This week on the Joe Rogan Experience, we're talking about a bunch of movies that were shot in the early 20th century, including Citizen Kane, War of Worlds, and Star Trek. We also talk about some of the craziest things that happened behind-the-scenes in those days.
00:01:47.000I can't remember what it's called, but I have them at home.
00:01:49.000And it's like all these radio things like that, where just when celebrities, you know, lose it while doing voiceover and ADR, it's hilarious.
00:02:01.000Because when he made that movie, when he made Citizen Kane, which was about William Randolph Hearst, William Randolph Hearst essentially shut down one of the most talented guys alive at the time.
00:02:13.000Yeah, because the movie was kind of an insult about, you know, the whole thing about Rosebud is that's the name of his girlfriend's clitoris.
00:02:51.000But I mean, if you go back to like War of Worlds and then Citizen Kane, I mean, this guy was a dynamo, and then they shut him down.
00:02:58.000Well, yeah, and he was doing things that nobody else would do.
00:03:01.000It's like he's like, oh, I want the camera down here, like on the phone.
00:03:05.000Well, we can't get the camera lens down that low.
00:03:08.000What you're talking about is impossible to do.
00:03:09.000And so he would just grab a pickaxe and just start chopping away at the studio concrete and dig a hole in the ground so you can put the camera down that low.
00:03:19.000Yeah, he was obsessed with getting a vision on screen that was, even today, is so advanced.
00:03:28.000There's a shot in the very beginning when young Kane is like a little kid and he's out there playing with Rosebud.
00:03:34.000He's out there playing with the sled in the snow and the camera is on him and then it kind of starts pulling back and it pulls through a window and then we see his parents and the trust attorney and the camera keeps backing up all the way into the room.
00:03:49.000Well, to do that in a studio and to have all that snow and everything, you need so much light, but you also need a lot of light inside the, because the exposure change.
00:03:59.000It's like an amazing, incredible dolly shot, a reverse tracking shot.
00:04:42.000There's a lot of stuff going on back then.
00:04:44.000Probably hard to get people to go to the movies back then.
00:04:46.000No, it would be easy to go to the movies.
00:04:48.000In fact, wartime and depression and when things are bad, that's usually the best time for entertainment because people just want to escape.
00:05:23.000A father has a right to a board of the beats his bill and leaves worthless stock behind.
00:05:28.000That property is just as much my property as anybody's, now that it's valuable.
00:05:32.000And if Fred Graves had any idea all this was going to happen, he'd have made out those certificates in both our names.
00:05:37.000However, they were made out of Mrs. Kane's name.
00:05:40.000So in order to maintain that background exposure of the little kid in the window and the foreground, what you're not knowing is how much light they're using on the interior part in order to create that balance between the two with the film stocks back then.
00:05:54.000And the other thing is that table gets flown in.
00:05:57.000Like they move that table into the shot because it's in the way of the camera move.
00:08:41.000I would have never, I didn't know that film existed.
00:08:43.000I bought mine from this commercial director named Charles Wittenmeyer, and he had a massive collection of stuff and then he liquidated everything.
00:08:50.000He just kind of cashed out of Los Angeles and he had a warehouse full of stuff.
00:08:54.000And so I went in and he's like, you know, well, here's, you can get this and you can get this.
00:09:59.000And they don't, now it's like, it's like built for Netflix.
00:10:03.000Yeah, well, now you have a white paper that Netflix gives you.
00:10:06.000And that I think, was it Ben Affleck that was talking about it?
00:10:09.000You know, how you've got to have a beat in the beginning and you've got to have this and this and this and regular things.
00:10:14.000I mean, there was this book by Sid Field, which was a screenwriting book that, you know, at one hand, it gave a kind of formula on what a movie should be.
00:10:24.000You know, by page seven, your inciting event should happen.
00:10:27.000And by page 30, the first, you know, he had everything mapped out by page.
00:10:31.000And that eventually found its way into the hands of studio executives.
00:10:34.000And they were like, oh, now we know what a screenplay is supposed to be structured like, you know, in order to have proper story arcs and structures and a satisfying design.
00:10:45.000And that's just the next iteration is Netflix giving you a white paper saying you have to shoot with these cameras.
00:10:55.000You have to have tech specs that are within this range.
00:11:00.000And that's now extending to story because they've analytically looked at what audiences are able to process now, which is less and less, probably because of the COVID shot, completely frying their pineal glands so that they can no longer pay attention to anything.
00:11:17.000And then on top of that, the mind control device of cell phones.
00:11:24.000And with all of that, they're now like, well, how do we maintain the audience?
00:11:43.000I mean, there's something magical about being in a movie theater.
00:11:46.000You know, it's, you know, you're in this congregation.
00:11:52.000You know, Quentin always talks about how, you know, movies are my church.
00:11:56.000Well, it is a congregation, and you're having, you're sitting in the dark next to someone you don't even know.
00:12:02.000They might have completely different ideologies, race, creed, color, like everything is different about them.
00:12:10.000And yet you're sitting in the dark next to them, having this ecstatic dream, this waking dream, sitting like insects looking at the flicker on the screen, and you're sharing this kind of experience that you're physically trapped in.
00:12:24.000You don't get up and leave the theater and, well, you might if you have to go to the bathroom or get some popcorn or something, but they'll even bring that to you now.
00:12:32.000You're having this kind of ecstatic experience, absorbing the movie with someone you don't know, and you're sharing your bodily electricity with them.
00:12:40.000And I think this kind of, this is the magic that they often talk about of movies.
00:12:45.000It's not necessarily the movie itself on screen.
00:12:50.000It's the shared experience of being next to people.
00:13:02.000And I think that there are dark forces in the universe that are attempting to divide people up and to take that away, to take away that congregation.
00:13:11.000Do you really think that that's by design, or do you think that's just a natural function of streaming and televisions and phones and having access to things instantaneously?
00:13:21.000I personally think that streaming was by design to eliminate residuals.
00:13:26.000So design, but isn't it just a function of new technology emerging?
00:13:29.000You notice that all of the executives – Well, yeah.
00:13:32.000I mean, part of it is technology, but technology gets pushed and brought to the forefront for specific reasons.
00:13:36.000And, you know, digital cinema hasn't been the greatest thing for the creative process.
00:13:43.000And I think we see that in the works that we're looking at.
00:13:46.000I mean, if you watch stuff on Netflix and whatnot, we can see that it doesn't have the same power and impact.
00:13:56.000And also, you know, when you were making a movie, when you were making a film on film, it was like every time you turn on the camera, you're burning money.
00:14:07.000It's like every single frame is like four cents or whatever, whatever the calculation was.
00:14:13.000And so that was actually an expensive part of the process.
00:14:16.000And so, you know, there was all this preparation to get everything ready.
00:14:20.000Like, oh, we want to get all of the props in place, you know, right before we shoot.
00:14:24.000And the actors are in their trailer and they're figuring out what they're going to do.
00:14:29.000And then you're on your way to set and people are like, hey, I'll see you in the moment.
00:14:32.000And what they mean by that is when the cameras turn on and you actually hear that happening, suddenly everything pops into play.
00:14:41.000And suddenly you're performing in front of, you know, what you're attempting to do is capture lightning in a bottle.
00:14:50.000And you don't even know that you have it right away.
00:15:00.000And like, then you hold that all in the dark, all that film, because you can't Can't expose it, and you send it off to the lab.
00:15:07.000And then some alchemist at the lab at the castle, you know, puts it into a potion, and he, and the next day, what comes out are these like little stained glass windows, and you watch it, and you realize what you got.
00:15:23.000You, you know, you show up on set, and everything's digital, and you've got producers, and network executives, and broadcasters, and everybody's there, studio people in Video Village, and they set up like a little tent, and everybody's sitting there in their Canadian goose jackets on high chairs, and they're looking at a big color-corrected monitor, and there's a guy doing color correction in a van.
00:15:49.000And they're basically watching an approximation of what it's going to look like in the end.
00:17:14.000You know, if you were an oil artist during the British Renaissance of watercolor paint, where all of a sudden watercolor came out and everybody wanted watercolor, why would you try to make your watercolor paint look like oil or vice versa?
00:17:32.000They're just completely different mediums.
00:17:34.000They're both paint, but they're different.
00:17:36.000And so digital has its advantages and its purposes.
