 Rosen Corporation.

00:35:27.240 And, you know,

00:35:28.060 one of the

00:35:28.460 primary figures,

00:35:29.820 the love

00:35:31.840 interest, as in

00:35:32.600 the film, her

00:35:33.140 first name is

00:35:33.720 Rachel, so it's

00:35:34.460 Rachel Rosen.

00:35:36.160 She's named

00:35:37.060 after the

00:35:37.560 corporation.

00:35:39.460 And, I mean,

00:35:40.720 it seems pretty

00:35:41.200 obvious that

00:35:41.920 Ridley Scott

00:35:43.960 wanted to

00:35:44.760 invert that.

00:35:45.520 He wanted to

00:35:45.960 change the

00:35:46.620 identity of

00:35:48.680 the replicants

00:35:49.600 because he

00:35:50.160 didn't want

00:35:50.880 there to be an

00:35:51.360 anti-Semitic

00:35:52.040 reading of the

00:35:53.280 film.

00:35:53.880 So he made

00:35:55.100 it the Tyrell

00:35:55.820 Corporation, you

00:35:57.760 know, very

00:35:58.100 kind of

00:35:58.660 waspy or

00:35:59.360 Aryan-sounding

00:36:00.040 name.

00:36:01.460 And so the

00:36:03.260 whole meaning,

00:36:04.560 you know, from

00:36:05.340 the book to the

00:36:06.640 first film is

00:36:07.280 inverted, right?

00:36:08.640 So in other

00:36:09.200 words, whereas

00:36:10.280 it's similar to

00:36:11.520 AI, you have

00:36:12.800 Jews, or you

00:36:14.800 have robots as a

00:36:15.600 metaphor for Jews.

00:36:16.720 In the first

00:36:17.340 book, it appears

00:36:18.300 that androids are

00:36:19.440 this kind of

00:36:21.380 metaphor for

00:36:22.620 Jews, you know,

00:36:23.840 including their

00:36:24.440 powers of

00:36:25.440 crypsis, right?

00:36:26.160 They blend in

00:36:26.820 with humanity.

00:36:29.240 Now that

00:36:29.820 changes, and

00:36:31.540 because I think

00:36:33.300 Ridley Scott

00:36:33.740 probably was

00:36:34.400 afraid of

00:36:35.060 making the

00:36:35.980 film seem

00:36:36.380 anti-Semitic in

00:36:37.580 any way.

00:36:38.180 So he kind of

00:36:38.800 goes in the

00:36:39.180 other direction.

00:36:39.860 He basically

00:36:40.500 turns it from

00:36:41.600 AI into the

00:36:43.420 Terminator, at

00:36:44.320 least thematically,

00:36:46.020 right?

00:36:46.320 I mean, obviously

00:36:47.160 all three films are

00:36:48.820 very different,

00:36:49.540 with, you know,

00:36:51.440 Blade Runner

00:36:51.860 aesthetically being

00:36:52.740 the best of the

00:36:53.280 three films.

00:36:54.040 But, so he, it

00:36:56.540 basically becomes,

00:36:57.640 they become sort

00:36:59.180 of these Aryan

00:36:59.900 figures.

00:37:00.640 Or, it's mixed

00:37:02.280 though.

00:37:02.560 Even in that

00:37:03.160 film, it's kind

00:37:03.780 of mixed.

00:37:05.000 Because the, you

00:37:07.660 know, Rutger

00:37:08.940 Howard is clearly

00:37:10.020 this kind of

00:37:10.560 Aryan, Mars-like

00:37:11.900 figure.

00:37:12.460 He's a, I think

00:37:13.440 he's designed as

00:37:14.200 kind of like a

00:37:14.680 battle unit.

00:37:15.320 He's a war

00:37:15.860 unit, right?

00:37:17.200 And, but the

00:37:18.500 films are, in

00:37:20.040 the film, the

00:37:20.840 androids have

00:37:21.520 different functions.

00:37:22.880 One is this

00:37:23.700 pleasure unit,

00:37:24.720 right?

00:37:24.980 The Daryl

00:37:25.600 Hannah character

00:37:26.300 is a prostitute

00:37:28.080 effectively.

00:37:28.600 She's been

00:37:28.900 designed as a

00:37:29.880 waifu.

00:37:31.860 And then there's

00:37:32.760 Rachel, who

00:37:33.920 is this kind

00:37:34.520 of dark,

00:37:35.740 Semitic, still

00:37:36.520 kind of a

00:37:37.100 Semitic figure,

00:37:37.900 even though she's

00:37:38.500 Rachel Tyrell

00:37:39.280 now.

00:37:40.000 I mean, she's

00:37:40.620 not necessarily

00:37:41.980 an Aryan

00:37:42.600 figure.

00:37:42.960 She has this

00:37:43.520 kind of, you

00:37:44.720 know, this

00:37:45.000 sort of social

00:37:45.540 dimension,

00:37:47.440 whatever.

00:37:47.840 So it's kind

00:37:48.320 of a mixed.

00:37:49.400 In other words,

00:37:50.140 her name,

00:37:50.900 Rachel,

00:37:51.520 and then

00:37:51.940 her look

00:37:52.940 with the,

00:37:53.620 you know,

00:37:54.440 raven hair.

00:37:55.920 And so I

00:37:56.480 would agree

00:37:57.220 she is by

00:37:58.420 no means a

00:37:59.680 obvious Aryan

00:38:01.020 type, even

00:38:01.980 though the

00:38:02.300 actress herself

00:38:03.260 is not

00:38:05.200 Jewish, at

00:38:06.060 least to my

00:38:06.540 knowledge.

00:38:07.260 Just her

00:38:07.820 look and

00:38:08.840 everything about

00:38:09.460 her, it

00:38:11.260 does indicate a

00:38:13.400 certain kind of

00:38:13.940 Semitic look.

00:38:15.980 Yeah, and

00:38:16.420 ostensibly she's

00:38:17.440 kind of this

00:38:18.020 Queen Esther,

00:38:21.260 right?

00:38:21.580 Yeah.

00:38:22.020 Or Dinah,

00:38:24.140 who is another

00:38:24.780 figure in the

00:38:25.300 Bible, who

00:38:25.800 plays a kind

00:38:26.640 of similar

00:38:26.960 role vis-a-vis

00:38:28.780 these Aryan

00:38:29.820 tribes.

00:38:31.600 So what I

00:38:34.400 would say is

00:38:35.060 that Ridley

00:38:36.940 Scott's vision

00:38:37.680 is kind of a

00:38:38.400 more muddled

00:38:39.420 vision.

00:38:40.620 Not entirely

00:38:41.720 muddled.

00:38:42.060 I mean, I

00:38:42.460 think that

00:38:42.740 generally they

00:38:44.760 come off as

00:38:45.620 these sort of

00:38:45.980 Aryan superman

00:38:47.180 figures.

00:38:47.640 I think that

00:38:47.900 that's generally

00:38:48.400 true.

00:38:49.300 I mean, they're

00:38:49.600 all Caucasian,

00:38:50.500 certainly.

00:38:51.680 And Rutger

00:38:53.040 Hauer is clearly

00:38:53.900 this sort of

00:38:54.840 Aryan figure,

00:38:55.680 right?

00:38:57.420 And so what I

00:38:58.880 would say is

00:38:59.600 that, and I

00:39:00.800 think a lot of

00:39:01.340 that is due

00:39:01.820 to, you know,

00:39:03.240 I think that

00:39:03.580 there probably

00:39:04.140 was, I

00:39:05.220 wouldn't even

00:39:05.560 necessarily call

00:39:06.260 it a racial

00:39:06.740 consciousness in

00:39:07.780 Philip K.

00:39:08.800 Dick's work,

00:39:09.560 but there is

00:39:10.200 this sort of

00:39:10.520 religious

00:39:10.860 consciousness,

00:39:11.780 right?

00:39:12.880 I would argue

00:39:13.900 kind of an

00:39:14.340 incote a

00:39:15.280 religious

00:39:15.580 consciousness.

00:39:17.580 And I

00:39:18.220 mean, one of

00:39:18.620 the flaws

00:39:19.480 with that

00:39:20.280 book is that

00:39:20.920 Mercer, who

00:39:22.080 is the

00:39:22.360 Christ figure,

00:39:23.020 is not also

00:39:23.700 a replicant

00:39:24.380 because we

00:39:25.020 remember that

00:39:25.840 Jesus was a

00:39:26.480 Jew, right?

00:39:27.700 And so,

00:39:29.560 unless he is,

00:39:30.460 I mean, it

00:39:30.900 does actually

00:39:31.540 turn out that

00:39:32.080 Mercer is a

00:39:33.400 fabrication, so

00:39:34.220 maybe that

00:39:34.820 is, you

00:39:35.560 know, maybe

00:39:36.360 that theme

00:39:36.800 sort of exists

00:39:37.520 in a kind

00:39:38.000 of obtruse

00:39:40.560 way in that

00:39:41.620 book.

00:39:42.460 But regardless,

00:39:43.820 there's a

00:39:44.160 clearer sense

00:39:45.380 in that book

00:39:46.180 of who's

00:39:47.000 who, right?

00:39:47.960 There's a

00:39:48.680 clearer sense

00:39:49.660 of identity

00:39:50.140 from the

00:39:50.940 writer's

00:39:51.340 perspective,

00:39:52.520 who, you

00:39:53.040 know, maybe

00:39:53.440 the guy,

00:39:54.480 Philip K.

00:39:54.920 Dick, was

00:39:55.240 kind of this

00:39:55.800 drug addict

00:39:56.800 who, I

00:39:57.700 think, you

00:39:58.280 know, I

00:39:58.480 mean, the

00:39:58.860 guy obviously

00:39:59.360 was a very

00:39:59.740 good writer,

00:40:00.380 so I don't

00:40:00.880 mean to be

00:40:01.220 too critical

00:40:01.600 of him,

00:40:02.300 but he, I

00:40:03.420 guess he did

00:40:04.120 have, for a

00:40:05.180 period of his

00:40:05.600 life, he had

00:40:06.060 this delusion

00:40:06.680 that he

00:40:07.080 had become

00:40:08.060 the prophet

00:40:08.800 Elijah, who

00:40:11.100 I'm not

00:40:12.380 closely familiar

00:40:13.420 with that

00:40:13.760 character, but

00:40:14.280 if he, if it's

00:40:15.600 a biblical

00:40:15.900 type, I get

00:40:16.800 the idea, he's

00:40:17.880 sort of the, you

00:40:18.360 know, prophet

00:40:18.820 figure.

00:40:19.680 And so he, I

00:40:23.740 get, he might

00:40:24.360 have been into

00:40:24.880 Gnosticism, which

00:40:26.040 seems to be, which

00:40:27.240 seems to be a

00:40:28.080 completely valid

00:40:29.040 reading of the

00:40:30.580 first book, but

00:40:32.180 he at least

00:40:33.600 has some kind

00:40:34.860 of in-coat

00:40:35.460 identity that's

00:40:37.320 a religious

00:40:37.720 identity,

00:40:38.340 effectively.

00:40:39.440 And in the, in

00:40:40.380 the book, I

00:40:41.440 mean, it's

00:40:41.660 probably, I'm

00:40:42.160 sure it's one

00:40:42.620 of the compelling,

00:40:43.400 one of the

00:40:43.880 reasons the

00:40:44.320 book was

00:40:44.640 compelling, that

00:40:45.140 people were

00:40:45.400 like, ah, this

00:40:46.220 has subversive

00:40:47.080 themes, I like

00:40:48.100 this book.

00:40:48.980 You know what

00:40:49.220 I mean?

00:40:49.360 Similar, actually,

00:40:50.940 but by more of

00:40:52.260 an accident to

00:40:53.520 the film, which

00:40:54.120 also contained

00:40:55.000 kind of accidentally

00:40:56.100 in some ways

00:40:57.000 these subversive

00:40:57.680 themes.

00:40:59.960 I think the

00:41:00.760 Philip K.

00:41:01.320 book dick, or

00:41:03.300 rather the

00:41:03.640 Philip K.

00:41:04.680 Dick book.

00:41:06.520 Geez, that

00:41:07.340 sounded profane,

00:41:08.380 even though it

00:41:08.760 wasn't officially.

00:41:11.340 Well, hold on.

00:41:12.900 Before we go

00:41:13.680 even any further

00:41:14.820 with this, just

00:41:16.380 give, give our

00:41:18.140 listeners a

00:41:19.140 synopsis of the

00:41:20.320 original book in

00:41:21.280 a nutshell, just

00:41:23.260 so that, I'm

00:41:24.020 sure many of

00:41:24.820 them, probably

00:41:25.700 most of them

00:41:26.280 haven't read it

00:41:27.000 or even read

00:41:27.780 any dick at

00:41:28.740 all, so.

00:41:29.620 All right, well,

00:41:30.240 I'm going to

00:41:30.800 omit elements,

00:41:32.160 and I'll cleave to

00:41:34.000 sort of the

00:41:34.500 relevant elements

00:41:35.920 that are, you

00:41:37.020 know, that

00:41:37.260 contrast it from

00:41:38.800 the film in

00:41:39.960 sort of the

00:41:40.300 dimension that

00:41:40.880 we're discussing,

00:41:41.780 right, rather

00:41:42.220 than giving it.

00:41:43.360 But, you know,

00:41:44.000 effectively, generally,

00:41:45.540 the setting is the

00:41:46.620 same, right?

00:41:48.940 You know,

00:41:49.960 Decker is a, I

00:41:51.580 believe that's also

00:41:52.200 his name, yeah, it

00:41:53.380 is, also his name

00:41:55.160 in the book is a

00:41:56.520 replicant, and he,

00:41:58.600 no, he's not a

00:41:59.360 replicant, sorry,

00:42:00.360 that's, he's a man,

00:42:02.260 and he actually even

00:42:03.260 takes the test to

00:42:04.240 determine that he is

00:42:04.920 a man.

00:42:05.900 But he's one of

00:42:06.740 these people that

00:42:07.260 haven't migrated from

00:42:08.740 Earth, right?

00:42:09.360 See, Earth has

00:42:10.400 become an

00:42:12.320 irradiated

00:42:14.400 environment.

00:42:15.560 So, ostensibly,

00:42:18.220 it's no longer

00:42:19.820 inhabitable, but

00:42:22.100 people remain, and,

00:42:23.940 you know, as in

00:42:25.740 the film, they're

00:42:26.200 being encouraged to

00:42:27.220 move to these

00:42:28.660 colonies.

00:42:31.220 So, as a

00:42:32.500 consequence, people

00:42:33.540 in this world, some

00:42:35.300 of them develop into

00:42:36.120 what are called

00:42:36.560 specials.

00:42:37.280 They've, they've

00:42:38.680 basically been

00:42:39.280 mutated in,

00:42:40.400 in, in bad

00:42:42.900 ways, they're,

00:42:43.900 they're less

00:42:44.280 intelligent, right,

00:42:45.120 effectively.

00:42:46.160 And, uh, Decker

00:42:47.480 remains, and it's

00:42:48.600 unclear in the book

00:42:49.580 why he remains, but

00:42:50.680 I think it's just

00:42:51.200 because the guy's

00:42:51.840 attached through

00:42:52.980 some kind of

00:42:53.480 nostalgia.

00:42:54.160 Maybe it's

00:42:54.720 implied, uh, you

00:42:56.100 know, he himself

00:42:56.780 is becoming, uh,

00:42:57.980 irradiated, or

00:42:58.820 he's, you know, um,

00:43:01.120 in any case, he

00:43:02.000 remains, uh, on

00:43:03.360 Earth.