00:17:40.000You can, you know, because you can run like a long mag of video, I call it video.
00:17:48.000Everybody calls it digital cinema, but that was just to push it through.
00:17:53.000And actually, the technology is different.
00:17:56.000With film, light travels through the glass.
00:18:02.000It exposes the silver and the acetate.
00:18:05.000And then you keep it all in the dark and send it away.
00:18:09.000With video, the light travels through the glass.
00:18:12.000It strikes the golden sensor and then it bounces back into the glass.
00:18:17.000And that's why video or digital cinema is flatter by nature than most film.
00:18:23.000And so to combat this, filmmakers have started to do the exact opposite of what we used to do.
00:18:30.000It used to be that you would go to shoot something, you're outside, you're on set, I've got my camera on Joe, and I have the sun behind me because I want all that light on you, for the most part.
00:18:44.000And the analogy would be, or the saying would be that at the end of the day, you go home and the back of your neck is sunburned because you've always had the light behind you.
00:18:52.000Now, because the image is flatter, they rotate the camera 180 degrees and they shoot into the sun to get lens flare.
00:18:59.000And Lens Flair gives you the illusion of depth where there is none.
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00:20:20.000I always thought that like when you would watch soap operas, I was like, why do they look so weird?
00:20:25.000And it's because they were shooting them on video instead of on film.
00:20:29.000Like when we were filming News Radio, the sitcom, we were doing it on film.
00:20:34.000And they were like really adamant about doing it on film.
00:20:37.000Like they really wanted it to be on film.
00:20:39.000And then there was some process where you could make video look like film.
00:20:42.000And I was like, this is so interesting.
00:20:44.000It's like we're designed, like when you take your photo with your camera on your phone and you use portrait mode, which is you blur out the background.
00:21:52.000Because you would never be able to sell that if that cinema never existed.
00:21:56.000Like if cinema never existed and video came around and then it was normal video, like soap opera style, and then someone came along and said, hey, let's make it blurry in the background.
00:22:06.000It's almost like we've become accustomed to the faults and nostalgically we look at them as if it's a positive.
00:22:14.000And it's also led by, you know, everything is shot on iPhones now.
00:22:17.000And so that's becoming the cinematic vernacular, the grammar that people are used to.
00:22:22.000And they now expect that in a big movie.
00:22:25.000And so suddenly you see something like the latest James Gunn Superman or Guillermo del Toro's Frankenstein.
00:22:34.000And they've got these crazy wide lenses where there's no distortion and, you know, kind of infinite depth.
00:22:40.000And they're shot in a very large format.
00:22:43.000But what they're replicating is an iPhone.
00:23:07.000Like, it was really, it was really good till about three quarters of the way through, and it seemed like he just wanted to finish the book.
00:24:13.000I liked parts of it, but as a whole, it just kind of about it, but I mean, Blade 2 is probably my favorite film of his because it's like the least of, well, actually, it's quite a bit of him, but it's just the most accessible for me.
00:27:36.000I mean, the thing about Werner Herzog, when he made his Nosferatu, the Murnau movie, which is the original Nosferatu, the very first one with Max Schreck.
00:27:48.000I saw it at the library when I was 10 years old.
00:27:52.000So the thing about Werner Herzog as a filmmaker is that most filmmakers have their forefathers that they can look back to.
00:27:59.000They have a generation before them that they can kind of imprint on.
00:28:03.000And because of the brutality and tragedy of World War II, he had none.
00:28:11.000There were no German filmmakers that he could look to.
00:28:13.000And so he had to look to his grandfather, basically, which was Murnau, when he made it.
00:28:18.000And so his film is almost like haunted by the original.
00:28:22.000And then he brings, you know, Werner Herzog grew up not using a telephone until he was in his teens.
00:28:41.000And he does things like he'll show two actors in the most emotional part of the movie when Mina and Jonathan Harker are at the beach and they're basically saying goodbye.
00:28:53.000And normally in a Hollywood film, they would cut to a close-up so that we could see the tears.
00:29:18.000And so his film is super powerful that way.
00:29:21.000And then you have Klaus Kinske, who is the madman actor of German cinema and who is like, I mean, there's a documentary called My Best Fiend, which is about the relationship between Herzog and Kinske.
00:29:43.000And there's an amazing scene in the beginning of that where Werner Herzog visits the apartment that he rented in, I think it was in Berlin, where he was first becoming a filmmaker and where he first met Klaus Kinske.
00:29:57.000And he goes there and it's now occupied by these two, just very conservative, this German couple.
00:30:04.000And he starts going through the house and saying, oh, yes, here, this is where Klaus went crazy and he started smashing it and shitting on the walls.
00:33:29.000He's super confused as to what's going on.
00:33:39.000I mean, I have to say, this movie feels haunted, as haunted by the Herzog version, as Herzog was haunted by the Murnau version, as if it's a continuation for me.
00:33:51.000It would be like, I encourage anybody to enjoy all three of them, I guess.
00:33:56.000Yeah, I wonder if he was haunted by that.
00:33:58.000I wonder if he was haunted by the original.
00:34:00.000But this is with the use of all the little step-frame modern ability.
00:34:57.000So, the scene when they get him to sign papers, when he's get up to that questions about the young clothes, many superstitions here that may seem backwarm to a young man of your high learning.
00:35:22.000I'm sure Prince Charles was like jacking off to this film before they made that painting.
00:35:29.000Apparently, he visits Castle Dracula every year.
00:36:20.000I mean, it's very much a candle-lit movie, which I like because I don't like a film where you're pretending that people are in a candlelit, but it's really well-lit.
00:36:30.000Well, and that's an example of where video actually is a better medium to choose.
00:36:46.000When we did Silent Hill, we made the choice of whenever we're in the dark, we're shooting on digital, and whenever it's during daylight, we're shooting on film to create a kind of dissonance between the two.
00:36:58.000And so, and that's largely because digital loves dark, and this is a great use of it.
00:38:37.000It's kind of like a mockumentary, like where they're, but it takes all of the kind of vampire mythology and it makes it really, really fun.
00:42:09.000It got into the point where it was just murder porn.
00:42:12.000Yeah, and that, I mean, I think I even talked about this before.
00:42:18.000That's a real problem with television is that they're just trying to get the serotonin levels spiked by killing someone that you care about.
00:42:26.000And real television, you return because you love the characters and you want to return to it.
00:44:01.000This, like, I had a chip on my shoulder when I started watching this.
00:44:04.000I was like, okay, this is very unlikely that I'm going to enjoy this production.
00:44:08.000But they did it for like a, for a micro budget, effectively.
00:44:12.000They made something that is absolutely kind of reinvents the mythology and they do it like proper television where you kind of love the characters and they weave an entire reality and universe that is just fantastic.
00:44:26.000And it's done for like, you know, for very, very little.
00:44:29.000You know, they're spending billions making these Lord of the Rings things and like nobody cares.
00:46:32.000And so, yeah, Billy Hayes, he was the actual character or the person who lived the experience.
00:46:38.000And so the movie is a kind of propaganda element.
00:46:43.000And that's like all Hollywood does that.
00:46:46.000You kind of accept whenever you're making a movie that you're being used in a certain level to do something, whether it's to, you know, on a very basic level, whether it's just to like, you know, mortify or scare audiences or to do things.
00:47:01.000And we see that more and more, obviously, in media as the director, the personal propaganda, when you have something personal that you want to get on screen, has become more and more diminished.
00:47:12.000And you have sort of more corporate propaganda kind of taking over.
00:47:16.000And I think the most probably crass example of that is DEI stuff in movies and pushing characters in situations that are just completely out of whack.
00:47:29.000Did you see the Star Trek that they tried to make like that?
00:47:50.000Well, we cycle through, we go chronologically from, you know, the original series through The Next Generation and then DS9 and then Voyager and then Enterprise.
00:48:03.000And then we look back to, and sometimes, you know, when you show an episode like in DS9, there's an episode called Trials and Tribulations, where all the characters go into the past and they kind of interact with Trouble with Tribles and they kind of blend them into the set and everything that's happening.
00:48:20.000We'll then go back and watch Trouble with Tribbles or, you know, same thing with Wrath of Khan.
00:48:25.000We'll do this, you know, so we'll kind of connect it all together.
00:48:30.000And so, but every day there's at least two or three episodes of Star Trek playing in my house.
00:48:35.000It's like I usually have to wrestle away the controller to say we're watching a movie now.
00:48:41.000And so, and my children were like basically raised on Star Trek and, you know, the sort of morals behind Star Trek.
00:48:50.000And, you know, and people complain about, oh, you know, I don't like DS9 as much.
00:48:59.000But I think Captain Sisko is one of the most amazing captains there is because he's also a father and there's all these like father-son lessons that are going on throughout it.
00:49:09.000It's like really elaborate television.
00:49:11.000And by the way, all that kind of DEI stuff is still in it.
00:49:17.000They're exploring all sorts of things.
00:49:19.000In Star Trek the Next Generation, Riker, who's like the second in command to Picard.
00:49:28.000In that one, there's an episode where he goes to a planet of neuters that are just, you know, they have one gender and he falls in love with one and they kind of waken up out of their single gender thing and realize, oh, I'm female.
00:49:42.000And that person then gets taken and reprogrammed.
00:49:45.000And then there's an episode where Cork is turned into a woman in order to, for some cockamame-y reason that they come up with in the show.
00:49:56.000So it's not like they aren't exploring gender and not just beating you over the head with it.
00:50:01.000It's somehow integrated into good storytelling.
00:50:04.000And I think something happened at the studios where they fired all of the legacy people and they hired on a bunch of new people who just weren't as good at storytelling and or as respectful of the canon, I guess you could say, is what it was.
00:50:25.000But those seasons of Star Trek are, which I guess you could call the from the Gene Roddenberry into the Rick Berman era.
00:50:35.000And I mean, they had such amazing writers.
00:50:37.000They had guys like Renee Ashaveria and Naran Shankar, and they had technical advisors.
00:50:43.000And so if you were just into the tech, you could really like, and most of our technology and most of our aspirations have come from Star Trek.
00:50:53.000Our telephones are basically tricorders.
00:50:59.000And when we see it on Star Trek, like, oh, we talk to the computer.
00:53:51.000They basically just ripped off Star Trek.
00:53:52.000And they have a sort of like tongue-in-cheek quality, but they bring all the, you know, all the writers from the original and showrunners and people like that.
00:54:01.000And the original directors like Jim Con, God, I'm like blanking on his name, I want to say Conroy, but it's, I think it's whatever.
00:54:12.000And so they bring everybody back and it has a little bit more of the same spirit.
00:54:17.000Another really good Star Trek-ish thing is Galaxy Quest, something that got kind of buried with Sigourney Weaver?
00:55:37.000And I was like, like J.J. Abrams always goes to the middle.
00:55:42.000And boy, was that Star Wars he did, the middle, where he just basically took the Luke Skywalker story and just reinterpreted it with a strong, strong woman, you know, character.
00:55:53.000And I just thought it was bland and just tasteless and just, you know, nothing new.
01:01:08.000Well, Moses, as a character, when he's an Egyptian, when he's like the adopted Egyptian brother, I'm like, totally with him for some reason.
01:01:16.000And then he becomes Moses after getting like hit in the head with a rock.
01:01:19.000And all of a sudden, he's, you know, kind of, he's like a lunatic.
01:01:25.000And you're like, everybody's following him?
01:01:33.000But every now and then they would show a battle scene and it's like, okay, I can like Ridley Scott's doing his thing again.
01:01:39.000And you know who's also really good in it is, God, I can't remember, Joel Egerton, who plays Ramses.
01:01:45.000It's really funny because Joel Egerton is, you know, usually you imagine Egyptians when they're cast as being kind of tall and, you know, sort of noble looking and everything.
01:01:56.000He's kind of like this butch, like sort of tough, you know, wide-bodied butch Ramsey, like just kind of like a tough Ramsey's.
01:02:04.000And every now and then his Australian accent comes out.
01:02:06.000And so he's like, oh, oh, he's like an Australian Ramses.
01:02:09.000And John Toturo places his father, you know, a bald, I'm like, is that John Toturo?
01:02:35.000So the next Ridley Scott movie I watched, which I stayed away from, and with great apologies to Matt Damon and Ben Affleck, was The Last Duel.
01:02:59.000And lo and behold, one of the best films of the century.
01:03:03.000In my absolutely first of all, those guys know how to write a script and I know that they wrote it with Nicole Hofsonotter or whatever her name is.
01:03:13.000And look at, and look at Ben Affleck like that, when I saw him blonde, I was like that's one of the reasons it kept me away from it, but he's hilarious in the movie.
01:03:36.000And Adam Driver is magnificent and like this relationship that these two guys have and it's kind of a Rashamon story, meaning that uh, like Akira Kuracawa's Rashaman, which was three stories that are all sort of the same event told from different perspectives and so, and Matt Damon is like a revelation and this movie says so much about Hollywood.
01:03:55.000Like when I watched this I was like okay, i'm Matt Damon and Quentin is uh, Adam Driver for sure.
01:04:01.000Like Adam Driver totally knows how to like you learn about Hollywood in this film and i'm sure they're writing it like knowing about Hollywood, that the way to really get along in court is to join the orgies.
01:04:13.000You know, to be in the orgy with everybody is like how you get along.
01:04:16.000It's like uh uh, we all fuck together and that's how we do it.
01:04:20.000But Matt Damon, who by all accounts in this is a great, you know, he's a fighter, he's a great knight, he's true in his heart, but he's just a like a pill to hang out with and he doesn't go to the orgies and because of that he's just kind of marginalized and the whole movie plays off of this friendship that just kind of goes awry, where jealousy comes into play and uh and, and it's ruinous to everything, until they're finally fighting in the very end.
01:04:47.000And this is where Ridley Scott just does what he does, which is he has this insane fight between these two guys which, like was just every blow was painful to look at and this to me, was the best Ridley Scott movie i've seen of the century.
01:05:23.000And Gladiator Two, it just kind of goes through the paces.
01:05:26.000It's just kind of everybody shows up, speaking of showing up.
01:05:29.000When Segurney Weaver shows up in Uh Exodus, Gods And Monsters, she's not even trying at all, she knows that she's there for a paycheck.
01:05:37.000Like she just shows up and she just like, does not put on an accent of any kind, she just shows up and just speaks the lines and then i'm out of here, i'm going into Morocco or whatever, into Into town.
01:06:02.000It just looked like she was so excited when an actor makes a choice with a character and it just doesn't work and they don't realize it, but they're committed to it.
01:06:11.000And the other Ridley Scott movie that I just watched that I hadn't seen, again, I avoided it partly because of the title of the film.
01:06:28.000It's got Javier Bardem and Cameron Diaz, and they're all kind of Javier Bardem looking exactly like Robert Downey Jr., like in it, like just kind of this crazy Robert Downey Jr. in his crazy phase, you know, with like colorful glasses and everything.
01:08:22.000That's not a bad, I could have done without the UNICEF commercial at the very beginning, where it's just like, you know, a little UNICEF commercial about people starving in Africa and Somalia.
01:08:36.000But the rest of the movie is just insanely beautiful.
01:08:39.000And so I wanted to check out all the movies I hadn't seen of his.
01:08:42.000And so that's why I started researching them and looking them up again.
01:08:46.000And like the counselor, how did that fall through the cracks?
01:09:09.000I think Ridley Scott knows things that, and Corner McMcCarthy know things about the world that they put on film before everything was known.
01:09:19.000Like, I think if that movie was released today, people would be like, yeah, that's what's happening today.
01:09:43.000I can't believe that everybody's just kind of like, oh, well, okay, and they're moving on with their lives.
01:09:48.000Did you see that guy at the Atlanta airport flipping out the well-dressed black dude who just freaks out in the Atlanta just like a couple of days ago?
01:11:16.000And once you say it out loud and you put it out there and make fun of it and do a little skit, like they, like, Stephen Colbert did a little skit on his show where, oh, here's a baby.
01:11:26.000I'm going to take this baby and I'm going to give it to Moloch.
01:11:28.000And he goes into like a cloudy red furnace and hands the baby over.
01:11:34.000And he's, oh, the baby's going to be fine.
01:11:36.000And they make a joke about it, and the audience laughs.
01:11:38.000Okay, we're all now conditioned to it.
01:11:40.000And by laughing at it, we're complicit.