00:43:03.960 Uh, he, he is

00:43:05.740 also a Blade Runner,

00:43:06.660 though they don't

00:43:07.040 refer to it as a

00:43:07.800 Blade Runner in the

00:43:08.400 book.

00:43:08.680 And, um, he, uh,

00:43:12.480 is tasked with the

00:43:13.680 same job, right?

00:43:15.160 He's retiring a

00:43:16.520 replicant.

00:43:17.020 That's his job.

00:43:17.900 And he, he, he

00:43:18.760 works as this kind

00:43:19.400 of free, uh,

00:43:20.220 freelancer because,

00:43:21.140 so he has to kill a

00:43:22.560 certain number of

00:43:23.400 replicants to kind

00:43:24.080 of support his

00:43:24.620 lifestyle.

00:43:25.680 Um, uh, Mercer is

00:43:28.020 a figure in the

00:43:29.120 world, uh, who is

00:43:30.800 a, um, a, a, again,

00:43:33.040 a Christ-like figure,

00:43:34.140 um, who is this

00:43:36.220 patron saint of the

00:43:37.780 specials, effectively.

00:43:39.400 Um, and he, what

00:43:41.380 happens in the book

00:43:42.640 is that people are

00:43:43.380 able to kind of

00:43:43.980 commune collectively

00:43:45.000 with, um, uh, Mercer.

00:43:47.420 Um, I think it's,

00:43:48.320 they're called

00:43:48.720 empathy box.

00:43:49.640 They hold, they hold

00:43:50.440 onto these empathy

00:43:51.580 boxes and they all

00:43:53.260 are, are transported

00:43:54.720 into the mind of, uh,

00:43:55.920 in the mind of Mercer,

00:43:57.260 who, again, is this

00:43:57.980 Christ-like figure.

00:43:58.740 And, uh, and the

00:44:01.600 experience, uh,

00:44:02.760 specifically that they

00:44:03.780 relive of Mercer's

00:44:04.900 life is him, like,

00:44:05.800 ascending this hill as

00:44:07.720 rocks are being thrown

00:44:08.780 down at him.

00:44:09.480 It's, I mean, it's,

00:44:10.220 it's in some way

00:44:11.760 similar to, you know,

00:44:12.960 the Stations of the

00:44:13.740 Cross, for example,

00:44:14.900 right?

00:44:15.500 The, the guy is

00:44:16.420 suffering this abuse.

00:44:18.380 Um, and it's, it's

00:44:20.400 also implied in the

00:44:21.660 film, uh, that, um,

00:44:24.840 or rather it's implied

00:44:25.860 in the book that, uh,

00:44:27.560 the, sort of the, the

00:44:28.700 the people somewhat

00:44:30.720 again, somewhat, uh,

00:44:32.860 sort of vaguely

00:44:33.780 implied in, in the

00:44:34.920 book that, uh, the

00:44:36.760 adversaries are these

00:44:38.440 androids, effectively,

00:44:40.080 right?

00:44:40.900 Um, so it, it draws a

00:44:42.760 contrast between a

00:44:43.700 Christ-like figure and

00:44:45.620 a, uh, these androids

00:44:47.500 who are effectively

00:44:49.120 Jews, um,

00:44:52.220 ostensibly at least.

00:44:53.320 Um, and I, I mean,

00:44:54.220 I think that that's,

00:44:55.400 that we can, we can

00:44:57.140 say that that, that

00:44:58.520 is a theme in that

00:44:59.280 book.

00:45:00.200 Um, so it's inverted

00:45:01.780 again by Ridley

00:45:03.000 Scott.

00:45:03.600 Um, whereas the

00:45:04.800 androids were, in the

00:45:06.140 book were Jews, they

00:45:07.300 become almost kind of,

00:45:10.100 by accident to some

00:45:11.680 extent or by

00:45:12.520 happenstance, they

00:45:13.340 become Aryan.

00:45:14.200 Though, again, I think

00:45:15.060 it was somewhat

00:45:15.780 deliberate because I

00:45:16.780 think that Ridley

00:45:17.480 Scott was probably

00:45:19.560 trying, he didn't want

00:45:20.680 to, uh, have, uh, an

00:45:22.760 anti-Semitic depiction.

00:45:23.740 So he made them

00:45:25.200 especially Rutger

00:45:26.580 Hauer, he made him

00:45:27.300 kind of this uber

00:45:28.040 Aryan, right?

00:45:29.820 And Ridley Scott is

00:45:30.940 himself an Aryan

00:45:32.400 figure within Hollywood,

00:45:33.940 you could say.

00:45:35.080 Like his, his films are

00:45:38.160 sometimes dystopic and,

00:45:41.180 and very leery of, of

00:45:44.340 corporate power and so

00:45:45.740 on.

00:45:45.900 Like Alien is certainly

00:45:46.960 that way and, and, and

00:45:48.420 Blade Runner and other,

00:45:49.380 and other things.

00:45:50.120 But he also clearly

00:45:51.980 has a, a, a love of

00:45:53.900 the badass.

00:45:55.120 You know, this is the

00:45:55.900 guy who made Black

00:45:56.780 Hawk Down and even,

00:45:58.500 even some, even films

00:46:00.960 that have a lot of PC

00:46:02.040 elements like Kingdom

00:46:03.560 of Heaven or something

00:46:04.580 are, are, are, are

00:46:05.900 still kind of glorifying

00:46:07.560 knightly badassery, uh,

00:46:11.600 you know, in its way.

00:46:12.580 I, I think he probably

00:46:13.500 couldn't help himself.

00:46:14.980 You know, he's, he, he

00:46:16.880 wants to, he, he, he

00:46:19.760 gravitates more towards

00:46:21.520 that Aryan Mars-like

00:46:23.800 knightly figure, um,

00:46:26.300 than, than, than doing

00:46:28.320 a, a, a, a depiction

00:46:30.320 of, you know, of something

00:46:32.320 far more complicated,

00:46:33.440 which is, you know,

00:46:34.780 Jewish crypsis and, and,

00:46:37.100 and so on.

00:46:38.420 Yeah.

00:46:38.540 And he's a visual

00:46:39.440 stylist, right?

00:46:40.460 Which is kind of, and

00:46:42.280 this is sort of a

00:46:43.040 characteristic.

00:46:43.800 This is also Aryan.

00:46:45.020 Yeah.

00:46:45.300 It's kind of a, that's

00:46:46.220 an Aryan director, right?

00:46:47.600 We think of Christopher

00:46:48.360 Nolan, we think of

00:46:49.780 Ridley Scott, we think

00:46:51.060 of, uh, Michael Mann,

00:46:52.400 who I think is, I, I

00:46:54.200 don't like Michael Mann

00:46:55.680 as a filmmaker, but he's

00:46:57.120 a visual stylist, but

00:46:58.860 he's also very shallow,

00:47:00.840 right?

00:47:01.400 Now, the Jewish

00:47:02.280 filmmaker is kind of an

00:47:03.940 opposite type.

00:47:04.920 He, he is not

00:47:06.240 necessarily a visual

00:47:07.080 stylist, but he deeply

00:47:08.540 encodes his works with

00:47:10.340 symbols, right?

00:47:11.880 And so, and so I think

00:47:14.300 that that, we can see

00:47:15.680 that difference between

00:47:16.520 Aryan and Jewish

00:47:17.400 filmmakers.

00:47:17.840 And I think that that

00:47:18.600 is just, you can see

00:47:19.640 that, you know, across,

00:47:21.260 uh, a kind of a broad

00:47:22.560 survey of many

00:47:23.460 filmmakers, Jewish or

00:47:24.940 Aryan.

00:47:25.660 And what I would say is

00:47:27.580 that, um, um, Ridley

00:47:31.240 Scott, uh, you know, he's

00:47:32.780 a good visual stylist.

00:47:33.720 I think, you know, in

00:47:34.480 the, in the medium of

00:47:35.760 film though, Jews are

00:47:37.160 greatly assisted by the

00:47:38.140 fact that they're

00:47:38.760 surrounded by these

00:47:39.860 Aryan technicians in most

00:47:41.460 cases, or technicians,

00:47:42.780 and they're not

00:47:43.020 necessarily Aryan, but

00:47:44.180 these skilled technicians,

00:47:46.060 right?

00:47:46.200 So they don't

00:47:46.600 necessarily have to be

00:47:47.680 visual stylists to make

00:47:49.380 visually compelling

00:47:50.180 films.

00:47:51.000 Uh, and I, I'm not

00:47:52.040 even, you know, uh, you

00:47:53.360 know, I think that, uh,

00:47:54.680 uh, Spielberg has fallen

00:47:56.060 off and I, I don't think

00:47:57.460 I certainly don't put

00:47:58.320 him in as a visual

00:47:59.280 stylist.

00:47:59.780 I certainly don't put

00:48:00.580 him in the same

00:48:01.460 categories of three guys

00:48:02.420 I mentioned, but he is

00:48:04.340 this kind of mainstream

00:48:05.600 big Hollywood filmmaker

00:48:07.600 who makes, you know,

00:48:09.500 films that are comparable

00:48:10.800 to like, say a James

00:48:12.300 Cameron in terms of

00:48:13.100 visual aesthetic, right?

00:48:14.740 Uh, maybe a little

00:48:15.580 inferior to James Cameron,

00:48:17.020 but just on pure, purely

00:48:18.760 on the visual level, right?

00:48:20.240 Now, is that a consequence

00:48:21.280 of the guy's own visual

00:48:22.320 ability or is it, you

00:48:23.800 know, is he looking at

00:48:25.060 all these reels from

00:48:26.280 these talented, uh,

00:48:27.860 directors and

00:48:28.440 photographies that are

00:48:29.740 basically creating the

00:48:30.900 look for him?

00:48:31.980 Uh, you know, with the

00:48:34.200 individual case, who

00:48:35.340 cares?

00:48:35.800 I mean, the guy might be

00:48:36.520 talented, but who, you

00:48:37.560 know, it doesn't matter.

00:48:38.220 He's obviously talented

00:48:39.300 visually.

00:48:39.880 I mean, there's, there's

00:48:40.640 no question.

00:48:41.260 I don't, we, you don't

00:48:42.080 need to belabor the point

00:48:43.080 on this.

00:48:43.540 I mean, look, Jew, the

00:48:45.600 Jewish intelligence profile

00:48:47.140 is basically hyper

00:48:48.340 intelligence in terms of

00:48:49.800 verbal abilities and then

00:48:51.300 much less in terms of

00:48:53.120 spatial abilities.

00:48:54.620 So, you know, that's

00:48:56.000 where it manifests itself

00:48:57.120 in.

00:48:57.640 Right.

00:48:57.880 And so it's the opposite

00:48:59.120 for Asians who are less

00:49:01.100 verb, on average, less

00:49:02.260 verbally talented, but

00:49:03.340 then spatially aware.

00:49:04.900 And, and you can actually

00:49:06.000 see this in Semitic art,

00:49:07.640 which is non-representational.

00:49:10.560 It is not, it is ornate or

00:49:13.840 decorative or abstract.

00:49:15.660 And you can even see this

00:49:16.680 in modern art, which was a,

00:49:18.340 you know, which waged war

00:49:19.700 against representation,

00:49:20.880 effectively, which is the

00:49:22.120 ultimate Aryan quality.

00:49:24.360 I mean, the, the, the Kairos

00:49:27.020 boy, that, that just

00:49:28.080 original depiction of a

00:49:30.720 live human being in stone,

00:49:32.860 like that is who we are,

00:49:35.300 that ancient and modern

00:49:37.140 alike.

00:49:37.580 That is who we are, that we

00:49:39.320 want to represent reality in

00:49:41.320 an, in both a realistic, but

00:49:43.000 also idealized way and kind of

00:49:44.740 combine idealism and realism

00:49:46.680 incarnate, idealism incarnate

00:49:49.720 in, in, in, in art.

00:49:52.260 And it is a deeply Jewish, you

00:49:55.080 could say deeply Semitic trait

00:49:56.800 to not engage in rep,

00:49:59.660 representation, but engage in,

00:50:01.980 uh, decoration or abstraction

00:50:04.940 or, or so on.

00:50:06.940 And, uh, so there is this kind

00:50:08.620 of anti, there is this kind of

00:50:10.080 Semitic Aryan feud going on in

00:50:13.740 the world of art with obviously

00:50:15.200 the, the Semitic qualities

00:50:17.140 predominating in the 20th

00:50:18.820 century, especially being kind

00:50:20.480 of just like a outright route

00:50:21.980 in the sense that to become a

00:50:23.640 serious artist means to

00:50:25.780 deconstruct or totally, uh,

00:50:28.940 reject, uh, re-presentation.

00:50:31.680 Um, and that's changing a

00:50:34.140 little bit.

00:50:34.620 Post-modernism, whatever you

00:50:35.780 want to say about it is

00:50:36.460 actually kind of brought that

00:50:37.300 into question, but, but go

00:50:38.540 on.

00:50:39.040 Well, yeah.

00:50:39.400 So my only point is that in

00:50:41.840 the film, in the medium of

00:50:43.720 film, uh, the sort of the,

00:50:45.640 the Jewish deficiency in this

00:50:47.720 area is greatly mitigated,

00:50:49.380 right?

00:50:50.080 Because you can have a

00:50:51.020 director of photography who's

00:50:52.740 very skilled and will give

00:50:54.920 the, uh, you know, I mean,

00:50:56.520 it's not entirely mitigated.

00:50:58.420 Obviously, if you have a

00:50:59.480 visual director, you're going

00:51:00.800 to get a better looking film.

00:51:01.940 There's no question about it.

00:51:02.960 Right.

00:51:03.420 Because ultimately the

00:51:04.420 director is, uh, you know,

00:51:06.220 kind of comprising the, uh,

00:51:07.980 montage in his mind.

00:51:09.320 He's, you know, thinking

00:51:10.960 visually, storytelling visually.

00:51:12.640 So you can't just have a good

00:51:14.040 cameraman.

00:51:14.440 You also have to be visually

00:51:15.980 talented, which, you know,

00:51:17.040 obviously Spielberg is, but I

00:51:18.700 think it's mitigated.

00:51:20.680 And so that, that was my only

00:51:23.840 remark.

00:51:24.340 But this is the, this is the

00:51:25.940 thing.

00:51:26.340 It's that, look, you can't,

00:51:28.660 it's hard to make like a purely

00:51:30.060 abstract film that is watchable

00:51:32.120 or commercially viable.

00:51:33.940 Uh, so obviously there has to be

00:51:36.120 representation in, in film.

00:51:38.640 Um, that being said, whereas, you

00:51:42.320 know, an Aryan mind like Ridley

00:51:43.860 Scott, uh, you know, over

00:51:45.980 emphasis, over emphasizes just

00:51:47.780 pure sensuality or representation.

00:51:52.260 Like he's really amazing at

00:51:54.380 costumes and sets and the look

00:51:57.400 and everything, you know, the,

00:51:58.680 the shot, the photography is

00:52:00.520 amazing at that kind of stuff.

00:52:02.240 But where the Semitic mind is,

00:52:04.960 is, is perhaps superior, you

00:52:07.640 could argue in the sense that

00:52:08.900 they are able to encode messages

00:52:11.500 because they're used to like

00:52:13.680 aesthetics as reading effectively.

00:52:15.780 And so we like to look at

00:52:18.340 something and admire its beauty

00:52:19.900 or aesthetic qualities that, oh,

00:52:22.780 this is so interesting.