01:11:43.000Do you think that that's on purpose, that this is like some sort of a grand design to get us to be desensitized to the idea of demons eating babies?
01:13:29.000We don't want to believe the horrors that are actually behind the veil.
01:13:34.000Well, I think with the Epstein files, people are, because of these emails that have been released, people are just now starting to be aware of the bizarreness of the code and some of the things, like the facts.
01:13:48.000Like, let's just talk about the sulfuric acid.
01:13:50.000So, this was like right after he was indicted in 2009.
01:13:56.000Yeah, I got to get rid of some bodies.
01:14:44.000Like, that's so that you think is real.
01:14:47.000Well, yeah, not only that, I think that there's sacrifices going on every day in Los Angeles.
01:14:52.000I mean, you know, allegedly, like, you know, high-level musicians, let's say, high-level female musician, is like, you know, killing chickens every day, doing sacrifices.
01:15:15.000I started looking at the comments for some stuff.
01:15:17.000Not that this is the best answer, but a quick answer someone gives is that this could be for like a reverse osmosis water treatment system.
01:15:32.000You know, we, we, but like the timing of all of that, like, you know, where are the purchase orders for all of that sulfuric acid before then?
01:15:39.000Oh, no, I just want to put sulfuric acid into my swimming pool.
01:18:01.000Some commentary notes that a remote island with water treatment and energy systems could plausibly stockpile such quantities for one to two years of operations, although others argue that using it directly for reverse osmosis, as stated in one social post, is technically questionable for membrane health.
01:18:22.000Highly corrosive, strong mineral acid that can severely burn skin, eyes, dehydrate, and char organic material, which is why it features in both legitimate industrial processes and in darker hypotheticals online.
01:20:41.000And so what you do is you find somebody when they're young and they're less inhibited or uninhibited and you catch them doing something that is illegal and maybe you even provide the mechanism for that to happen.
01:22:34.000And he basically says that all of history has been changed.
01:22:40.000About a thousand years have been added to the timeline in order to justify land claims.
01:22:46.000And those land claims largely have to do with Eurasian – the Eurasian horde and the elimination of the Eurasian horde by collusion between the Vatican, the Romanovs, the – So you mean like the Mongols and the Huns?
01:23:04.000Yeah, there was a, and if you look on very, very old maps, you see that there used to be a country called Tartaria that was in existence.
01:23:14.000And at a certain point, they wiped them out.
01:23:17.000And so his theory, and it's just a theory, it's just a posit, but when you see how history is constantly being rewritten in real time, it's not so hard to believe.
01:23:25.000And then he uses astronomical evidence and mathematically kind of proves it.
01:23:34.000And he basically says that, let's see if I can get this right, that Rome and Greece and Egypt were actually active till around 1600.
01:23:48.000And that Rome actually fell around 1600.
01:23:51.000So kind of imagine or more like late 1400s, 1492.
01:23:55.000As opposed to what's the conventional timeline?
01:24:41.000If you're a Byzantine guy and you're like, hey, I want to move to the country and you look over at France, let's say, and Germany, and you're like, yeah, there's all these indigenous peoples there, and we want to wipe them out.
01:24:52.000And so you hire, you know, a mercenary.
01:24:55.000You hire a guy named Charlemagne and you get him to go in there and kill all the chieftains in one day.
01:25:00.000Like 5,000 chieftains were killed in a single day, apparently, by Charlemagne.
01:25:05.000And you completely wipe out everything and then you move in.
01:25:08.000You become Jerome, Jerome I, and you run Paris.
01:25:16.000And so you add time to the timeline in order to justify that land claim.
01:25:21.000Because what makes more sense that history was cruising along like this and then suddenly flatlined for a thousand years and then picked up again?
01:25:29.000Or does it make more sense that somebody took that time, the dark ages, and kind of added to the timeline?
01:25:41.000But isn't there like documented history from multiple cultures about that time period?
01:25:47.000Yeah, but it's all like, you know, written down by the Jesuits who were completely in the control of, you know, it's that history, history is easily changed.
01:25:55.000And in fact, we see history being changed before our eyes in real time.
01:26:00.000And so the deep past is easy to change.
01:27:36.000Well, there's some scientific evidence that for some people, at least, it crossed the blood-brain barrier and had some sort of a detrimental effect on their cognitive function.
01:28:19.000And everybody wants to just, you know, I just want to keep going at my job and I just want to do my thing and I just want to protect my thing.
01:28:24.000There's certainly a lot of that going on.
01:28:26.000British only care about it as long as I have my daily pint at the end of the day.
01:29:43.000Whether you like Trump or not, and I'm not like a I don't really like anybody, but it definitely added a road bump in the actions of the cabal of the Clintons and the Obamas and the bankers that control them.
01:30:02.000And that's when you see the movie The Counselor, that's what you realize is that, wow, the cartels are the banks and they are law enforcement and they are the media and they are everything.
01:30:47.000If I was there waiting for my flight to go visit my parents and there's some fucking guy yelling out, the Hepstein file, you're just living your life.
01:30:53.000Like, yeah, what do you want me to do, dude?
01:32:17.000Well, the Bolsheviks were essentially a kind of, I mean, it's not correct to say communism, but it's basically a kind of authoritarianism in the guise of egalitarianism and helping the world know we're all going to be equal and everything.
01:33:57.000Like, we really do need to be united as one group, a community, and recognize that, that our brothers and sisters in the streets are not our problem.
01:34:08.000Yeah, but we even know about 9-11 now, that so much of it was Building 7, Thermite.
01:34:16.000The evidence is there for anyone to look at.
01:34:29.000Why were the dancing Israelis watching it, cheering it on?
01:34:33.000Why did they get shipped out of the country?
01:34:35.000Yeah, and that guy who owned the building, who bought it, who took out the insurance policy, and then had Elliot Spitzer kind of push it through and force it through so that he could receive his billions in insurance claims that made the decision.
01:34:51.000Because they wanted to tear down that building, and it would have been too expensive to do.
01:35:39.000There's been many buildings that have been very badly damaged and lit on fire, but their frame remains.
01:35:44.000Reputable structural engineers have basically also proven the towers could not have fallen the way they fell without explosives, you know, pre-planned explosives.
01:35:54.000And the people on the scene, the rescuers on the scene, the people who were there said, yeah, I heard explosion.
01:36:24.000Also, if you wanted to digest data, you wanted to destroy data.
01:36:28.000Like, didn't the part of the Pentagon that got hit wasn't, and that was also a day after Rumsfeld was saying that there was trillions of dollars that were unaccounted for?
01:36:37.000Didn't the accounting part of the Pentagon get hit by that air quotes plane?
01:36:47.000The building contained about 24,000 gallons of diesel fuel for generators used by tenants like Solomon Brothers and the Emergency Command Center.
01:36:55.000Floors 46 through 47 and parts of the lower level were mechanical spaces while files from federal investigations, Secret Service cases were stored there but lost in the collapse.
01:37:30.000I had this really dumb guy on the podcast once that was a skeptic, a professional skeptic and he was really angry with me for saying that it looked like a controlled demolition.
01:37:41.000You know, you're promoting a dangerous conspiracy theory.
01:37:45.000I'm like, no, I'm saying it looks like you're saying it doesn't look like a control.
01:37:55.000Let's watch Building 7 collapse because it's kind of kooky.
01:37:59.000Now, one thing that people do point out that is true is that the center, like there is a small structure at the top of the roof of Building 7, that collapses first.
01:38:09.000And it does it, like, I think a minute before the actual building.
01:38:22.000Yeah, that's the most sound part of the building.
01:38:25.000It's built over a Khan Edison substation, requiring large transfer trusses on lower floors to support the tower above, creating long span floors vulnerable to thermal expansion.
01:38:36.000Long, unsupported floor beams and girders up to 50 feet connected to critical, critical interior columns like column 79 with sheer studs that failed under fire-induced lateral loads rather than just gravity.
01:38:52.000The exterior tube frame provided stiffness, but the open interior layout lacked redundancy to prevent fire-induced progressive collapse with connections not designed for horizontal thermal forces.
01:39:08.000Okay, that's a cute way of saying that's why it fell at free fall speed and looks like a controlled demolition.
01:39:14.000Because if that was my building, I would say, give me my fucking money back.