00:52:23.940 Oh, it's just so dark and

00:52:25.640 mysterious or whatever.

00:52:26.800 The Semitic mind is more apt to

00:52:28.800 read something.

00:52:29.680 So that is to both encode a

00:52:31.940 message in a visual or to, to

00:52:34.020 read, interpret a message in a

00:52:35.740 visual.

00:52:36.040 Um, and so that's something

00:52:38.180 that Ridley Scott, I think

00:52:39.500 really, that's, this is not his

00:52:41.580 forte.

00:52:42.120 I think actually whenever there

00:52:43.800 are messages within like Alien or

00:52:45.940 Blade Runner, it's almost like

00:52:47.320 unconscious or like, uh,

00:52:50.460 unintentional, you could say.

00:52:52.960 Yeah, yeah.

00:52:53.420 No, no.

00:52:53.840 So we have a huge blind spot in

00:52:55.560 that area and that is something

00:52:57.200 that we need to shore up because

00:52:59.080 my argument would be that that is

00:53:00.880 the more important area, right?

00:53:03.180 Right.

00:53:03.620 On the subtextual level, that's

00:53:06.380 when you're affecting people on a

00:53:07.840 subconscious level.

00:53:08.880 So we need to shore that up and we

00:53:10.840 need to figure that out and we

00:53:12.980 will figure that out.

00:53:14.060 I mean, it's, you know, we had to

00:53:16.580 first figure out that we're

00:53:18.600 essentially in an ethnic war.

00:53:21.180 Right.

00:53:21.680 But now that we figured it out,

00:53:23.140 sorry, we figured it out.

00:53:25.760 And so, so what we need to combine is

00:53:29.220 that Apollonian visual ability with

00:53:32.220 that subtextual power, right?

00:53:34.820 Right.

00:53:35.480 And to make it, you know, solid from

00:53:37.700 inside out.

00:53:38.940 And so, yeah.

00:53:40.760 So Ridley Scott, uh, guys like these

00:53:43.360 visual directors have huge blind

00:53:44.820 spots that where Jews are, don't have

00:53:47.780 those blind spots.

00:53:48.500 And in the media, in the, uh, field of

00:53:51.540 film, not only do they not have that

00:53:53.900 blind spot, which again, I would argue

00:53:55.520 is the most important aspect of

00:53:57.540 filmmaking.

00:53:57.860 You're creating these parables that

00:53:59.960 contain morals that are effectively

00:54:02.260 instructions, right?

00:54:03.800 That you're giving to people, right?

00:54:05.660 And you're doing it on a, in a highly

00:54:07.500 sophisticated way, uh, uh, and you're

00:54:10.360 addressing their subconscious with

00:54:11.880 these symbols that they're not even

00:54:13.000 fully aware of, but that actually do

00:54:14.920 contain, you know, sort of finite

00:54:16.560 meanings, right?

00:54:17.820 This is what Jews are able to do it to

00:54:20.260 their credit, right?

00:54:21.860 And so they are, I would say, objectively

00:54:24.680 better storytellers at this moment than

00:54:27.600 we are.

00:54:28.300 We have to focus our energy in creating

00:54:30.920 parables that contain the same sort of

00:54:33.240 density of meaning that Jews do.

00:54:35.400 You know what I'm saying?

00:54:36.520 But yeah, I mean, we look as artists, as

00:54:38.920 visual artists, there's no one can beat

00:54:41.040 us.

00:54:41.520 I mean, but, you know, ultimately at some

00:54:43.780 point it becomes a technical ability.

00:54:45.580 I hate to say it.

00:54:46.300 You know what I'm saying?

00:54:47.560 Uh, the other, the other thing I would

00:54:49.040 remark is another very good example of

00:54:50.900 this is look at the, uh, cathedrals of

00:54:53.100 Europe, right?

00:54:55.220 Beautiful.

00:54:56.060 And I'm sure that there were many Aryan

00:54:58.440 artists involved.

00:54:59.300 I'm not, this is not my area of expertise,

00:55:01.040 so I don't know their names.

00:55:02.760 Um, no one knows their names.

00:55:04.600 That's one of the, oh, is that one of

00:55:06.540 the mysterious?

00:55:07.300 Yeah, absolutely.

00:55:08.300 It's in the mysterious aspects of the

00:55:10.120 Middle Ages, the collective work of art.

00:55:13.240 Yeah.

00:55:13.380 Well, honestly, we could even look at

00:55:15.240 Renaissance painting, right?

00:55:16.720 Oh yeah, sure.

00:55:17.320 Where everyone knows their names.

00:55:18.720 Yeah, where it's full of Christian themes,

00:55:21.740 right?

00:55:22.000 Yeah.

00:55:22.380 So whereas you have these Aryan artists

00:55:24.200 making brilliant works, they're encoding

00:55:26.540 the works with effectively Jewish symbolism,

00:55:28.920 right?

00:55:29.300 So, there you go.

00:55:32.260 Right.

00:55:32.640 What, what is the more important dimension?

00:55:34.960 The more important dimension is the dimension

00:55:37.520 that, that Jews excel at right now, obviously.

00:55:41.380 You know, I mean, if we understand that

00:55:43.480 culture, you know, so in other words, yeah,

00:55:45.900 we can't just be making pretty pictures here.

00:55:48.280 And that's why actually a lot of the sort

00:55:50.680 of, um, uh, Aryan directors are only as good

00:55:53.960 as their script, right?

00:55:55.920 They're only as good as their script.

00:55:57.000 This goes especially for guys like, and I

00:55:59.340 wouldn't even say he's a good visual stylist,

00:56:01.020 but he picks good scripts.

00:56:02.980 Uh, he's a decent visual stylist, uh, Clint

00:56:04.840 Eastwood, right?

00:56:06.280 Yeah.

00:56:06.660 I, I, the guy can't even, the guy can't

00:56:08.780 direct his way out of a paper bag.

00:56:10.660 That's the other thing.

00:56:11.980 That's the other thing that Jews excel at

00:56:13.980 is that they're fantastic directors of

00:56:16.320 actors, right?

00:56:17.400 And acting is the ability to lie effectively,

00:56:21.140 right?

00:56:21.820 It's a mimicry.

00:56:22.940 It's a type of mimicry and Jews.

00:56:25.980 Well, they're better liars.

00:56:27.340 I mean, I got, I hate to say it to Jews.

00:56:28.960 I mean, I, it's actually a compliment.

00:56:31.080 It's honestly, honest to God, a compliment.

00:56:33.060 They're better liars.

00:56:34.240 And, you know, Nietzsche ranks the prince

00:56:36.560 above the Jew in terms of, you know what I mean?

00:56:39.080 So ostensibly we also can develop this ability

00:56:41.920 as well, right?

00:56:43.840 Um, and I, certainly we can, obviously we

00:56:45.960 can, you know what I mean?

00:56:46.800 But this is, in fact, we can develop to the,

00:56:49.320 to the greatest extent if we desire, right?

00:56:51.760 I mean, how far you want to go with that

00:56:53.600 is another question.

00:56:54.900 But so what I would say is, I mean, we'll

00:56:58.320 look at Donald Trump, for example, right?

00:56:59.760 Just to use one example in a, you know, as a

00:57:02.820 businessman, uh, he effectively rose to power

00:57:05.640 in a kind of Jewish manner.

00:57:07.060 So in, in other words, uh, uh, Donald Trump

00:57:11.740 was able through some intelligence or in

00:57:15.100 some like sort of raw innate ability, the

00:57:17.160 guy was able to adapt in a Jewish manner

00:57:19.860 and develop kind of Jewish traits to become

00:57:22.320 successful in business, you know, to his

00:57:25.120 credit, honestly.

00:57:26.440 So I, I think that the guy is, when people

00:57:28.780 call the guy a liar, I think the guy is a,

00:57:30.880 he's a sphinx.

00:57:31.900 He's this highly sort of deceptive type.

00:57:34.040 There's no question about it.

00:57:35.600 No one knows what the fuck the guy's

00:57:37.060 thinking, honestly.

00:57:38.380 You know, we hope for the best.

00:57:39.880 Honestly, we in the alt-right hope for the

00:57:41.960 best, but we have no idea what the guy is

00:57:44.460 thinking, right?

00:57:46.180 And so the guy developed this ability.

00:57:48.720 And so, and so what I would argue, I would

00:57:51.020 make the comparison to, uh, uh, chefs in

00:57:54.560 cooking, right?

00:57:55.520 I would make the following comparison.

00:57:57.740 Every, on average, women are better cooks

00:58:01.340 than men, right?

00:58:02.400 But the best chefs are men, right?

00:58:05.180 The best chefs by far are men.

00:58:07.000 And what I would say is the comparison

00:58:09.600 also applies, uh, uh, to Jews vis-a-vis

00:58:13.000 Aryans.

00:58:14.180 Now, you know, hopefully no one finds this

00:58:16.220 insulting.

00:58:16.680 I'm sure the whole conversation is

00:58:17.880 terribly insulting.

00:58:21.140 But what I would say is that whereas Jews

00:58:23.900 in general in business are, are more

00:58:26.540 skilled, no question about it, than Aryans,

00:58:28.940 you know what I mean?

00:58:29.640 On average.

00:58:31.060 But then you have an Aryan who's just

00:58:32.460 like, fuck it, I'm going to adapt this

00:58:33.800 skill and I'm going to refine it just out of

00:58:36.240 some whatever.

00:58:37.580 And the guy achieves a status like

00:58:40.040 Trump, where he's got all these like

00:58:41.460 sort of satellite Jews doing his bidding

00:58:43.480 or whatever.

00:58:44.280 It's just, you know, so we have the

00:58:46.420 ability, we're in some way, we Aryans

00:58:49.400 are more raw ability and blank slate.

00:58:52.320 So we can develop in directions and

00:58:55.020 specialize in directions and become

00:58:57.100 highly, um, skilled in, in these areas.

00:59:00.600 Yeah.

00:59:01.080 You know what I'm saying?

00:59:01.540 Um, so that's the only thing I would

00:59:05.140 remark.

00:59:05.760 That's why it's useful for you and I to

00:59:07.380 have these conversations because some, we

00:59:09.440 know down the line, some director or some

00:59:11.460 writer is going to pick up on these ideas

00:59:12.900 and be like, fuck it.

00:59:13.600 Yeah.

00:59:13.840 We're in ethnic warfare.

00:59:15.260 I'm going to start encoding my films with

00:59:17.520 these little malevolent messages that are

00:59:19.160 like, ah, actually Aryans are superior.

00:59:21.140 You know what I'm saying?

00:59:22.180 Yeah.

00:59:23.140 And the only one who will be able to

00:59:24.420 identify it or choose, but they've been

00:59:26.340 doing it the whole goddamn time.

00:59:27.740 So it's like, you know, they, they wouldn't

00:59:29.920 necessarily want to call out anyone on

00:59:32.920 this if the guy can do it in a sort of

00:59:34.940 discreet enough manner.

00:59:36.020 But on the other hand, I mean, look, we

00:59:37.600 both need honesty, but we also need to be

00:59:39.980 moving in a subterranean manner.

00:59:41.560 We need to be moving in all areas.

00:59:45.340 Right.

00:59:46.000 Right.

00:59:46.700 So we need to be gaining power through all

00:59:49.520 means upon all platforms.

00:59:51.920 And one of those platforms, you know, is

00:59:55.480 there's a filmmaker in Hollywood right now

00:59:57.720 who has the ability to apply the ideas that

01:00:00.140 we're discussing and we'll do it at some

01:00:02.480 point.

01:00:02.980 There's no question in my mind, you know

01:00:04.560 what I'm saying?

01:00:05.440 And so, you know, but it's here.

01:00:10.120 The problem was, you know, I obviously

01:00:13.160 that we just didn't know the score.

01:00:14.800 Right.

01:00:15.840 We love these lovable Jews.

01:00:17.600 They're lovable people.

01:00:18.600 And but they are, as it turns out, they're

01:00:22.480 they're antagonistic to our ethnic

01:00:25.120 interests.

01:00:25.680 Unfortunately, you know, we wish we wish

01:00:27.680 guys, we wish you'd change that up.

01:00:29.300 Honestly, we wish you'd slow your roll.

01:00:31.720 It'd be much cooler.

01:00:32.960 And believe me, it would be much better.

01:00:37.260 And but I think that that, you know, so

01:00:39.840 getting back to this film, though, and

01:00:42.740 just continuing, because we went on a big

01:00:44.660 tangent there that.

01:00:45.820 Yeah.

01:00:45.940 What film are we discussing again?

01:00:47.480 Which I'm sure the alt-righters fucking

01:00:50.580 loved.

01:00:52.660 People like it when we go on Massive

01:00:54.940 Digression.

01:00:55.500 It's much better than talking about

01:00:56.560 fucking Blade Runner.

01:00:57.700 How many Jews were making that?

01:00:59.440 Yeah.

01:01:00.400 I'm sure they like this.

01:01:02.400 I'm sure they like this, this little

01:01:04.520 tangent.

01:01:05.740 But what what I would say is that the

01:01:08.240 following and honestly, my whole

01:01:10.560 discussion here is full of praise,

01:01:13.620 honestly, for Jews in terms of how, you

01:01:16.480 know, talented they are in the manner, I

01:01:18.940 mean, that they kind of created this

01:01:20.440 whole situation, but just the way that

01:01:22.240 they make art, I mean, is in a very

01:01:25.460 intelligent and sophisticated way where

01:01:27.420 they develop these parables.

01:01:28.680 I mean, you think about it, Christians

01:01:30.020 have been addicted to a Jewish parable.

01:01:33.000 You know, I mean, the greatest story of

01:01:34.860 all time.

01:01:35.400 You're not shitting me.

01:01:36.160 They these guys will not let the thing

01:01:38.000 go.

01:01:38.380 You know what I'm saying?

01:01:39.580 You know, they're like, that was a good

01:01:40.880 story.

01:01:41.400 I mean, of course, the hook with that story

01:01:43.340 is, you know, you're going to go to hell if

01:01:45.100 you don't believe this thing's true.

01:01:47.140 Right.

01:01:47.660 It's quite a hook.

01:01:48.580 It's similar to the film The Ring.

01:01:50.720 I don't know if you've seen that.

01:01:52.920 But in any case, what I would say

01:01:55.420 is the following.

01:01:57.880 Getting back to Blade Runner, the first

01:02:00.080 and I'll I'll just summarize because I

01:02:01.980 think we've been very long winded, though

01:02:03.420 in a very interesting way, I'm sure.

01:02:04.720 The book replicants are Jews in the in

01:02:11.620 Ridley Scott's film.

01:02:15.740 The replicants are ambiguous.

01:02:18.340 Right.

01:02:18.960 And the reason they're ambiguous, I mean,

01:02:21.020 they're more they're kind of Aryan ish.

01:02:23.120 Right.

01:02:24.460 So we'll say they're Aryan.

01:02:26.040 Right.

01:02:26.300 And especially I mean, so even if the film

01:02:28.520 happens as a kind of accident, you know,

01:02:30.960 this Aryan filmmaker kind of stumbled into

01:02:32.640 this this brilliant scene and this work,

01:02:35.880 you know, there's the Jungian reading

01:02:38.200 certainly of that scene with Roy Batty

01:02:41.340 dying amid the Asian, the Asianized

01:02:44.340 ruins is I mean, that's.