01:39:18.000You made this shit-ass building, this building got lit on fire and just collapsed on itself?
01:42:35.000But I'm saying right now, I was trying to finish.
01:42:38.000That fire is not on every floor uniformly.
01:42:41.000So why is it collapsing uniformly from the top down into the base?
01:42:46.000Why doesn't the base where you have this incredible fire load, why doesn't that weaken and it fall over sideways because it no longer has structure anymore?
01:42:55.000Why is it every floor has the same amount of damage and it gives in at the exact same time?
01:43:02.000That kind of doesn't make sense because the fire is not uniform throughout the building.
01:43:06.000It's not like the building is one gigantic flame ball and then it all gives out at the same time.
01:43:13.000But even then, I would think it would tip over.
01:45:15.000That's exactly like a controlled demolition.
01:45:17.000And even the way it looks as it's going down looks exactly like Tower Sound.
01:45:22.000You know, we were talking about predictive programming and how movies and like spells can predict stuff in advance and kind of prepare you for the future of what's coming.
01:45:35.000You know, in 1999, a movie came out which was effectively a manifesto.
01:45:45.000The end of that movie is the collapsing of the buildings, which are the financial system of the future so that they can create a new future.
01:46:48.000You know, has he been reading these scenario plans that defense departments make and that are maybe Mossad plans that are made?
01:47:01.000I've worked for the DOD through John Milius, and we wrote scenarios.
01:47:05.000They gathered together a bunch of Hollywood writers into a conference room, like a, it was like more like a ballroom, but like a small one, and gather a bunch of us together around a table and said, let's come up with ways on how to attack Los Angeles.
01:47:20.000And we all wrote scenarios on how to attack L.A.
01:47:23.000And now they just use AI to do all that.
01:47:26.000But so, you know, has he just been like reading these?
01:48:16.000But as time goes on and you're confronted with more and more information, and I think we're in the beginning stages of reckoning with these files that were just released where so many people like, I haven't really read much of it.
01:48:29.000I've only read the things that are really outrageous that my friends have sent me because I'm just trying to maintain my sanity.
01:48:38.000You just like, I just want to get through the day.
01:48:40.000You know, I just want to like, I want to be happy.
01:48:45.000I want to raise my children in a world that is a peaceful world and where people respect each other and where we can like, you can make something out of yourself, you know, through hard work and through merit.
01:49:13.000So one of its engineers resigned and essentially said that humanity is doomed and he's going to move to the UK and just write poetry and just wait it out.
01:49:37.000Maybe he means like the Scottish Highlands where he's going to hide and go into some small town and fucking just hang out at a pub.
01:49:45.000Yeah, they're going to populate that town with suddenly 800 war-capable men from another country are going to move in and they're going to move into the local someplace that the West has conveniently been bombing and creating refugees on.
01:50:53.000So like if they've been engineering this long game and engineering the collapse of legitimate governments all throughout the world, bombing places, creating refugees, and then having these not just open border policies, but inviting and helping people get into countries and then giving them money when they get there.
01:51:49.000I would rather not be in the movie The Road.
01:51:52.000But I feel like we're going to be able to do it.
01:51:54.000I feel like we're increasingly in the movie Children of Men.
01:51:57.000And I mean, that movie was a pretty accurate futurist example of where we're heading with collapsing birth rates and at least portions of civilization looking at extinction.
01:52:12.000I mean, they're experiencing South Korea, Japan.
01:52:40.000Sharma, who built defenses against AI-assisted bioterrorism and pushed for transparency on model risks at the San Francisco AI firm, announced his resignation on Monday.
01:52:50.000He described struggles to let values guide actions amid mounting pressures, planning to return to the UK for a poetry degree and step back from the spotlight.
01:52:59.000His exit follows other safety team departures amid Anthropic's launch of Claude Opus 4.6 and a massive $20 billion funding round at $350, $350 billion valuation, fueling debates on balancing safety with commercial speed.
01:53:17.000Okay, but what is he saying specifically is the issue?
01:53:39.000I mean, look, this guy's built something, and all of a sudden, he's realizing all the players that are funding it are likely, you know, scary, scary people.
01:54:06.000I think fondly of this famous Zen quote, not knowing is most intimate.
01:54:13.000My intention is to create a space to set aside the structures that have held me these past years and see what might emerge in their absence.
01:54:21.000He's already working on his poetry right here.
01:54:23.000I feel called to writing that addresses and engages fully with the place we find ourselves, and that places poetic truth alongside scientific truth as equally valid ways of knowing.
01:54:55.000I mean, a lot of astrophysics is based on a false premise that P equals P prime, and that the sun is designed a certain way, and it's completely wrong.
01:55:05.000And everything that we know about the stars and how we view the nature of the universe is fundamentally incorrect.
01:56:00.000Well, it's at the beginning of astrophysics, there is this formula.
01:56:05.000And if that formula is wrong, then the preceding calculations are also wrong, or at least off.
01:56:11.000And so the idea is that what we view is really just kind of a cartoon that's painted for us using all these formulas and using radio telescopes.
01:56:37.000You know, I have to say, like, I mean, I'm a provocateur, and so I'm always interested in finding that which upsets people's concepts of things.
01:56:50.000And that's partly because I'm a screenwriter, and I'm looking for these kind of conflicts and interesting ideas and stuff like that.
01:56:57.000So take what I'm about to say with a grain of salt.
01:57:00.000But the big one, the biggest conspiracy theory that freaks everybody out is flat Earth.
01:57:07.000Now, I don't know what the Earth is, but experientially, through the testimony of the eyes, it is flat.
01:57:15.000And there is very little chance that I will ever in my life, or most of us, will ever in our life experience anything other than what is effectively a flat Earth.
01:57:26.000And the way laser sighting across large bodies of water or navigation maps for air travel for pilots is always the presumption of a flat Earth.
01:57:41.000It's always in the pilot manuals and on maps.
01:57:46.000Well, if you're flying a jet at low altitude, you're not making corrections for curvature, even though you're going fast enough where you should be.
01:57:54.000And so what's actually happening there?
01:57:56.000Well, and so the idea is, look, I don't know what the world is or what the realm that we're in is, but experientially, from my perspective in life, it is nothing but a flat Earth.
01:58:17.000Well, you can watch the sun rise and fall.
01:58:21.000They don't even fly from Cape Down to Buenos Aires.
01:58:23.000There's a precession of the equinoxial.
01:58:26.000They travel up into the other hemisphere and land in London or something and then travel back down whenever you're doing a flight across the Atlantic.
01:58:35.000And so when you look at it on a flat Earth map, there are some satellite photographs of Earth from space.
01:58:44.000I'm saying that even the NASA, the guys who actually do those composites, those are composite imagery of – listen, I'm not – I am not saying that – But it seems like you're saying that the Earth is possibly flat.
01:59:34.000But I do know that when you look at the navigation maps always presume a flat Earth.
01:59:39.000When you look at the film from the space station, you see an Earth that's not just round, but spinning.
01:59:45.000I see what I actually, the space station, the International Space Station is actually not high enough to see curvature.
01:59:54.000And what you're seeing is the lens distortion.
01:59:59.000It's not high enough to see curvature when you look at it.
02:00:02.000It's actually even – it's very, very close to the – Let's look at footage from the space station of Earth.
02:00:10.000So when you see satellite images that are taken of the Earth, you think they're lying?
02:00:15.000You think there's this grand conspiracy to piece all these pictures together and turn it into a circle instead of having a flash?
02:00:21.000That's the fundamental conspiracy theory that unravels everyone.
02:00:27.000Well, it doesn't make any sense because everything that we see in the cosmos that's a planetary body is round, including stars.
02:00:35.000So it's all round, except for small moons.
02:00:38.000Everything's round and that's because I'm not even I'm not even certain certain that space exists that Well, that the moon is anything more than a plasma.
02:01:17.000Why do you think that's lens curvature?
02:01:18.000And that what you're seeing is horizon.
02:01:20.000So what you're talking about is like if I'm trying to provoke you, that's what I'm saying.
02:01:24.000Right, but let's not do that right now because I don't want you to be completely fucking insane.
02:01:29.000Because this is a round body, just like the moon, just like Mars, just like Jupiter, just like Uranus.
02:01:34.000That appears to be a – but in your practical life experience, you have to accept a certain amount of faith is what I'm getting at at any moment.