01:02:48.980 That, you know, that is a scene that

01:02:52.200 makes the whole film and defines kind of

01:02:54.740 the meaning of the film, at least on a

01:02:55.960 Jungian level.

01:02:56.740 Right.

01:02:57.280 Yeah.

01:02:57.640 And it makes people conscious on a

01:02:59.640 Jungian level of like the passing of the

01:03:02.240 great race, as it were.

01:03:03.300 Right.

01:03:04.160 And I mean, that's the whole upshot of

01:03:06.640 that scene, the passing of the great race.

01:03:08.520 That's how it could be.

01:03:09.800 That's that could be the like sort of the

01:03:11.360 title of that scene.

01:03:15.400 Now, the third film, it gets more

01:03:18.040 ambiguous, but not really.

01:03:21.340 I in my opinion, I think that what is

01:03:24.220 effectively happened in the third film is

01:03:26.140 that the the replicants have become

01:03:27.860 Jews again.

01:03:29.480 Interesting.

01:03:30.420 Yes.

01:03:30.920 So the opposite of what I said 45 minutes

01:03:33.880 ago.

01:03:35.240 No, but what you said, it was still

01:03:37.220 actually very valuable.

01:03:38.980 Oh, you know, I was joking.

01:03:41.420 Yeah.

01:03:42.780 Yeah.

01:03:43.180 But go, go, go with it.

01:03:44.600 Go like.

01:03:45.320 Well, what you said is actually kind of

01:03:47.020 the conventional view in the alt

01:03:48.260 right, it seems, right, where everyone

01:03:49.720 has identified this is the best film

01:03:51.600 ever made.

01:03:52.740 And I'm not saying my critique is not

01:03:55.520 that it's not a good film.

01:03:56.660 I think that it is as far as films go,

01:03:58.600 it's a it's a pretty good film.

01:04:01.900 But as far as like, is this your you

01:04:04.780 know, is this the sort of the film that

01:04:06.480 you want to clothe yourself in and say

01:04:08.780 this is my you know, this speaks to me.

01:04:11.000 This is about our people.

01:04:12.720 I don't think that that's the case now.

01:04:14.960 And we can that that leads into another

01:04:16.940 discussion that we can have in a moment.

01:04:18.260 But but so rather instead, I'll prove my

01:04:20.620 case.

01:04:21.620 I would say this

01:04:24.380 Stalin figure is a

01:04:27.080 Judaic figure in my mind.

01:04:29.220 OK, and she is the dream weaver.

01:04:31.640 Yeah.

01:04:31.960 And so she's

01:04:33.160 Kay or Ryan Gosling's character,

01:04:36.760 Joe.

01:04:38.080 He meets her about halfway through

01:04:40.400 the movie and

01:04:42.180 he's investigating Deckard,

01:04:44.340 searching for Deckard effectively.

01:04:45.580 And he meets

01:04:48.320 this dream weaver who is

01:04:49.620 implanting dreams.

01:04:51.880 And it's in a very poignant

01:04:53.400 scene.

01:04:54.060 I mean, he shows her

01:04:56.060 his memory of finding

01:04:57.980 this wooden horse in the furnace.

01:05:00.560 And she says, no, that

01:05:02.160 memory is real.

01:05:03.700 And in that moment,

01:05:05.480 actually, Ryan

01:05:06.400 Ryan Gosling Kay gets

01:05:08.500 very angry.

01:05:09.660 It's almost this emotional response

01:05:11.320 of like, I am the one like this is

01:05:13.200 I suffered this.

01:05:14.620 I I've been lied to

01:05:16.500 all my life as well.

01:05:18.520 And it's a very poignant

01:05:20.400 scene.

01:05:20.840 So he meets her.

01:05:22.280 But then I think he

01:05:24.060 recognizes, you know,

01:05:25.760 as the as the film

01:05:27.680 progresses, that

01:05:29.140 he is not the one.

01:05:30.580 He is not the chosen one.

01:05:31.760 He is just the protector

01:05:32.920 and that he's going to help

01:05:35.620 his people get to this next stage.

01:05:37.500 And effectively, this girl

01:05:38.840 is the daughter

01:05:40.600 of Deckard

01:05:41.780 and Rachel.

01:05:43.140 And she is the

01:05:44.540 miracle baby.

01:05:45.620 So she she plays

01:05:46.460 kind of two roles.

01:05:47.320 She's this minor figure.

01:05:48.480 And then she becomes

01:05:49.360 like the ultimate culmination

01:05:50.880 of the film as well.

01:05:54.220 Yeah.

01:05:54.740 And I mean,

01:05:55.300 briefly, before I go

01:05:56.560 into this,

01:05:57.060 the one thing that I will

01:05:58.200 remark on is that

01:05:59.600 as a figure,

01:06:00.940 she's very similar

01:06:02.600 to the Greek

01:06:03.460 figure,

01:06:04.200 Mnemosyne,

01:06:05.820 who is who is

01:06:07.140 the embodiment of memory.

01:06:09.060 Right.

01:06:09.640 She represents the

01:06:10.460 embodiment of memory

01:06:11.340 and she her daughters

01:06:13.340 are the muses.

01:06:14.540 Right.

01:06:14.720 It's a very profound

01:06:15.840 metaphor.

01:06:16.800 Her daughters are the

01:06:17.520 muses.

01:06:18.080 Right.

01:06:18.520 Who Apollo is the

01:06:19.740 leader of the muses.

01:06:20.900 Right.

01:06:21.240 And the muses are

01:06:22.960 they represent the arts

01:06:24.260 and sciences and,

01:06:25.640 you know,

01:06:26.200 all the kind of

01:06:27.200 achievements of Aryan

01:06:28.640 man.

01:06:29.080 That's what they

01:06:29.540 represent.

01:06:30.280 Right.

01:06:30.580 Effectively.

01:06:31.460 Yeah.

01:06:31.640 And what that.

01:06:33.100 So what that

01:06:33.640 metaphor tells us

01:06:34.640 is that without,

01:06:35.760 you know,

01:06:36.980 memory is sort of

01:06:38.800 is the mother

01:06:39.520 of these things.

01:06:40.960 Right.

01:06:41.600 So in other words,

01:06:42.780 our memory is a

01:06:43.960 very important thing.

01:06:45.100 Our racial memory

01:06:46.180 is a very important

01:06:47.500 thing.

01:06:48.020 And this is another

01:06:48.860 advantage that Jews

01:06:49.760 have vis-a-vis

01:06:51.660 Aryans.

01:06:53.100 Their racial memory

01:06:53.880 is fucking profound,

01:06:55.220 dude.

01:06:55.460 I mean,

01:06:55.720 these guys,

01:06:56.380 these guys are

01:06:57.720 writing down

01:06:58.380 everything,

01:06:58.960 man.

01:06:59.520 And honestly,

01:07:01.180 it's no,

01:07:02.100 seriously,

01:07:02.440 another,

01:07:03.400 you know,

01:07:03.940 another hats off

01:07:04.980 to you brothers.

01:07:07.900 Well done.

01:07:09.400 So it's,

01:07:10.760 it's just,

01:07:11.640 so what I would say

01:07:12.840 and now getting back

01:07:13.740 to this character

01:07:14.480 of Staline.

01:07:17.620 So,

01:07:18.220 well,

01:07:18.360 actually just to

01:07:18.960 finish that point.

01:07:19.900 So she represents

01:07:21.980 this memory,

01:07:23.840 right?

01:07:24.140 She is kind of

01:07:25.220 this embodiment

01:07:25.960 of memory,

01:07:27.100 the Staline figure

01:07:27.980 in the second

01:07:29.180 Blade Runner film

01:07:29.820 and thus

01:07:31.580 from her

01:07:32.400 may come

01:07:33.400 a race,

01:07:34.360 right?

01:07:34.660 Thus may be

01:07:35.680 birthed a race

01:07:36.840 of these

01:07:38.600 new men,

01:07:40.120 of these

01:07:40.740 superior men,

01:07:42.320 right?

01:07:42.640 Who are these

01:07:43.280 androids

01:07:44.800 who,

01:07:45.360 who now have

01:07:46.440 reproductive powers,

01:07:47.620 right?

01:07:48.080 Yeah.

01:07:49.020 So,

01:07:50.240 and they're going to,

01:07:50.820 I mean,

01:07:50.980 that's the other

01:07:51.500 kind of,

01:07:52.300 that's the other

01:07:53.160 sort of thing

01:07:55.220 that should just

01:07:55.640 be stated from the top.

01:07:56.660 If you had no,

01:07:57.640 if you didn't look

01:07:58.260 into the film at all,

01:07:59.480 right?

01:07:59.680 If you didn't look

01:08:00.340 for deeper messages

01:08:01.100 in the film at all,

01:08:02.020 one thing that should

01:08:02.860 become immediately apparent

01:08:03.920 is that the replicants

01:08:05.420 are going to win.

01:08:07.680 They're going to,

01:08:08.340 you know what I mean?

01:08:08.660 Because they're superior

01:08:09.560 to man.

01:08:10.420 Yeah.

01:08:10.900 Right?

01:08:11.240 Yeah.

01:08:11.480 So,

01:08:12.120 and there's a character

01:08:13.520 where the female

01:08:14.500 police chief,

01:08:15.680 you know,

01:08:15.880 is trying to prevent it,

01:08:17.120 right?

01:08:17.460 She wants to prevent it.

01:08:19.180 She wants to prevent it

01:08:20.360 because it's a genetic

01:08:21.440 competition,

01:08:22.760 right?

01:08:23.840 Um,

01:08:24.700 so we're dealing

01:08:25.780 with racial competition.

01:08:26.760 It's,

01:08:27.240 you know,

01:08:27.400 it's straight out

01:08:27.980 of a,

01:08:29.000 uh,

01:08:29.400 you know,

01:08:30.180 one of those

01:08:30.660 terrible Kevin

01:08:31.340 McDonald books.

01:08:33.300 Um,

01:08:33.860 and so

01:08:37.160 you can feel my guilt.

01:08:40.120 I don't know.

01:08:43.080 Um,

01:08:43.920 so in other,

01:08:44.540 in other case,

01:08:45.520 or rather in other words,

01:08:47.100 um,

01:08:47.960 so directly with no

01:08:49.420 deeper reading of the film,

01:08:50.980 what you understand it,

01:08:52.340 even if you just take it

01:08:53.340 at like face value,

01:08:54.360 the film says,

01:08:55.580 okay,

01:08:56.500 uh,

01:08:56.700 the white race is

01:08:57.420 effectively doomed.

01:08:58.580 The androids are going to

01:08:59.660 replace the white race,

01:09:01.300 or not even the white race,

01:09:02.240 the human race.

01:09:03.020 They're going to replace the

01:09:03.700 human race.

01:09:04.040 Well,

01:09:04.280 she says the world is built

01:09:05.900 on walls.

01:09:07.080 And I,

01:09:07.640 I wouldn't even be surprised

01:09:08.840 if that were a reference

01:09:11.240 to Trump.

01:09:11.920 I mean,

01:09:12.100 Trump started talking about

01:09:13.140 walls in 2015.

01:09:14.060 So this is,

01:09:15.060 um,

01:09:16.060 Oh,

01:09:16.520 sure.

01:09:17.060 Yeah,

01:09:17.240 yeah,

01:09:17.460 yeah.

01:09:17.820 And,

01:09:18.180 uh,

01:09:18.620 the world is built on walls.

01:09:19.740 And if you don't have walls,

01:09:20.820 you'll have a war.

01:09:21.860 But the funny thing about it is that,

01:09:24.020 and this also leads one to have that

01:09:26.340 esoteric reading of the replicants

01:09:28.380 as like Mexicans or something,

01:09:29.840 you know,

01:09:29.980 the,

01:09:30.120 the illegal immigrants who are just

01:09:32.120 our slaves,

01:09:32.840 but one day there will be a people.

01:09:34.800 Um,

01:09:35.420 but she's also like,

01:09:37.620 right.

01:09:38.260 I mean,

01:09:38.560 it's like these,

01:09:41.000 these,

01:09:41.580 these replicants are clearly dangerous

01:09:43.060 and they're going to destroy humanity

01:09:46.280 if they don't stay in their place.

01:09:49.980 And that she,

01:09:51.200 you know,

01:09:51.500 even if you think that what she's doing

01:09:53.640 is morally justified,

01:09:54.660 like she,

01:09:55.060 she's right in her fears.

01:09:56.940 It's kind of like an AI where

01:09:58.840 they're these,

01:09:59.860 you know,

01:10:00.520 really dumb,

01:10:02.160 you know,

01:10:02.640 redneck,

01:10:03.460 like humans who are really anti robot.

01:10:06.480 And that is depicted in the films.

01:10:09.000 Oh,

01:10:09.220 these God,

01:10:09.720 these bigots,

01:10:10.600 you know,

01:10:10.780 they hate robots.

01:10:11.740 This is just like Nazis.

01:10:13.060 It's hating Jewish people,

01:10:14.200 blah,

01:10:14.240 blah,

01:10:14.400 blah.

01:10:14.860 But like,

01:10:15.420 they're correct.

01:10:16.520 You know,

01:10:17.040 the robots do take over at the end.

01:10:20.380 And,

01:10:20.940 and so like they were actually,

01:10:23.020 you know,

01:10:23.220 they were getting at something anyway.

01:10:25.220 Yeah.

01:10:25.720 Yeah.

01:10:25.880 So,

01:10:26.380 I mean,

01:10:26.660 so I think that the film that this film

01:10:28.600 is most similar to thematically is AI.

01:10:31.380 No question.

01:10:32.340 Yeah.

01:10:32.880 Yeah.

01:10:33.340 And I,

01:10:34.360 so,

01:10:35.060 uh,

01:10:35.360 who,

01:10:35.800 uh,

01:10:36.040 prevail through a kind of,

01:10:37.420 there's even direct references to AI in the film,

01:10:39.980 right?

01:10:40.280 Yeah.

01:10:40.780 Uh,

01:10:41.180 this sort of,

01:10:42.160 this,

01:10:42.540 uh,

01:10:42.760 former Vegas that,

01:10:43.960 uh,

01:10:44.820 um,

01:10:45.880 uh,

01:10:46.300 Harrison Ford is now inhabiting is like,

01:10:49.000 it's like they saved the set pieces though.

01:10:51.380 I'm sure it's computer graphics.

01:10:52.740 They saved the computer graphics from AI where there's a very similar,

01:10:57.020 you know,

01:10:57.480 there's these giant,

01:10:58.560 these kind of like Colossus prostitutes effectively in that scene.

01:11:02.600 Uh,

01:11:03.460 and I think in the AI there,

01:11:04.940 they even have like cars like driving through the vagina or whatever the case is,

01:11:08.560 but it's showing the open mouth.

01:11:10.860 Yeah.

01:11:11.340 Yeah.

01:11:11.560 It's showing a decadent,

01:11:13.160 uh,

01:11:13.680 basically declining Aryan civilization.

01:11:16.800 Yeah.

01:11:17.800 Honestly,

01:11:18.260 it's showing it.

01:11:18.800 It's blowing its load in Vegas at strippers and sex bots and stupid nonsense.

01:11:25.380 Yeah.

01:11:25.940 While a Jewish race,

01:11:27.400 uh,

01:11:27.740 perseveres,

01:11:28.740 right?

01:11:29.000 Right.

01:11:29.220 That's the theme in that film.