02:01:44.000But they understand the procession of the economists.
02:01:48.000Okay, do you know that the procession of the Ignotes is how they measure the sky over a period of 26,000 years?
02:01:55.000I see right there a little stitching, like right there.
02:01:59.000I just said this would just keep going straight forever.
02:02:51.000I'm saying that things fall into, like, the way perspective works is that things appear to fall into the horizon.
02:02:58.000But now you use a, what is that camera?
02:03:00.000Is it a P200 camera where you can actually zoom in and lift things out of the horizon that have appeared to fall into the horizon?
02:03:09.000This live video feed from the International Space Station has been interrupted because you're watching too much due to either a change in the onboard camera configuration or a loss of signal with the communications network.
02:03:20.000The video will return when the connection is re-established.
02:03:34.000I'm saying that, and that we can even see that whenever they're up there shooting with cameras outside, you're like, oh, there's the curvature.
02:03:44.000And then every now and then the camera turns and it inverts for a moment.
02:03:52.000And listen, I'm not saying that we're not living on a globe or at least an oblate spheroid, as Neil deGrasse Tyson says, but have you ever noticed how spasticated that guy gets whenever you throw out the word flat earth?
02:04:04.000He flips out like the way Robert De Niro flips out on like irrationally, he flips out.
02:04:11.000He flips out when you say that men can't be women, which is very weird.
02:04:16.000Yeah, and that they should be able to compete in women's sports, which is very weird.
02:04:30.000Who then put in jail women and then they have to pay for their electrolysis and breast augmentation, which is okay.
02:04:37.000At what point in time do you say that this is some sort of a bizarre agenda that you're trying to get us to accept something that doesn't make any fucking sense?
02:04:46.000So much so that you're willing to house male prisoners in with females because they say they're a male with an intact penis.
02:04:53.000And then even after they get female prisoners pregnant or rape them.
02:04:58.000We're all just trying to construct what reality is, and it tends to be a consensus of what it is.
02:05:06.000But there are fringes on the ends that don't believe with what the consensus says.
02:05:13.000But do you know how many people would have to be involved to promulgate this idea that there's a flat earth and you've got to cover up that thing and pretend it's round?
02:05:22.000And what's the motivation of covering up the fact that the earth is flat?
02:05:26.000I mean, if we're really fundamentally getting down to it, it's about God.
02:05:30.000And it's about what is this realm that we're in?
02:05:35.000And, you know, why would it be more likely to be available?
02:05:39.000Every culture, every culture throughout recorded history draws us in this kind of flat earthish environment with a dome, a firmament that covers it up until like when, the 1930s or something?
02:05:54.000Right, when they start making telescopes.
02:05:58.000I mean, so this is a grand conspiracy like Galileo was wrong, Copernicus was wrong, all these people.
02:06:06.000And I mean, the other option is that we are just specks of nothing floating around in an endless, vast nothing that goes on forever, and that you are completely insignificant, that you are not God's perfect creation, which I think you are.
02:06:23.000Well, that doesn't, they're not mutually exclusive.
02:06:25.000You know, just because we are in this vast cosmos that's almost impossible for our mammal minds to grasp the magnitude of it doesn't mean that God's not real.
02:06:37.000It's exclusive to people who believe the Bible word for word.
02:07:37.000There's a lot of weird stuff in the Bible.
02:07:40.000In Genesis, when the Nephilim come down and they find women comely, and so they, like, okay, what's actually going on there?
02:07:49.000These angels or Nephilim are coming down and they're taking women from men and having sex with them and then creating, you know, hybrid offspring.
02:08:02.000When Representative Anna Paulina Luna was here, she told me about the book of Enoch.
02:08:52.000Yeah, it's a very fascinating statement by this mathematician.
02:08:58.000We talked about it on a recent podcast, was that how strange is it that we find out that the universe is made out of math and that it's encoded in the universe itself?
02:09:12.000So a tool that we used that human beings created to measure the universe, it turns out that that tool is how the universe is actually encoded.
02:09:23.000Well, this gets back to what Elon is saying about the world being a simulation.
02:09:30.000So it says, no, in ancient Hebrew, whatever that word is, gematria, no direct name of God shares the exact same numerical value as the word for love.
02:13:27.000Even all words mean another number that all have some sort of secret meaning.
02:13:33.000Runic writing from the Nordics is the same thing.
02:13:36.000And there is a striking resemblance between many of the runes with Hebrew.
02:13:41.000And so these ideas and these glyphs and symbols that Odin first saw while hanging upside down from the tree and learned language and how to speak are somewhat universal across the planet.
02:13:54.000Let's get to that for a second, but let's find out what Jamie's saying.
02:13:58.000Primarily used in Jewish mysticism and religious studies to find hidden spiritual meanings in sacred texts like Torah by assigning numerical values to Hebrew letters and words, revealing connections between concepts and exploring the universe's underlying structure.
02:14:13.000What's interesting is it's an older language, but doesn't that seem like a more complex language?
02:14:18.000A language that combines numerical value with words?
02:14:23.000If you said something to me, it's not just implied by your tone or by the context of what you're saying that I understand what it means to you, but it's in the numerical value of the words.
02:14:37.000That seems like a better way to communicate than just nouns and verbs and adverbs.
02:14:42.000Rather than bifurcating numbers and letters together.
02:14:49.000It seems like if you can understand that, and if you grew up with that, that seems like that would be a much richer and deeper way of communicating.
02:14:57.000Isaac Asimov wrote a book called Asimov on Numbers, which is fantastic, which talks about this.
02:15:02.000And he talks about Kalahari Bushman who have no concept of the number zero and how they process and understand concepts like when no one is around, if the village is empty, and things like that.
02:15:17.000And so just different people are just trying to figure out how to articulate everything.
02:15:23.000And computer programming is a language that utilizes numbers.
02:15:28.000It's weird when there's certain languages that don't have a word for something.
02:15:33.000So people really grasp, they have a hard time grasping what the fuck you're trying to say.
02:15:38.000Like, what's the translation for this?
02:16:19.000You're pulling people out of the Stone Age and dropping them into, or maybe the Iron Age and dropping them suddenly into this idea that we're missing a thousand years.
02:16:30.000So if we really are missing this one thousand, there's two things I want to get to that.
02:17:59.000And then it curves and it travels sideways across the sky until it meets a certain orbit, and then it traveled and dropped off in Australia 35 minutes later.
02:19:22.000And the fact of the matter is, even at the height, even at the height that these are orbiting at, and I'm not saying, like, presuming a globular planet, and even the word planet, plane, it's like a plane, you know, or the horizon is horizontal, like, you know, even presuming that, the height that they're at right now, you would still only see, you know, a circular,
02:19:49.000you'd see the limit of your vision, which has a...
02:19:57.000Well, you're still not high enough to truly see curvature.
02:20:01.000If we are in a simulation and if consciousness affects the reality of things and they are only real if we are experiencing them, that's when things get really squirrely.
02:20:31.000Gravity is a concept, and it's a truly non-provable concept because you can prove the exact same thing through density and buoyancy.
02:20:39.000You know, the density and buoyancy, you know, make a lot of sense.
02:20:42.000Come the oceans react to the way they do and don't, you know, it's not necessarily provable, but it's believable.
02:20:54.000You come to a certain point where you're like, okay, faith takes over at this point.
02:20:58.000My faith in gravity, my faith in the globe, because that's what's been told to me since I was a baby, at a certain point that just takes over.
02:21:37.000And so because they had no other way to describe things based on where the sun was going to be during the solar equinox, they also were aware of the precession of the equinoxes, which is the wobble of Earth's orbit.
02:21:53.000So Earth spinning around doesn't spin perfectly.
02:21:57.000There is a 26,000-year wobble, and you can predict it by the night sky.
02:22:01.000Somehow Polaris remains centered in the sky and all stars rotate around it.
02:22:53.000Due to 26,000-year axial precession cycle, the North Star changes over millennia.
02:22:59.000While Polaris is the current North Star, other stars have held this position, including Thuban, 3,000 BC, and future stars will include Arai, Alderman, Aldurman, and Vega.
02:23:27.000We know where they've been able to accurately predict the motion of the precession of the equinoxes based on the constellations, which are clearly mapped out.