01:11:31.100 And I,

01:11:31.540 I mean,

01:11:32.200 in AI,

01:11:33.340 it's very stark in the sense that at the end of the film,

01:11:36.680 uh,

01:11:37.580 all of humanity is gone except for these hyperdeveloped,

01:11:40.580 uh,

01:11:40.820 you know,

01:11:41.080 effectively Jewish robots.

01:11:42.820 Yeah.

01:11:43.060 Um,

01:11:43.420 so it's,

01:11:44.220 there's a genocide theme,

01:11:46.080 a white genocide theme in that film.

01:11:48.900 Uh,

01:11:49.500 and what I would say though,

01:11:51.440 is this film contains the same theme.

01:11:54.080 And,

01:11:54.500 uh,

01:11:55.480 so,

01:11:56.460 uh,

01:11:57.060 one thing is that,

01:11:58.520 um,

01:11:59.220 uh,

01:12:00.680 one,

01:12:00.980 well,

01:12:01.160 one thing I'll discuss first is that I think one of the reasons that people,

01:12:06.480 um,

01:12:07.420 in the alt-right,

01:12:08.120 for example,

01:12:08.880 uh,

01:12:09.980 grabbed onto this film and said,

01:12:11.400 Hey,

01:12:11.540 this is my story.

01:12:12.600 We live in a degenerate society.

01:12:14.980 Um,

01:12:15.460 we're,

01:12:15.820 we're concerned about reproductive concerns.

01:12:18.180 You know,

01:12:18.580 we want to,

01:12:19.100 uh,

01:12:19.360 become a people and have a culture and continue through,

01:12:22.340 you know,

01:12:22.940 ride the tiger,

01:12:23.640 as it said,

01:12:24.360 or just continue through,

01:12:26.180 have a continuance that exists beyond this degenerating culture.

01:12:29.600 Right.

01:12:30.820 Um,

01:12:31.180 so those themes are very attractive and they are,

01:12:33.960 in fact,

01:12:34.300 of course,

01:12:34.820 traditionalist themes.

01:12:35.940 I mean,

01:12:36.480 whether they're from the Jewish perspective or they're from the Aryan perspective,

01:12:39.560 they're of course,

01:12:40.680 traditionalist themes.

01:12:41.480 And it's one of the things that's made,

01:12:44.060 um,

01:12:45.120 the,

01:12:45.280 the,

01:12:45.560 uh,

01:12:45.880 biblical works,

01:12:46.640 for example,

01:12:47.140 so intoxicating to Aryans is that,

01:12:49.840 um,

01:12:50.560 you have these repeated scenes where,

01:12:52.440 you know,

01:12:53.020 they're,

01:12:53.380 uh,

01:12:53.820 uh,

01:12:54.440 they're escaping from,

01:12:55.660 uh,

01:12:57.000 uh,

01:12:57.380 you know,

01:12:57.900 uh,

01:12:58.160 Sodom and Gomorrah,

01:12:59.600 uh,

01:13:00.080 you know,

01:13:00.320 Babylon's in decline,

01:13:01.560 Egypt's in decline.

01:13:02.320 These are these declining civilizations that are kind of getting their,

01:13:05.660 uh,

01:13:06.740 uh,

01:13:07.260 their comeuppance from God,

01:13:09.140 right?

01:13:09.500 Well,

01:13:10.260 in a,

01:13:10.460 in esoterically,

01:13:11.240 we understand God to collect,

01:13:13.260 you know,

01:13:13.440 represent Jews collectively,

01:13:14.620 right?

01:13:15.140 So in other words,

01:13:16.160 God's,

01:13:16.820 God is causing the problem and the Jews are escaping from these,

01:13:21.020 you know,

01:13:21.220 these evil degenerates,

01:13:22.240 even though we're doing it,

01:13:23.280 you know what I mean?

01:13:23.920 That's basically the esoteric meaning in those parables,

01:13:26.600 right?

01:13:27.380 But what's,

01:13:28.400 what is appealing,

01:13:29.440 uh,

01:13:30.280 to Aryans is that often they've been in degenerating conditions,

01:13:33.460 whatever the cause might be,

01:13:34.980 right?

01:13:35.600 Now,

01:13:36.120 again,

01:13:36.380 I'm not saying it,

01:13:37.600 but in the Bible,

01:13:38.420 it is implied esoterically that God is causing these conditions of

01:13:41.960 degeneracy,

01:13:42.620 right?

01:13:43.100 Didn't say,

01:13:43.660 you know,

01:13:44.460 read the Bible,

01:13:45.320 but what,

01:13:46.220 um,

01:13:48.060 what is appealing is that these people are escaping.

01:13:50.440 They're becoming a people and they're getting the fuck out of Dodge,

01:13:53.420 essentially.

01:13:54.020 And they're like,

01:13:54.580 this shit is degenerate.

01:13:55.760 I mean,

01:13:56.000 they acknowledge this shit's degenerate,

01:13:57.560 right?

01:13:58.360 And that's,

01:13:59.760 what's appealing.

01:14:00.460 So whether it's,

01:14:02.060 uh,

01:14:02.380 you know,

01:14:03.020 the fall of Babylon,

01:14:04.160 the fall of Egypt,

01:14:04.860 or the fall of Rome,

01:14:06.160 as is implied in Revelations,

01:14:08.280 right?

01:14:08.700 I mean,

01:14:09.400 that's the,

01:14:09.960 that's one,

01:14:10.760 you know,

01:14:11.000 you didn't need Edward Gibbon to tell you that Christianity was adversarial to the Romans.

01:14:17.120 Read Revelations.

01:14:18.140 The thing is basically just saying,

01:14:19.580 ah,

01:14:19.920 the fall of Rome.

01:14:20.960 Yes.

01:14:21.520 Yes.

01:14:21.780 And,

01:14:22.740 and it's high,

01:14:23.480 it's a highly encoded text as well,

01:14:25.460 obviously.

01:14:26.520 Um,

01:14:27.000 but so the,

01:14:28.160 so what is attractive to the Christian is that he's like,

01:14:32.040 yeah,

01:14:32.360 this place is degenerate.

01:14:34.720 We need a method of survival.

01:14:37.340 We need to become a people and escape from this degenerate thing.

01:14:40.840 That's not what we think.

01:14:42.580 We think that's anti-civilizational.

01:14:46.060 That saves yourself,

01:14:47.680 run away,

01:14:48.420 right?

01:14:48.680 We create civilizations.

01:14:51.400 We want to create civilizations.

01:14:53.220 We don't want to run from failing ones.

01:14:55.980 Even if,

01:14:56.460 you know,

01:14:56.760 even if we do have,

01:14:58.180 have to,

01:14:58.860 for some period,

01:14:59.580 go into,

01:15:00.320 you know,

01:15:00.860 a kind of more insular mode for whatever reason.

01:15:03.400 Um,

01:15:03.940 we want to be able to,

01:15:05.080 from that,

01:15:05.620 we want to be able to preserve so that we can seed civilization,

01:15:08.780 right?

01:15:09.440 And create civilization.

01:15:10.320 There is this almost like schadenfreude at the heart of these Christians who are deeply

01:15:16.160 Judaized of,

01:15:17.780 you know,

01:15:17.880 and,

01:15:18.240 and this also this,

01:15:19.360 this sense of weakness,

01:15:20.320 like,

01:15:20.820 Oh,

01:15:21.260 you know,

01:15:21.500 we're just existing in this world.

01:15:23.780 It's totally out of our control.

01:15:26.300 Um,

01:15:26.860 we just need to like Noah get into an arc and save ourselves.

01:15:30.500 And all these other centers are,

01:15:32.860 are,

01:15:33.140 are going to just,

01:15:34.060 you know,

01:15:34.300 be wiped out in a flood of,

01:15:36.260 of degeneracy or whatever.

01:15:37.620 And we'll just be the good ones in our little suburban home.

01:15:41.300 And,

01:15:41.780 you know,

01:15:42.420 I don't know.

01:15:43.020 I,

01:15:43.180 I,

01:15:43.400 I get that.

01:15:44.500 I,

01:15:44.600 I understand why someone,

01:15:46.280 a healthy person would,

01:15:47.620 would feel like that.

01:15:48.540 I feel like that often,

01:15:49.980 you know,

01:15:50.720 I,

01:15:50.900 the world's out of my hands,

01:15:52.420 you know,

01:15:52.960 all I can do is try to save myself.

01:15:54.840 I get it,

01:15:55.600 but I don't know what to say.

01:15:57.920 Like Arians,

01:15:59.720 we don't,

01:16:00.620 we want to save our people.

01:16:03.060 Like we don't want to just let like in a schadenfreude like manner.

01:16:07.020 And I do think that all of that,

01:16:08.520 a lot of that Christian moralizing just hides a resentment and envy and

01:16:13.280 schadenfreude,

01:16:14.140 um,

01:16:15.180 is that,

01:16:15.480 is a mask on it,

01:16:16.360 but we want to save humanity.

01:16:18.720 I mean,

01:16:19.100 we,

01:16:19.320 we want to save our people and we want to build a civilization.

01:16:23.080 And ultimately,

01:16:24.320 I mean,

01:16:25.420 I,

01:16:25.620 I don't dare,

01:16:26.640 I say it.

01:16:27.060 I mean,

01:16:27.300 we want to rule,

01:16:29.120 we want to rule the world and not everybody wants to rule the world as the

01:16:34.000 song goes,

01:16:34.560 but we do.

01:16:35.640 Well,

01:16:36.040 we have to,

01:16:36.640 we have to rule it to exist.

01:16:38.660 We have to rule it to exist.

01:16:39.660 We have to,

01:16:40.340 we're going to get fucked by these other people.

01:16:42.720 I mean,

01:16:42.920 it's not,

01:16:43.320 you know,

01:16:43.540 yeah,

01:16:44.380 we're a tiny minority globally.

01:16:46.380 So it's,

01:16:47.500 it's all well and good to think of like,

01:16:49.200 Oh,

01:16:49.360 my,

01:16:49.720 my family will survive this degenerative spiral.

01:16:52.760 And,

01:16:53.140 and maybe one has to do that.

01:16:55.280 Again,

01:16:55.520 I don't want to totally counter signal this,

01:16:58.080 but it is,

01:16:59.480 it is wrong.

01:17:00.400 It's,

01:17:00.580 it's not,

01:17:01.020 that isn't who we are.

01:17:03.780 We're the ones who structure the whole,

01:17:06.580 the entire planet.

01:17:07.480 And if,

01:17:08.220 and if one isn't willing to go there,

01:17:10.420 like I,

01:17:11.100 if,

01:17:11.400 if one isn't willing to be the dominant force,

01:17:14.700 then I do,

01:17:16.040 I would suggest that people just take up gardening,

01:17:18.440 you know,

01:17:19.180 this idea that we're,

01:17:20.840 you know,

01:17:21.520 that what's going to save us are,

01:17:23.880 you know,

01:17:24.880 some,

01:17:25.960 you know,

01:17:27.220 some Amish like community,

01:17:29.320 you know,

01:17:30.220 down South or something where they,

01:17:32.360 they,

01:17:32.760 they're not,

01:17:33.080 they're politically incorrect and they all,

01:17:35.860 you know,

01:17:36.880 cleave together and have their families.

01:17:38.800 That is ultimately not going to save us.

01:17:41.180 That is all well and good.

01:17:42.360 And I wish all those people all the best.

01:17:44.640 And I,

01:17:44.820 I genuinely do.

01:17:45.840 Um,

01:17:46.960 but the,

01:17:48.160 the white race will be saved when we have global political power over others.

01:17:55.180 And I,

01:17:55.860 I know that sounds just brutal or LARPy or whatever,

01:17:59.840 but this is who we are.

01:18:02.200 And we,

01:18:04.160 the great,

01:18:05.660 our greatest flourishing comes when we have,

01:18:08.360 again,

01:18:09.620 that geopolitical ability to rule and we're going to have to do it.

01:18:14.520 Or either we are,

01:18:15.720 we are going to survive as like tiny little powerless communities in this just sea of,

01:18:24.200 of non-whites and,

01:18:26.620 and,

01:18:26.880 and,

01:18:27.260 and people who,

01:18:28.140 who are totally foreign to us.

01:18:30.940 And I don't want that.

01:18:33.180 Yeah.

01:18:33.760 Well,

01:18:34.180 look,

01:18:34.480 and I mean,

01:18:35.120 ultimately we do require peaceful solutions,

01:18:38.440 Richard.

01:18:38.920 And the,

01:18:39.540 the reason I'm going to say it,

01:18:40.920 no,

01:18:41.120 seriously.

01:18:41.800 I'm not saying,

01:18:42.960 look,

01:18:43.180 I,

01:18:43.420 I'm sure,

01:18:44.120 you know,

01:18:45.020 in the future,

01:18:46.420 I hate to say it,

01:18:47.700 there's probably going to be violence likely in the future.

01:18:50.080 I hope to God,

01:18:51.460 no.

01:18:52.260 Yes.

01:18:52.840 But I think that the cultural dimension is important because look,

01:18:58.600 let's say that we are able to overcome our adversary,

01:19:03.320 uh,

01:19:04.360 through whatever,

01:19:05.260 you know,

01:19:06.060 through,

01:19:06.760 uh,

01:19:07.240 what,

01:19:07.620 however means,

01:19:08.500 by whatever means,

01:19:09.340 we will not retain that power unless we understand,

01:19:14.420 uh,

01:19:15.420 ourselves better,

01:19:16.340 unless we're creating a culture that is moralizing and promoting ourselves.

01:19:20.900 Right.

01:19:21.460 So we have to find the secret to that,

01:19:25.000 which we,

01:19:25.420 we are discovering and we will find,

01:19:28.080 but that,

01:19:28.480 so ultimately the solution,

01:19:30.740 whatever violence occurs in the future,

01:19:33.060 you know,

01:19:33.280 God forbid,

01:19:34.160 whatever violence occurs in the future,

01:19:35.960 the long-term solution is a cultural solution where artists are developing these parables that speak to us that,

01:19:43.900 you know what I mean?

01:19:44.280 and that's really going to be it.

01:19:46.620 I mean,

01:19:46.780 it sounds like,

01:19:47.860 well,

01:19:48.000 that's bullshit.

01:19:48.820 I mean,

01:19:49.360 you know,

01:19:49.960 the power of parables and stories is evidenced by Jews through the people of the book.

01:19:56.460 Yeah.

01:19:57.160 You know what I'm saying?

01:19:58.400 That power,

01:19:59.340 we have to,

01:19:59.840 we have to take that power now.

01:20:02.000 You know what I'm saying?

01:20:02.700 It's a very potent thing.

01:20:04.900 And it's something that once we get our shit together,

01:20:08.040 we'll do better than anyone else.

01:20:09.800 Obviously we'll be like the Donald Trump of fucking parable.

01:20:14.280 Maybe we'll be the best.

01:20:19.480 Maybe we'll be a little more subtle in some of our works,

01:20:22.460 but no,

01:20:23.360 no,

01:20:23.540 no,

01:20:23.640 no,

01:20:23.740 that would be weak.

01:20:26.640 You're going to like it very much.

01:20:27.860 It's going to be very nice.

01:20:29.080 Everyone's telling me they love our parables.

01:20:31.860 Anyways,

01:20:32.260 I'm sure everyone's waiting with bated breath.

01:20:34.440 All right,

01:20:34.900 go.

01:20:35.160 Give us,

01:20:35.860 blow our minds.

01:20:38.160 Mind blown.

01:20:43.160 All right.