02:23:38.000And this wobble may be responsible for cycles of Earth's climate, how things change and be dependent upon where the equator sits and where these poles sit and kind of wiggles around.
02:23:51.000Remember when we were younger, the sun was kind of yellow and orange, and now it's just like white?
02:25:25.000look I'm a screenwriter and so I'm always looking for things like this to write stuff about and so it's I take it all In order to prove what?
02:25:33.000Whenever you have a proof, you also have to disprove.
02:25:36.000And so, you know, he wrote a book called 100 Proofs about the nature of the Earth and how it is.
02:25:46.000And it has explanations for many of the things you're talking about.
02:25:51.000Hasn't he debated people that actually understand how you can prove that the Earth is round?
02:25:57.000He does it very calmly and it infuriates people.
02:26:00.000Right, but I don't think he's done well.
02:26:02.000It's very enjoyable to watch because it's really funny.
02:26:04.000But to people that are actual cosmologists, he's not performed well in these.
02:26:08.000Well, the cosmologists will say things that still need to be, if you're making statements, they still need to be, you still need to disprove the other proofs.
02:26:21.000Right, but there's plenty of people that have disproven that the Earth is flat.
02:26:40.000So all I'm saying is that through experience, that the testimony of your eyes, you will never experience a globular Earth.
02:26:49.000You can't have to at a certain effect of an Earth that's a globe if you go to the other side of the Earth and it's dark out when it's sunny in California.
02:27:01.000They've made models of how that could work on the flat.
02:27:53.000When I get on the plane later today and I'm flying back and I look outside, I'm going to see a flat, you know, a flat horizon, a horizontal horizon before me.
02:28:06.000And when I land, and everything else is faith-based.
02:30:36.000But what's interesting about it is that if you extract the faith that you have in these kind of ideas and you supplement it with the faith of these other ideas, they're exchangeable.
02:30:57.000They're only exchangeable if you don't understand the data and if you don't understand what's actually been measured or if you don't understand the path of satellites or if you don't understand how many different people would have had to lie about this shit and not achieve the same observational results that all these different space agencies have.
02:31:14.000That the idea that they're all in collusion, that Japan and India and even countries that hate each other, they're all in collusion on this lie that the Earth is round.
02:31:25.000It seems much more likely that there's a bunch of people with schizophrenia that think that the Earth is flat and they make these YouTube videos where they're very compelling because they're articulate and they use great words and they say it all in a nice way without being challenged by real facts along the way by someone who actually has studied this their whole life.
02:32:06.000That's kind of what I'm getting at, ultimately, is what does all of that really matter?
02:32:11.000What does it matter to anybody that there's a cabal of 8,000 plus people who are secretly controlling the world and doing occultism and drinking baby blood?
02:32:21.000What does it really matter as long as you can just have your daily pint?
02:32:28.000You've moved away from the concept of the earth being flat and it's a giant lie that's promoted by a huge group of people that aren't even connected in any way, shape, or form to evil people that are involved in cult-like rituals, which has, by the way, always existed.
02:32:44.000And this is why it's very difficult for people to imagine today that some of the things that you're hearing from the Epstein files, like the potential that they were eating children or killing children, or that they use that sulfuric acid to boil bodies.
02:32:58.000We don't want to believe in evil that is that deep.
02:33:02.000But in my opinion, if you can find out that evil is real, right?
02:33:42.000I believe that if I was a demon or if demons were real, they would get people to do things which are verifiably true that they have done.
02:33:54.000If you were a demonic idea and you got into Oppenheimer's head or Patton's head or anybody's, and you wanted them to do something horrific to a bunch of innocent people, and you could say, this is because we're at war.
02:34:10.000So we're going to drop a nuclear bomb on Hiroshima.
02:34:15.000It's a demonic act of eliminating hundreds of thousands or 100,000 plus people off the face of the earth who did nothing.
02:34:23.000They're just citizens that are unfortunately involved in a country that is in a conflict with some people that they don't even know, and then you just got vaporized like that.
02:35:37.000Like, let's imagine this is the AIDS crisis, and you know that AZT is killing people, but you also know that you are making an insane amount of profit off of killing people with AZT, and you have already established a narrative, and Fauci said this publicly, that the reason why they only prescribe AZT is AZT is the only thing that is both safe and effective.
02:36:02.000He literally used the same language that he used to do.
02:36:08.000If I was a demon, I'd want to get in that guy's head, and I'd want to get him to keep doing it and say, look how much money they're making.
02:36:29.000I mean, just what he did there that was evil.
02:36:33.000By taking a virus, funding it, even though it was illegal to fund it in the United States, by doing it through EcoHealth Alliance and then, you know, farming it out to them, they do it at the Wuhan lab.
02:36:44.000And you are, in fact, doing gain of function research on a virus designed for human beings to make it more deadly and more contagious.
02:37:29.000And so she started actively working, working really, really hard at coming up with that next thing.
02:37:37.000And, you know, like most people, you don't want to stand in line.
02:37:41.000And these level four labs, you know, they have to, whenever you move your research from one lab to another, you have to go through all sorts of stuff in order to do that because it's all patented.
02:37:51.000All of these microbes and viruses and Ebola strains and whatnot.
02:37:58.000And so, for example, there was this one kid who was working at the lab in Canada, and he was moving, I think, to the one in Atlanta.
02:38:08.000And so he was crossing the border, and he didn't want to have to reproduce all of his work.
02:38:12.000And so he just put it into a thermos inside of a thing and tried to cross the border and he got caught.
02:38:17.000Well, she got caught in 2019 by the Royal Canadian Mounted Police, basically moving stuff from Canada via Air Canada freight from Manitoba, from Winnipeg.
02:38:36.000And I tracked where those were there, because I was writing a screenplay about it.
02:38:40.000And so I tracked, like, where did that come from?
02:38:43.000Well, it's like the cutter, or maybe it was Abu Dhabi, I can't remember, the lab there, and then that went through, in order to get around it, got sent to the one in Amsterdam, and that got sent to her.
02:38:53.000And she was able to do all this stuff.
02:38:54.000And she was basically just shipping, you know, everything, Hanta and all these patented things to Wuhan, you know, in order to do it.
02:39:04.000And the Royal Canadian Mounted Police basically, you know, stopped it.
02:39:08.000And she got like walked out of the laboratory and everything because they were like, is there a misappropriation of money going on here?
02:39:15.000Like, what are all these flights that are occurring?
02:39:17.000And they redacted who her financer was.
02:39:21.000And we still don't know who her financer was, but it's one of three people.
02:39:24.000And it's the people you probably can guess, these people who have an interest in this.
02:39:39.000She was just wanting to have that next hit.
02:39:42.000And she would do anything to do it, to repeat what she did with Ebola.
02:39:48.000So she was helping to engineer viruses?
02:39:51.000Yeah, they were engineering stuff, and then she would ship them via Air Canada freight from Winnipeg directly to Wuhan, literally on Air Canada flights.
02:40:01.000So you're flying on Air Canada to Wuhan and down below in cargo, there's all this like, you know, some shit that goes on.
02:40:07.000Leprosy and some horrible strain of something.
02:40:12.000And then they're just shipping it over to, and, you know, none of this has come out.
02:40:16.000Like some papers in Canada, you know, like the Winnipeg Free Press or something, was trying to cover it, but it just gets kind of buried.
02:40:25.000That was one of the weird things that I had also seen that I don't know if it's true in the Epstein files, that there was talk about engineering a pandemic.
02:41:19.000It says no credible evidence in the recently released Epstein Files links Jeffrey Epstein or his associates to engineering the COVID-19 pandemic.
02:41:26.000Claims stem from a misinterpreted 2017 email referencing routine pandemic preparedness discussions, not a plot.
02:41:49.000So 2017 email originally from 2015 discussions to Bill, widely assumed to be Gates, forwarded to Epstein, proposed recommendations and technical specifications for pandemic modeling of various strains.
02:42:05.000It focused on healthcare data, simulations for preparedness, and neurotechnology, not creating or engineering a virus.
02:42:14.000Gates Foundation later ran public event 2001 and 2019, a standard exercise with John Hopkins and WHO predating COVID reports.
02:42:26.000That whole public event 2001 is fucking weird.
02:43:12.000She was running the World News forum on Reddit?