01:20:43.720 Well,

01:20:44.060 so the first bit of evidence,

01:20:45.800 which is the thinnest I will produce,

01:20:48.080 but is nevertheless compelling is that Steline,

01:20:54.300 Steline,

01:20:55.900 Steline,

01:20:56.420 however you pronounce the name.

01:20:57.520 I don't actually remember it being pronounced in the movie.

01:21:00.220 Do you remember?

01:21:01.200 No,

01:21:01.660 I don't think it was.

01:21:02.420 You could just see it on her,

01:21:03.620 on the building.

01:21:04.380 Wasn't it?

01:21:05.040 Oh,

01:21:05.380 okay.

01:21:05.860 All right.

01:21:06.340 Yeah.

01:21:07.200 All right.

01:21:07.460 So it's the name of her or her corporation or both,

01:21:11.160 probably both.

01:21:11.780 Right.

01:21:12.280 Yeah.

01:21:13.000 That seems to be kind of a pattern of naming in the,

01:21:16.580 in that series with the Wallace corporation,

01:21:20.180 the Terrell corporation.

01:21:22.040 So in any case,

01:21:23.400 the,

01:21:25.000 her name means starlet,

01:21:27.340 right?

01:21:28.700 Now,

01:21:29.460 possibly this could be a reference to a Semitic goddess named Ishtar,

01:21:35.620 whose name also means star.

01:21:37.780 But in general,

01:21:39.040 it may be a reference to the Chaldeans,

01:21:43.980 right?

01:21:44.800 Which is a proto Jewish group.

01:21:46.700 This is the group from which the Jews are derived.

01:21:49.080 The Chaldeans.

01:21:50.860 The reason I say that is because they were astrologers and star worshipers.

01:21:54.740 Right.

01:21:55.020 Now,

01:21:55.420 the other thing that I'll say is that Green was the director on it.

01:21:58.980 There's a Jew who is a Jewish man,

01:22:01.900 I should say,

01:22:02.980 who was a script writer on the film.

01:22:08.140 And he likely encoded this.

01:22:11.500 If I had to guess,

01:22:12.760 right.

01:22:13.000 He was one of the,

01:22:13.800 he was one of two screenwriters,

01:22:15.320 I believe in the film.

01:22:17.120 So Green got in there and he introduced another theme or dimension to the film.

01:22:23.520 And I think the other more compelling bit of evidence is that the name of K is Joe,

01:22:29.700 which I believe is probably a reference to Joseph,

01:22:32.760 who is the figure in the Bible who secures Israel.

01:22:35.800 He secures the future of the Jews,

01:22:37.520 right?

01:22:37.860 Right.

01:22:38.840 And he's a less important figure than Judah though,

01:22:41.540 who continues.

01:22:42.160 He's someone who kind of sacrifices himself to secure the Jews.

01:22:46.380 Exactly as occurs in the film,

01:22:48.660 right?

01:22:48.980 Joe sacrifices himself.

01:22:51.900 So what we have all writers is a Jewish.

01:22:55.380 The Jews win.

01:23:01.600 Yeah.

01:23:02.440 No,

01:23:02.860 no.

01:23:03.000 But so the other thing that I think is interesting in talking about,

01:23:07.280 which we've already sort of touched upon is what is the danger though,

01:23:11.240 of like inserting our own narrative or our own like perspective into the film,

01:23:15.920 as you sort of alluded to,

01:23:17.280 why can't we just say,

01:23:18.400 well,

01:23:18.880 fuck it.

01:23:19.320 Maybe that's the case,

01:23:20.480 but I'm going to pretend that that,

01:23:23.520 you know,

01:23:23.720 even it,

01:23:24.300 look,

01:23:24.460 maybe it's not the case.

01:23:25.500 I,

01:23:25.840 I've advanced a theory.

01:23:27.600 Maybe someone will disprove it.

01:23:29.180 You know,

01:23:29.540 maybe it's a,

01:23:30.060 maybe it's a tenuous theory.

01:23:31.440 I think that there's a probability.

01:23:32.580 I'm not saying.

01:23:33.160 I advance the Aryan version of,

01:23:36.460 of your theory.

01:23:38.260 And then,

01:23:39.340 but you,

01:23:40.160 you also advance the fact that due to naming conventions,

01:23:43.280 that at least in the screenwriter's mind,

01:23:46.940 this,

01:23:47.220 this is not about saving us.

01:23:49.860 Well,

01:23:49.920 look,

01:23:50.320 it could become a universalist work in that regard.

01:23:53.360 Right.

01:23:53.700 Right.

01:23:53.920 Because what I would also argue is that,

01:23:56.220 um,

01:23:57.240 uh,

01:23:57.440 Bill Nove,

01:23:58.340 uh,

01:23:58.560 probably is not even aware of what I'm saying.

01:24:00.420 Right.

01:24:00.900 In other words,

01:24:01.260 to the extent that the guy's in Aryan,

01:24:02.620 like,

01:24:02.860 in other words,

01:24:03.240 I don't think green would,

01:24:04.380 uh,

01:24:05.200 even give the guy that the heads up on this.

01:24:07.380 You know what I mean?

01:24:07.800 I don't think he would be like,

01:24:08.660 yeah,

01:24:08.820 he's aware of it.

01:24:10.360 He is a,

01:24:11.060 he's a highly intelligent filmmaker.

01:24:12.900 I think he is intelligent.

01:24:14.140 He is not,

01:24:15.420 he is not your average,

01:24:17.020 like Hollywood hack who wants to do some,

01:24:21.040 like,

01:24:21.720 you know,

01:24:22.020 direct some like Marvel film with,

01:24:23.920 you know,

01:24:24.900 superheroes punching each other in space.

01:24:27.020 Look,

01:24:27.500 I'm going to back you up on that.

01:24:29.180 All right.

01:24:29.420 He is a highly intelligent filmmaker.

01:24:31.860 No,

01:24:31.980 I'm going to back you up.

01:24:32.620 So he's closer.

01:24:34.060 He's closer on the most vapid end of the scale.

01:24:37.380 In my opinion,

01:24:38.020 you have Michael Mann,

01:24:39.100 right?

01:24:39.640 Right.

01:24:39.880 And then you have like guys like Ridley Scott.

01:24:42.000 Uh,

01:24:42.400 and then you have guys like,

01:24:44.780 uh,

01:24:45.380 uh,

01:24:45.800 Villeneuve.

01:24:46.380 Christopher Nolan is another guy who I,

01:24:52.240 you know,

01:24:52.440 I think is a very intelligent conscious.

01:24:54.280 I don't think these guys,

01:24:55.800 I think these guys could do better.

01:24:58.860 You hear me,

01:24:59.760 Chris,

01:25:00.140 uh,

01:25:00.480 uh,

01:25:00.980 Christopher.

01:25:01.820 Yeah.

01:25:02.460 Yeah.

01:25:02.620 Christopher,

01:25:03.180 this means you.

01:25:04.180 Yeah.

01:25:04.660 We're talking to you now.

01:25:05.580 You fucking bitches.

01:25:08.900 You fucking cocksuckers.

01:25:11.820 Stop cucking.

01:25:13.200 So what I,

01:25:14.080 so they can invest more meaning into their films.

01:25:16.920 You have the power,

01:25:18.100 my friends,

01:25:18.620 you can do it and you can do it as discreetly as you desire.

01:25:22.460 I,

01:25:23.000 what I'm pointing out,

01:25:24.340 how would they do that?

01:25:25.660 And in the sense,

01:25:26.420 how would they do it?

01:25:27.320 Is it a naming convention in the sense?

01:25:29.900 That would be one way.

01:25:31.040 I mean,

01:25:31.360 one way,

01:25:31.900 and that would be highly antagonistic to choose because they're highly conscious of the naming,

01:25:35.700 the naming aspect.

01:25:37.320 Yeah.

01:25:37.640 Right.

01:25:38.300 So they would pick up on it,

01:25:40.060 but then there would be no,

01:25:41.500 it's like,

01:25:42.180 how can they talk about it?

01:25:43.540 Because it's something that they kind of continue through their work and it can be pointed out,

01:25:48.160 you know,

01:25:48.360 it will be pointed out by us during this,

01:25:50.600 this series.

01:25:51.900 Yeah.

01:25:52.460 So,

01:25:53.340 you know,

01:25:54.220 in any case,

01:25:54.780 moving on,

01:25:55.680 I don't want to give these guys,

01:25:56.700 I don't want to get these shit lords too excited here.

01:26:01.560 So what I would say is,

01:26:03.880 if the ultimate survivor,

01:26:05.440 if,

01:26:06.000 if the woman's name,

01:26:09.020 who is the ultimate survivor is name like Alexandria or something.

01:26:12.820 Well,

01:26:13.440 let me give you an example,

01:26:14.500 Richard.

01:26:14.820 Yeah.

01:26:14.980 I,

01:26:15.420 I thought of a very sublime example is the fact that like,

01:26:20.060 let's say you're an African living in Africa and you conceive of this God that's like identical in every feature to Jesus Christ.

01:26:30.740 Right.

01:26:31.580 Yeah.

01:26:31.980 But then you call the guy Mercer.

01:26:33.840 Like I worship Mercer.

01:26:35.100 I worship Mercer.

01:26:36.380 I worship whoever.

01:26:37.480 You know what I mean?

01:26:38.180 Yeah.

01:26:38.820 You're going to hell.

01:26:40.460 You're going to hell.

01:26:41.180 I mean,

01:26:41.780 it's effectively that.

01:26:43.120 So the naming,

01:26:44.200 the importance of names you see in Christianity is vitally important.

01:26:49.560 Right.

01:26:50.300 So the name Jesus Christ,

01:26:52.640 I mean,

01:26:52.860 that name is,

01:26:53.740 is encoded with great meaning.

01:26:55.600 Right.

01:26:56.120 So you have to say that name or you're not a Christian.

01:26:59.580 You have to say,

01:27:00.680 I worship Jesus Christ.

01:27:02.640 Right.

01:27:03.420 So that's one example.

01:27:05.200 And,

01:27:05.880 and so,

01:27:07.660 you know,

01:27:08.080 look,

01:27:08.380 so it's obviously very powerful.

01:27:10.480 This,

01:27:10.720 these sort of,

01:27:11.740 and this is what I would argue.

01:27:13.680 This is the logos,

01:27:14.780 right?

01:27:15.560 This is the power of the logos,

01:27:17.220 right?

01:27:17.660 In Christianity,

01:27:18.400 they talk about the logos and,

01:27:20.500 you know,

01:27:20.780 people are going to spur the fuck out.

01:27:22.300 This is my idea,

01:27:23.720 which is a correct.

01:27:24.580 It's correct.

01:27:25.160 I'm sorry,

01:27:25.600 guys.

01:27:26.940 People are going to spur out on the counter.

01:27:28.460 No one can tell,

01:27:31.040 give me a coherent answer as to what the logos is.

01:27:33.460 It's like,

01:27:33.900 it's the order of God or whatever.

01:27:36.600 Simple.

01:27:37.000 Right.

01:27:37.480 No one,

01:27:37.900 no one's actually,

01:27:38.820 what the logos refers to.

01:27:40.180 If you actually look up the word,

01:27:41.880 it's discourse.

01:27:43.060 It's language,

01:27:44.180 right?

01:27:44.660 Yeah.

01:27:45.560 How have Jews become powerful?

01:27:47.540 It's through language.

01:27:49.180 It's very obvious.

01:27:52.000 You know,

01:27:52.700 they've controlled the language.

01:27:53.820 They call Richard Spencer a black supremacist.

01:27:58.460 Or,

01:27:58.900 you know,

01:27:59.100 white supremacist.

01:27:59.980 That's right.

01:28:02.680 They call me that.

01:28:04.020 Yeah.

01:28:05.220 See,

01:28:05.680 we could improve the language,

01:28:07.280 but no,

01:28:09.080 but yeah.

01:28:10.320 So,

01:28:10.760 I mean,

01:28:11.000 I think that that is something that Christopher Nolan,

01:28:15.360 you got to,

01:28:15.820 if you need to hire me as a writer on the,

01:28:18.060 like on the side,

01:28:19.000 we got it,

01:28:19.740 dude.

01:28:19.900 I'll hook you up.

01:28:20.760 Yeah.

01:28:21.220 Your shit will be going insane.

01:28:23.380 And not only that,

01:28:24.340 you'll be making timeless works because that's effectively what Jews,

01:28:28.280 have achieved through encoding their works is they've made these timeless

01:28:31.120 works,

01:28:31.880 the Bible included.

01:28:33.200 Right.

01:28:34.340 Um,

01:28:35.140 in any case,

01:28:35.840 uh,

01:28:36.460 this is a fascinating discussion,

01:28:38.100 but,

01:28:38.680 uh,

01:28:38.960 the other thing I would say,

01:28:40.040 talk about this.

01:28:41.380 What is the danger of Arians?

01:28:46.120 Oh,

01:28:46.340 yeah.

01:28:46.420 They're feeding themselves into what are ultimately Semitic symbols and,

01:28:53.220 and text and,

01:28:54.340 and,

01:28:54.620 and stories.

01:28:55.560 All right.

01:28:56.220 Well,

01:28:56.580 first of all,

01:28:57.820 one of the dangers is that these works are encoded with meanings that are not,

01:29:02.600 that are not necessarily the meanings that Arians are,

01:29:05.760 are giving them.

01:29:07.000 Right.

01:29:07.980 In fact,

01:29:08.760 in some cases,

01:29:09.620 they're the inverse meaning,

01:29:11.180 right?

01:29:11.440 I mean,

01:29:11.860 we can just use the example of the film that we're discussing.

01:29:14.860 The meaning is actually inverted.

01:29:16.540 Right.

01:29:16.760 So these all right guys are like,

01:29:18.060 Oh,

01:29:18.260 it means,

01:29:19.220 you know,

01:29:20.120 it means,

01:29:21.480 uh,

01:29:21.900 you know,

01:29:22.180 there's going to be this Aryan resistance in 2049.

01:29:25.280 And then we're going to,

01:29:26.280 you know,

01:29:26.640 breed babies through this,

01:29:27.820 uh,

01:29:28.620 you know,

01:29:28.920 touchy feely,

01:29:29.560 uh,

01:29:30.060 a Jewish figure.

01:29:31.460 Um,

01:29:32.400 the,

01:29:33.260 I mean,

01:29:34.020 that's not exactly what is being said in the film,

01:29:35.780 but you get my point.

01:29:36.860 The,

01:29:37.600 so in other words,

01:29:38.820 you look foolish,

01:29:40.120 you lose your credibility.

01:29:41.300 You have no credibility,

01:29:42.580 right?

01:29:43.300 Because it's actually not the case.

01:29:45.060 Things are actually true or they're untrue.

01:29:47.200 Right.

01:29:47.780 And this is a case symbolically as well.

01:29:49.860 A symbol has a finite meaning,

01:29:51.640 just like a word has a finite meaning,

01:29:53.520 right?

01:29:53.920 You can't just use words willy nilly in a sentence and then think that you're actually saying something coherent.

01:29:59.560 Right.

01:29:59.640 Symbols have to be aligned in a parable or in an artwork in a coherent fashion that means something specific.

01:30:06.600 Right.

01:30:07.480 And it can't,

01:30:08.080 that meaning is,

01:30:08.860 is fixed,

01:30:10.100 you know?

01:30:11.700 And I mean,

01:30:12.680 so,

01:30:14.140 and as,

01:30:15.260 as I've said,

01:30:15.820 I've advanced the theory that,

01:30:16.940 uh,

01:30:17.400 this film is eventually is essentially showing like yet another example of like Jews kind of surviving a decadent in escaping and surviving a decadent civilization.

01:30:28.080 Uh,

01:30:28.560 that's the theme of the film in my view.

01:30:30.760 Um,

01:30:31.680 what I would say though,

01:30:32.580 is that,

01:30:33.140 um,

01:30:34.140 the danger of like becoming one of these,

01:30:36.580 these sort of like pretend Jews are like LARPing as a Jew and pretending the story is really about you,

01:30:43.660 uh,

01:30:44.380 is that on,

01:30:45.420 my feeling is that probably on a subconscious and subliminal level,

01:30:49.340 people just sense it to be false.

01:30:51.160 They know it to be false.

01:30:52.740 Right.

01:30:53.200 Yeah.

01:30:53.400 It's one of the problems with Christianity.

01:30:55.360 You know,

01:30:55.820 I mean,

01:30:56.180 it's one of many problems with Christianity,

01:30:58.460 but one of the problems,

01:30:59.760 and people will have said this to me before,

01:31:01.520 they say,

01:31:02.100 you know,

01:31:02.760 you know,

01:31:03.020 I like Richard,

01:31:03.720 but if he were a Christian,

01:31:05.440 that would be great.

01:31:06.420 Then this movement would go somewhere or whatever.

01:31:08.680 Right.

01:31:09.420 Um,

01:31:09.820 and the problem with that is that Christians,

01:31:14.900 you could never have a leader like,

01:31:16.980 uh,

01:31:17.480 Richard in the alt-right who is a Christian because the problem is the Christian has no credibility.

01:31:23.120 He doesn't even know what the hell he's talking about.

01:31:26.220 He's completely misinterpreted the Bible.

01:31:28.800 He's,

01:31:29.340 you know,

01:31:29.600 the Bible was not intended to help him.

01:31:32.520 That's what the mistake,

01:31:33.580 and you can't just kind of like take art or take culture or take a religion and just kind of put it on like a cloak,

01:31:39.840 like a magical cloak that's going to defend you if it is actually a poisonous cloak.

01:31:45.220 Right?

01:31:45.900 Right.

01:31:46.940 I mean,

01:31:47.380 you know,

01:31:47.740 we have to,

01:31:48.620 this shit has power.

01:31:50.320 This is like magic for,

01:31:52.360 for like lack of a better word.

01:31:54.960 You can't,

01:31:55.700 you know.

01:31:56.240 And do we think that it's any coincidence that the,

01:31:59.600 any major racial figures are either agnostic or,

01:32:04.340 or atheistic or,

01:32:05.880 I,

01:32:06.140 I've described myself as a tragic atheist because I,

01:32:09.080 I recognize the,

01:32:11.100 the,

01:32:11.760 the tragic and in many ways,

01:32:14.020 terrible qualities of the,

01:32:15.100 of the death of God and the fact that we've lost faith.

01:32:17.260 I don't,

01:32:17.720 I'm not like Dawkins.

01:32:18.680 I think it's,

01:32:19.080 oh,

01:32:19.160 it's all great.

01:32:19.900 We're going to be all wonderful and liberal now that we've gotten rid of Christianity.

01:32:22.680 I don't believe that at all.

01:32:24.660 Uh,

01:32:25.060 but it does,

01:32:26.820 it does seem,

01:32:27.660 there does seem to be a connection with leaders who don't present themselves as I am a Christian first.

01:32:34.980 And that's not to say that there aren't leaders who are,

01:32:39.580 are Christian and understand themselves in a Christian way,

01:32:42.480 um,

01:32:43.620 say in,

01:32:44.240 in Europe.

01:32:44.880 But even there,

01:32:46.380 when they claim to be defending say Hungary in the case of Viktor Orban or,

01:32:52.040 or white Christians in Russia or something,

01:32:54.460 there is something else that they are defending.

01:32:57.000 They aren't just defending Christianity because if you are defending Christianity,

01:33:01.940 you are defending a global religion for all humankind.

01:33:05.700 There is no reason whatsoever for you to want to protect your people or to have closed borders

01:33:12.300 or anything like that.

01:33:14.380 You,

01:33:14.560 you know,

01:33:14.880 if you are,

01:33:15.460 you're a Hungarian Christian or you're a Russian Christian,

01:33:18.140 you aren't just a Christian.

01:33:19.860 And in the United States,

01:33:21.720 you know,

01:33:22.040 I,

01:33:22.220 I,

01:33:22.540 it's hard for me to name a Christian leader who is,

01:33:27.580 who,

01:33:28.080 again,

01:33:28.340 who puts Christianity first and who isn't just like gone,

01:33:34.480 and eclipsed the left in terms of,

01:33:38.060 uh,

01:33:38.860 of their,

01:33:39.540 their global understanding of who they are.

01:33:43.220 Yeah.

01:33:44.040 No,

01:33:44.280 you know,

01:33:44.560 I mean,

01:33:44.840 even the ones who were like,

01:33:46.360 you know,

01:33:46.600 Billy Graham Jr.

01:33:48.740 Jerry Falwell Jr.

01:33:49.900 Even these guys who are kind of right wing in some way.

01:33:52.560 And I,

01:33:52.780 I don't,

01:33:53.600 again,

01:33:54.120 I,

01:33:54.500 just to be clear,

01:33:55.340 I am not against these people.

01:33:57.520 I,

01:33:57.860 I would work with them.

01:33:59.040 I don't have any,

01:34:00.000 like,

01:34:00.620 I don't have any major like qualms with them,

01:34:03.340 but they seem to be there.

01:34:06.400 They're the fact that they're nationalistic seems to be just a kind of right as a sidecar riding along to their,

01:34:12.080 of their Christianity,

01:34:13.000 or it seems to be a,

01:34:14.040 a side issue,

01:34:18.100 something that isn't actually connected with what they truly believe.

01:34:21.900 And most every dominant Christian leader is a globalist.

01:34:28.080 I mean,

01:34:28.600 it just is what it is.

01:34:30.400 I,

01:34:30.840 I don't really grasp how people can keep putting forward this idea that we have to put religion first or so on.

01:34:38.640 And then just look at all of the leaders who do this and,

01:34:43.120 and see who they are.

01:34:44.880 Yeah.

01:34:47.560 No,

01:34:47.880 no,

01:34:48.100 I agree.

01:34:48.680 I just wanted to mention quickly,

01:34:50.140 because I know it will be a point of criticism,

01:34:51.720 is that Logos,

01:34:52.840 I understand,

01:34:53.400 was not invented in,

01:34:54.800 you know,

01:34:55.360 in Christianity.

01:34:56.280 I understand that it predates Christianity.

01:34:59.240 Sure.

01:34:59.960 But it is,

01:35:00.840 it's,

01:35:01.480 it,

01:35:01.800 the meaning of it does not change,

01:35:03.360 right?

01:35:03.640 It existed in philosophy.

01:35:05.140 And from philosophy came Christianity,

01:35:08.640 right?

01:35:09.000 Right.

01:35:09.180 I mean,

01:35:09.440 you know,

01:35:09.940 Christianity was obviously deeply influenced by philosophy.

01:35:12.620 So I just wanted to get that out of the way.

01:35:16.000 But the,

01:35:16.380 the other thing that I would say,

01:35:17.860 Richard is that,

01:35:21.320 yeah.

01:35:21.580 So I think that we agree.

01:35:24.160 What the other,

01:35:25.420 so there's an absence of,

01:35:27.160 there's a kind of like intuitive absence of credibility when someone,

01:35:31.360 you know,

01:35:32.660 is LARPing about the,

01:35:34.880 you know,

01:35:35.540 the ancient Kings of Israel and like is somehow identifying with,

01:35:40.120 you know,

01:35:40.800 these first century Jews who were,

01:35:43.360 you know,

01:35:43.920 contested by Herod or whatever.

01:35:46.780 I mean,

01:35:47.060 it's,

01:35:47.320 it's just,

01:35:49.080 you know,

01:35:49.420 it's very,

01:35:50.040 Nietzsche called it a historical and that's very correct.

01:35:52.460 They're in this sort of this,

01:35:54.000 this kind of loop,

01:35:55.320 right?

01:35:55.820 Where it's only their matter when it's only their life,

01:35:58.940 ultimately that matters.

01:36:00.120 It's a personal salvation cult,

01:36:02.120 right?

01:36:02.600 It's a personal salvation cult.

01:36:04.000 So they say,

01:36:04.860 Hey,

01:36:05.140 well,

01:36:05.740 you know,

01:36:06.140 if,

01:36:06.420 if I can just kind of figure out like how Jesus was behaving or whatever,

01:36:11.660 you know,

01:36:12.860 that,

01:36:13.600 that's a huge problem.

01:36:14.840 You destroy your own memory.

01:36:17.160 That's the big problem,

01:36:18.520 right?

01:36:18.880 Yeah.

01:36:19.100 So we were talking about this,

01:36:20.500 this Greek goddess that embodies memory,

01:36:23.140 right?

01:36:24.420 That Christianity is memory destroying,

01:36:27.780 right?

01:36:28.300 It's a historical.

01:36:30.600 It,

01:36:30.940 Christianity comes to block out this,

01:36:33.340 you know,

01:36:33.560 especially people that would be interested in their ancestry and history,

01:36:37.120 right?

01:36:37.780 It,

01:36:38.300 it especially affects those people.

01:36:40.440 And it kind of,

01:36:41.700 it kind of inserts itself between them and their ancestors.

01:36:45.640 It's not that they have a Aryan ancestors.

01:36:47.960 Now they have Jewish ancestors.

01:36:50.000 They,

01:36:50.520 you know,

01:36:51.200 King David,

01:36:52.160 they're related to King David in some way,

01:36:53.780 who the fuck knows,

01:36:54.700 right?

01:36:55.280 That's bad.

01:36:56.480 That's not your culture,

01:36:58.320 right?

01:36:58.880 Now it's not,

01:36:59.820 I don't want to call it appropriation because it's not appropriation.

01:37:04.360 This was,

01:37:04.920 it's appropriating us.

01:37:06.440 Yeah.

01:37:06.640 It was deliberately given to us,

01:37:08.120 right?

01:37:08.600 It was given to us because they do want to assert themselves as these kind of

01:37:12.600 spiritual primogenitors.

01:37:15.580 These,

01:37:16.220 these fathers of us is effectively what the psychological phenomenon is,

01:37:20.120 right?

01:37:20.840 Yeah.

01:37:21.880 And so with a work like this,

01:37:23.560 I mean,

01:37:23.780 I don't,

01:37:24.140 I think that this work is kind of a mixed work in the sense I'm talking about

01:37:28.400 the film now.

01:37:29.360 Uh,

01:37:29.760 it's a mixed sense in the sense that it's,

01:37:31.980 you know,

01:37:32.380 I think this guy green probably inserted these Jewish themes into the movie.

01:37:36.660 Um,

01:37:37.080 but the movie is kind of,

01:37:38.920 it's a little bit of a mixed bag,

01:37:40.400 but I mean,

01:37:40.900 ultimately I think that it does contain a Jewish message.

01:37:43.920 Um,

01:37:44.600 and so I don't,

01:37:45.840 I,

01:37:46.000 I would encourage people not to get too excited about it for the reasons that I

01:37:49.700 just are take articulated to,

01:37:51.260 uh,

01:37:51.820 Richard.

01:37:52.420 But what I would say is that,

01:37:53.880 I mean,

01:37:54.060 you can look at the film objectively and this is what people need to start

01:37:57.940 doing.

01:37:58.300 Look at the film objectively and say,

01:37:59.940 is this an effective work of art?

01:38:02.460 Is this an effective communication?

01:38:04.540 How can I learn these skills?

01:38:05.960 How can I adapt these skills,

01:38:07.720 these storytelling abilities,

01:38:09.140 whether they're coming from an Aryan source or a Jewish source or whatever the

01:38:12.420 case may be,

01:38:13.840 you know,

01:38:14.220 that,

01:38:14.760 so it does have value.

01:38:16.560 Evaluating these works does have value,

01:38:18.480 right?

01:38:19.400 Yeah.

01:38:19.560 I mean,

01:38:19.740 you're a very weak person.

01:38:20.960 If you can't like,

01:38:22.460 if you can't appreciate,

01:38:24.020 uh,

01:38:24.880 the talent of like a Jewish artist or a Jewish storyteller,

01:38:29.000 if you can't appreciate that,

01:38:30.760 you're very weak,

01:38:32.640 psychologically weak person.

01:38:34.320 I mean,

01:38:34.560 we have to live in the world in an objective way.

01:38:37.520 And otherwise,

01:38:38.120 I mean,

01:38:38.340 if you imagine that you're in the forest,

01:38:41.300 right?

01:38:42.060 And you have to survive,

01:38:43.520 right?

01:38:44.120 You don't delude yourself about what is actually the case.

01:38:48.160 What is actually your status status?

01:38:50.200 And what is actually the situation around you?

01:38:52.500 You make a sober assessment of it,

01:38:54.600 right?

01:38:54.880 And you figure out how to survive in that setting.

01:38:58.280 And this applies also.

01:38:59.480 I mean,

01:38:59.620 these things,

01:39:00.620 there's actually,

01:39:01.660 these things are going to prove to be a goldmine of,

01:39:05.020 uh,

01:39:05.620 you know,

01:39:06.020 important discussions that Richard and I can have,

01:39:08.440 you know,

01:39:09.120 with these,

01:39:09.840 these films being a kind of a jumping off point because actually,

01:39:13.400 because Jews actually are racially conscious and they actually talk about

01:39:16.960 interesting themes in their films.

01:39:18.920 Whereas Aryans,

01:39:20.820 right?

01:39:22.040 I mean,

01:39:22.400 they could be,

01:39:23.160 they could be highly fucking intelligent.

01:39:25.340 And,

01:39:25.920 you know,

01:39:26.180 obviously a guy like Ridley Scott and whoever is,

01:39:28.540 you know,

01:39:28.920 we have geniuses in our race,

01:39:30.680 but we're not at a racially conscious point.

01:39:33.560 We're moving toward that racially conscious point.

01:39:36.500 Yeah.

01:39:36.860 And we got to figure what's what,

01:39:39.680 right?

01:39:40.160 So if you're going to start bellyaching about like,

01:39:42.520 Oh,

01:39:42.640 they're talking about a Jewish film again.

01:39:44.500 I mean,

01:39:44.840 really dude,

01:39:46.200 come on,

01:39:46.700 don't be such a pussy.

01:39:48.600 I'm sorry.

01:39:50.700 I had to throw it out there.

01:39:56.160 I've actually said this.

01:39:57.860 Wait,

01:39:58.020 having said that,

01:39:58.760 I do want to,

01:39:59.280 because I did hear,

01:40:00.140 uh,

01:40:00.720 Mike Enoch talk on this subject about like,

01:40:03.380 you know,

01:40:03.600 fuck Hollywood,

01:40:04.800 whatever.

01:40:05.520 And I understand that.

01:40:06.740 I think that that is legitimate on some level in the sense that like,

01:40:10.600 yeah,

01:40:11.080 I mean,

01:40:11.500 we know,

01:40:12.680 I get it,

01:40:13.700 but you,

01:40:14.080 you have to see it through our eyes.

01:40:15.880 Like it's,

01:40:17.100 it's one thing to go into these films asleep.

01:40:22.440 Just as a quick digression,

01:40:24.540 uh,

01:40:25.160 Denis Villeneuve is supposedly,

01:40:28.620 I think he's been hired to make a Dune movie,

01:40:31.320 which is fascinating.