02:43:15.000Yeah, she was, and it all went dark the minute she got picked up.
02:43:18.000Her person, but she was like the main contributor did thousands of posts like all day long posting world news, shaping our perception of things.
02:43:29.000One email was a subject preparing for pandemics was sent by a person whose name was redacted.
02:43:52.000And then the one that comes after that, if it's a little longer, it might be Clinton.
02:43:56.000And if it's a little shorter, it might be Gates.
02:44:00.000But again, that's just, you know, there's no foundation.
02:44:05.000It's like plausible deniability until they release all these names.
02:44:09.000Did you notice that Jeffrey Epstein's Fortnite account suddenly became active in Tel Aviv and that somebody is playing under his, right after his supposed death.
02:46:36.000Well, they say it's like Pazuzu, and we're presented with an actual devil.
02:46:41.000But when you actually watch the movie, there's kind of evidence that, and people have talked about this, that there's evidence within the film that it's more than just demonic possession, that the demonic possession comes from someplace.
02:46:59.000And by the way, Jeffrey Epstein was doing also funding research in how trauma affects clairvoyance and telepathy and things like that, how you're able to invoke those out of traumatic, out of trauma.
02:47:16.000And in The Exorcist, there's, you know, you have Reagan, who's Linda Blair, and there's that party scene.
02:47:25.000You remember in The Exorcist, they're making a movie within the movie.
02:48:31.000And from that moment on, there's all this like highly sexualized devil speaking through her with a British accent.
02:48:38.000And the guy, the director, is a British guy.
02:48:41.000And so the implication, and then he is for some reason left with Reagan and then gets thrown out of the balcony and his head is twisted all the way around and he dies as a character.
02:48:52.000So the implication is that the director is the one who has raped Reagan and thus invoking this demonic presence into her.
02:49:02.000And it turns out that I thought it was some totem that they found and it was possessed.
02:50:06.000And he did this movie Kinjite with Bronson, and that all has kind of like a weird pedophilic thing.
02:50:10.000He did this movie, The Reincarnation of Peter Proud, where Peter Proud dies, and then, or rather, Peter Proud remembers his reincarnation.
02:50:21.000He remembers his iteration of his other self, who was murdered.
02:50:24.000And then he hunts down the woman who maybe did it and then starts sleeping with her daughter, which is basically sleeping with his daughter because he's reincarnated.
02:50:34.000So this guy, as a filmmaker, has done all this.
02:50:36.000And so the question, and so William Peter Blatty worked on that film with Shirley McLean and shortly thereafter wrote the book The Exorcist.
02:50:45.000And Sasha in her autobiography even mentions, you know, the person on the cover of the book looked a lot like me.
02:50:54.000And everybody's saying, oh, it's just a coincidence.
02:50:56.000And, you know, well, I never walked down the stairs on all fours and I never vomited pea soup or whatever that none of that ever happened to me.
02:51:06.000But there's a pretty dark implication behind the whole film.
02:51:09.000And I brought it up with William Friedkin.
02:51:11.000Hey, is this meant to be Jaylee Thompson?
02:51:15.000Did this, like, is this a way to talk about that that actually happened?
02:51:19.000You know, in real life, he said, I cannot talk about that, but I'm not saying you're wrong.
02:52:15.000And that movie that he did with Shirley McLean, who is effectively, that's the movie that they're shooting inside of the movie.
02:52:21.000And so this was a way for Peter Benchley, I mean, not Peter Benchley, yeah, William Peter Blatty, to kind of transcode all of that.
02:52:30.000And the astronaut in the film, Shirley McLean, talks about the, I can't remember if it was her husband or boyfriend that she remarried who was an astronaut.
02:52:39.000And in her autobiography, she talks about how he was cloned.
02:52:43.000He came back from space and a different person that he was cloned.
02:52:47.000And she kind of, everybody kind of laughed it off, like, oh, it was just kind of a joke that I wrote into my autobiography.
02:52:57.000So people speak through movies and they hide information in films.
02:53:05.000And so I think that some more than others, right?
02:53:07.000Yeah, William Peter Blatty, kind of who was doing all sorts of Ouija stuff with Shirley McLean, who was really into that kind of thing back in the late 60s and early 70s.
02:53:18.000And, you know, he sits down to write his book, and what's he writing about?
02:53:24.000Well, he's writing that movie's about Shirley McLean, her daughter, Sasha, Saatchi, I'm sorry, Saatchi, and the astronaut.
02:53:36.000And, you know, it's all and Jaylee Thompson, who basically he eviscerates within the film, but in a way that nobody really connects it.
02:55:36.000I watched the first episode and I thought it was flat.
02:55:40.000Because it told the story of ancient Rome through, you know, through Shakespeare and through history and through Plato and all these kind of ideas of ancient Rome or Socrates and all these ideas of ancient Rome.
02:55:57.000And then it told a very ground-level story from the perspective of like handmaidens and centurions.
02:56:03.000And it still has Mark Anthony and Cleopatra and everything going on in it, but it tells a very, you know, soap opera-like drama through it.
02:56:10.000And so there was this other show, and it had been out like three seasons when I started watching it.
02:58:52.000They give it away the way the Gideons give away the Bible.
02:58:55.000And, you know, I thought it was fantastic.
02:59:00.000And then season two came around and suddenly they had all this money and they're doing all these like, you know, they've got this ancient Judea set with cobblestone streets and, you know, like this detailed set and Roman colonnades and stuff like that.
02:59:14.000And I was like, wow, like they really got a big budget.
02:59:16.000And then I looked it up and it's like, oh, no, they're using the Mormons have all these standing sets for their biblical productions in Utah.
03:00:35.000They've built a studio, you know, like outside of Dallas-Fort Worth on a Salvation Army property that they've built sound stages and everything.
03:00:43.000And it is, and like, and that's like, you can get it anywhere.
03:00:51.000And they're making programming that should have been on HBO.
03:00:54.000It should have been produced by HBO the way Rome was.
03:00:57.000And instead, it's just, it's coming out of the ether.
03:01:00.000And it's almost like with the inattention given to, you know, most modern, or rather, the way that people are making things that they're focused on wrath and revenge,
03:01:16.000like this other thing, like the Pendragon cycle and the chosen, have kind of risen out of the vacuum that those other, that the studios and broadcasters have kind of created because they're no longer making that kind of product, at least not as much.
03:01:33.000And so I think this is actually one of the most exciting times in media and television.
03:01:40.000Yeah, I definitely think it's a very unusual time where the normal people that are producing things don't have a complete monopoly on what people see.
03:01:52.000And that many of the times these alternative things have gotten much larger than the mainstream things.
03:01:57.000I find it like almost impossible to get a movie going.
03:02:00.000Like I'm, you know, I'm like an independent filmmaker.
03:02:03.000I go out there and I usually work on a script and then I figure out the budgets and I figure out and I go out and I hit the pavement and it's a really hard part.
03:02:10.000Probably because I'm a flat earther kid.
03:02:16.000But, you know, I go out there and I try to get this stuff made and it's like almost impossible.
03:02:23.000And then I built a technology company over the last year and basically making AI movies.
03:02:31.000And all of a sudden, boom, like that, money gets thrown at it.
03:02:34.000And all of a sudden, just by attaching the word AI and that it's a technology-based company, all of a sudden, investors, you know, came in and we're in production on three films now.
03:02:46.000I know, that's the crazy thing is that it was so easy for me to get that going and so difficult for me to get a traditional movie going through the traditional route, like going to, you know, A24, blah, blah, blah, trying to like, you know, hit the pavement.
03:02:58.000Oh, I have to go to Europe to gather together financing and everything like that.
03:03:02.000No, just put AI in front of it and all of a sudden you're in production on three features and we're making a Christmas movie, a family Christmas movie that'll be in theaters this holiday season.
03:03:13.000We're making a faith-based film for next Easter and then we're making a kind of big romantic war epic.
03:03:20.000And like as classical movies and we have like a proprietary stack of technology that we use for our process.
03:03:25.000And I partnered with this company, Massive Studios AI, and formed my company, which is General Cinema Dynamics.
03:03:35.000And I'm based here in Texas now, or my company is.
03:03:43.000And it's like, it's actually kind of, I think, you know, so many people are against AI, like Guillaume and, you know, love him, but he's like, fuck AI, fuck AI.