01:40:32.820 Sure.

01:40:33.340 Um,

01:40:33.860 and the,

01:40:35.060 one of the central themes is the sleeper awakes.

01:40:37.720 The beginnings of this film is,

01:40:40.140 it demonstrates Ryan Gosling K.

01:40:42.800 He is literally asleep in his car and he wakes up.

01:40:47.560 And there,

01:40:48.680 I,

01:40:48.800 I,

01:40:49.000 they'll get green as a screenwriter on that one too.

01:40:52.140 Right.

01:40:52.620 Well,

01:40:53.020 I mean,

01:40:53.240 look,

01:40:53.600 there are metaphors,

01:40:55.740 even if you,

01:40:56.280 even if this film is again,

01:40:57.620 like a,

01:40:58.120 uh,

01:40:58.500 it is ultimately a moralizing for Jewish people.

01:41:01.480 Um,

01:41:02.180 like there are aspects of all of this,

01:41:05.780 all of these films,

01:41:06.780 Dune,

01:41:07.480 Blade Runner,

01:41:07.880 all this that we can take and use as our metaphors.

01:41:10.280 I mean,

01:41:10.520 one of the best metaphors we have is taking the red pill,

01:41:13.760 which comes up from,

01:41:14.880 uh,

01:41:15.360 made by a Jewish filmmaker is the matrix.

01:41:19.620 Um,

01:41:20.180 we can culturally appropriate this stuff.

01:41:22.840 And that idea of a sleeper awakening and awakening to a true enlightenment,

01:41:26.740 um,

01:41:27.640 that is obviously something that we need to pick up on.

01:41:31.220 Um,

01:41:31.520 I think there's,

01:41:32.180 there's a difference between going into a movie theater and being asleep in the dark,

01:41:36.500 in the dark,

01:41:37.460 literally,

01:41:38.480 or,

01:41:38.720 or figuratively,

01:41:39.640 literally and figuratively.

01:41:41.120 But there's,

01:41:42.240 there's something else to being awake in the theater.

01:41:44.880 And in a way like gaining something from it,

01:41:47.580 understanding where the,

01:41:49.760 what the culture makers want to push us,

01:41:53.700 where they want to push us,

01:41:55.140 understanding how they're communicating to normies,

01:41:58.120 et cetera.

01:41:58.360 I think there's actually a great benefit to going into these things awake.

01:42:02.220 Now that doesn't mean that we should like toss out criticism or say,

01:42:05.480 like,

01:42:05.900 and,

01:42:06.720 and that doesn't mean that we shouldn't understand Hollywood as like at some level,

01:42:12.180 like rotten in its core.

01:42:14.080 Um,

01:42:14.760 but at the same time,

01:42:16.120 like this,

01:42:17.540 the Hollywood creates the cultural metaphors for most,

01:42:24.000 all of Americans and indeed a huge portion of all of humanity.

01:42:28.960 And to like,

01:42:30.620 not understand those,

01:42:32.920 to not be in the loop in that sense,

01:42:35.480 one is losing something.

01:42:37.180 Like one has to go and one,

01:42:40.280 one has to kind of be in the only way out is through.

01:42:43.400 Like you,

01:42:43.840 you have to marinate in it in order to fully understand it.

01:42:47.080 And in order to fully like pull yourself out of it.

01:42:50.840 Yeah,

01:42:51.360 no,

01:42:51.640 I,

01:42:51.920 you know,

01:42:52.080 and the truth is not everyone necessarily needs to do it.

01:42:54.920 I mean,

01:42:55.120 I think that people,

01:42:56.240 uh,

01:42:56.820 I think that everyone should listen to our podcast a hundred percent,

01:42:59.700 uh,

01:43:00.720 I think all of humanity.

01:43:02.540 In fact,

01:43:03.260 uh,

01:43:05.040 well,

01:43:05.280 hopefully they will,

01:43:06.400 uh,

01:43:07.280 uh,

01:43:07.540 through one of these filmmakers who,

01:43:08.800 who picks up on this.

01:43:09.740 Right.

01:43:09.960 Yeah.

01:43:10.140 So,

01:43:11.060 um,

01:43:11.900 I think everyone should listen to our podcast.

01:43:14.260 Um,

01:43:14.860 I think that the,

01:43:16.480 and you know,

01:43:17.340 Hey,

01:43:17.720 consider us like taking the bullet for you.

01:43:19.480 We have to watch these movies.

01:43:21.460 Um,

01:43:22.220 the other thing is,

01:43:23.940 the other thing is that I think that,

01:43:26.140 uh,

01:43:26.520 and not,

01:43:26.980 I don't think everyone's required to make these analyses.

01:43:29.700 It's not even,

01:43:30.480 it's not relevant to most people.

01:43:31.800 I mean,

01:43:32.080 some people are more politically minded and they're more,

01:43:34.460 that's more their game.

01:43:35.880 Right.

01:43:36.340 And I think that they should,

01:43:37.300 we should play to our strengths and the things that naturally,

01:43:40.000 really interest us.

01:43:40.680 Right.

01:43:41.380 So I think it's completely fine.

01:43:43.060 If someone is like,

01:43:44.100 you know what,

01:43:44.480 I'm not going to see another movie in my life.

01:43:46.840 Yeah.

01:43:47.260 Uh,

01:43:47.800 unless it's like,

01:43:48.700 I've heard from,

01:43:49.560 you know,

01:43:50.300 Mark Brahman and Richard,

01:43:51.480 that the thing is a hundred percent,

01:43:53.300 uh,

01:43:54.020 Arian kosher.

01:43:57.760 In,

01:43:58.260 in which case,

01:43:59.000 you know,

01:43:59.280 in Conan,

01:43:59.760 the barbarian is almost there.

01:44:02.440 Um,

01:44:03.080 but,

01:44:03.600 uh,

01:44:04.100 so what,

01:44:04.880 one other thing that I wanted to remark on is that,

01:44:08.300 um,

01:44:08.780 the other criticism I would make,

01:44:12.140 and it's not even necessarily a criticism per se,

01:44:15.520 except though it is a discussion,

01:44:16.780 um,

01:44:17.480 and maybe ultimately a criticism is that the aesthetic of,

01:44:21.840 uh,

01:44:22.200 both films,

01:44:23.060 but it particularly,

01:44:23.760 particularly the last film,

01:44:25.000 or not actually particularly the first film,

01:44:27.460 um,

01:44:29.000 where again,

01:44:29.660 we have this,

01:44:30.520 it's a very new noir film.

01:44:32.980 Right.

01:44:33.360 And in fact,

01:44:34.460 I mean,

01:44:34.740 it's a,

01:44:35.120 it's a beautiful film,

01:44:36.400 uh,

01:44:37.220 it,

01:44:37.420 because it's not a black and white noir film.

01:44:39.780 It's a color noir film.

01:44:41.260 Right.

01:44:42.160 Uh,

01:44:42.560 so it's a beautiful,

01:44:43.500 it's,

01:44:43.780 it's similar to,

01:44:44.840 uh,

01:44:45.760 you know,

01:44:46.120 the Renaissance,

01:44:46.680 uh,

01:44:47.240 paintings where they're applying this,

01:44:48.600 uh,

01:44:49.200 uh,

01:44:49.400 uh,

01:44:49.420 Kira's,

01:44:49.960 uh,

01:44:50.300 Skiro technique where,

01:44:52.760 uh,

01:44:53.060 everything is kind of,

01:44:54.480 uh,

01:44:54.900 you know,

01:44:55.220 there's more shadow than there is light.

01:44:57.000 Right.

01:44:57.400 It's,

01:44:57.760 it's very,

01:44:58.180 uh,

01:44:58.820 kind of beautiful effect that's created.

01:45:00.400 Um,

01:45:01.820 so,

01:45:02.300 I mean,

01:45:02.540 it's,

01:45:02.940 it,

01:45:03.340 it goes beyond a noir noir film in that regard.

01:45:07.320 Um,

01:45:08.580 and,

01:45:09.040 you know,

01:45:09.260 and so it's a beautiful film.

01:45:12.480 It's a gloomy,

01:45:13.440 dark,

01:45:14.220 uh,

01:45:15.340 phonic underworld,

01:45:17.240 uh,

01:45:17.520 kind of plutonian film that we're looking at that's describing degeneracy.

01:45:22.660 Right.

01:45:23.380 It's very dark and depressive as we've already mentioned.

01:45:26.800 Um,

01:45:27.040 so one other question that I would posit,

01:45:29.280 um,

01:45:29.800 you know,

01:45:29.960 to the thinkers,

01:45:30.520 uh,

01:45:31.660 is that,

01:45:32.240 uh,

01:45:32.720 we,

01:45:33.280 tragedy is another thing,

01:45:34.600 uh,

01:45:35.020 that we have to look at.

01:45:36.400 Now,

01:45:36.820 tragedy ostensibly is a form of catharsis.

01:45:39.420 That's sort of kind of a dogma that we've accepted.

01:45:41.940 Right.

01:45:42.360 And it,

01:45:42.800 and it may very well be a kind of catharsis.

01:45:44.840 It may be kind of like a,

01:45:45.760 a type of resting,

01:45:47.220 right.

01:45:47.540 If you,

01:45:48.100 you have a good cry,

01:45:49.020 then you're,

01:45:49.520 you're kind of like relaxed or you,

01:45:51.680 you,

01:45:51.880 you've,

01:45:52.360 uh,

01:45:52.740 you've kind of rested in some manner.

01:45:54.840 Uh,

01:45:55.240 you know,

01:45:55.460 certainly,

01:45:56.060 you know,

01:45:56.320 people at funerals are going to get very upset and cry,

01:45:58.880 but,

01:45:59.400 you know,

01:46:00.160 generally though,

01:46:01.860 I question,

01:46:02.880 um,

01:46:03.900 whether if,

01:46:04.680 like,

01:46:04.960 if the most important and useful works to us are works that are tragedies.

01:46:09.280 And in particular,

01:46:10.720 as is suggested on a Jungian,

01:46:13.540 in a Jungian manner where the Aryan dies in some,

01:46:16.660 you know,

01:46:17.520 ruin among this Asianized population.

01:46:20.480 Now,

01:46:21.060 I don't know.

01:46:22.580 I mean,

01:46:22.800 I think that that,

01:46:24.060 I,

01:46:24.420 I mean,

01:46:24.800 it is,

01:46:25.200 it's like Seagird's death,

01:46:26.620 right.

01:46:27.120 In the ring cycle or Siegfried.

01:46:29.020 Um,

01:46:29.660 it's similar.

01:46:30.340 It's very similar in fact.

01:46:31.520 And what I would argue is that the Apollonian would say,

01:46:35.400 no,

01:46:35.900 right.

01:46:36.180 We want to show our greatest works of art.

01:46:39.960 And I think that,

01:46:40.700 you know,

01:46:40.900 artists can work in any genre and all genres.

01:46:43.820 Um,

01:46:44.500 our greatest works of art will be works showing triumph,

01:46:48.540 showing victory over our enemies,

01:46:50.740 right.

01:46:51.020 There's a wonderful,

01:46:52.400 probably the greatest example of this is,

01:46:54.600 is,

01:46:54.900 uh,

01:46:55.480 Apollo slaying,

01:46:56.460 uh,

01:46:57.140 uh,

01:46:57.380 Python,

01:46:58.140 right.

01:46:58.480 Or,

01:46:59.100 uh,

01:47:00.100 Jupiter overthrowing,

01:47:01.500 um,

01:47:02.520 Saturn.

01:47:03.920 Um,

01:47:05.020 so though,

01:47:06.080 those things where we depict Aryan figures,

01:47:09.700 defeating Semitic figures is essentially what I'm saying,

01:47:12.580 are the most important works to us.

01:47:14.980 And those will be the most valuable.

01:47:16.440 I'm talking to you artists now,

01:47:17.720 and I'm talking to whoever appreciate,

01:47:20.520 appreciate,

01:47:21.020 creators of art to give you a kind of criteria to evaluate art.

01:47:25.300 Um,

01:47:25.660 the other thing I would say is that,

01:47:27.300 um,

01:47:28.940 uh,

01:47:29.940 you know,

01:47:30.400 that's not to say,

01:47:31.360 look,

01:47:31.600 tragedy may have some value,

01:47:33.240 but tragedy.

01:47:34.780 Certainly does.

01:47:35.860 Yeah.

01:47:36.200 But it should be encoded,

01:47:37.760 right.

01:47:38.260 Because I think that what happens often in Jewish works where they depict

01:47:41.460 tragedy is that it's not really a tragedy.

01:47:44.000 It's,

01:47:44.320 it's a tragedy for Aryans,

01:47:45.720 but the thing is so encoded that,

01:47:47.940 uh,

01:47:48.320 it has an esoteric message essentially saying that,

01:47:50.860 you know,

01:47:51.040 the Jew prevailed or whatever.

01:47:52.540 And so I think that if you are going to,

01:47:55.000 uh,

01:47:55.800 depict tragedy,

01:47:57.200 you have a,

01:47:57.780 the audience has to be an informed,

01:47:59.920 intelligent audience.

01:48:00.640 Right.

01:48:01.280 So it just doesn't end up being kind of a depressive thing.

01:48:03.480 And that's one of the things that we have to cultivate.

01:48:05.160 We have to cultivate minds,

01:48:06.740 right.

01:48:07.420 So that they can appreciate art in a way where they understand,

01:48:11.140 uh,

01:48:11.560 an encoded message.

01:48:12.520 And they say,

01:48:13.220 yeah,

01:48:13.480 that thing is actually fucking completely bad-ass.

01:48:16.020 Um,

01:48:16.460 but in general,

01:48:17.160 I think that tales of triumph are the most valuable thing to us.

01:48:20.880 And I would just use,

01:48:22.040 I would use the Bible as an example,

01:48:23.640 is the one sort of consistent,

01:48:25.800 uh,

01:48:26.380 theme and note,

01:48:27.700 you know,

01:48:28.240 much to its credit that runs through that work is the triumph of the,

01:48:31.860 of the Jews.

01:48:32.720 Art is,

01:48:33.520 art is a prophecy,

01:48:35.020 right?

01:48:36.020 Apollo,

01:48:36.700 uh,

01:48:36.920 the God of art is a prophet as well.

01:48:38.740 We have to create prophecies through art and that's it.

01:48:44.240 That's effectively what Jews have done,

01:48:45.960 uh,

01:48:46.440 through their biblical works,

01:48:47.740 right?

01:48:49.420 So that's,

01:48:51.220 that's the secret to success.

01:49:08.740 what you can do.

01:49:12.080 Yeah.

01:49:13.160 Yeah.

01:49:16.020 Yeah.

01:49:17.800 Oh,

01:49:18.240 yeah.

01:49:18.480 Yeah.

01:49:18.580 Yeah.

01:49:19.120 It's...

01:49:20.260 Yeah.

01:49:21.060 There you go.

01:49:21.380 Yeah.

01:49:21.420 Yeah.

01:49:21.620 Yeah.

01:49:22.320 Yeah.

01:49:22.400 Yeah.

01:49:22.480 Yeah.

01:49:22.700 Yeah.

01:49:22.960 Yeah.

01:49:23.080 Yeah.

01:49:27.340 Yeah.

01:49:33.580 Yeah.

01:49:36.360 Yeah.

01:49:37.400 Yeah.

RadixJournal - October 29, 2017

Unconscious Cinema - Less Human Than Human

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