#2452 - Roger Avary

[00:01] Joe Rogan Podcast, check it out! The Joe Rogan Experience. Train by day, Joe Rogan Podcast by night, all day! [00:12] Come on, Roger! Yeah, fuck it. Fuck it! Fuck it! Go for it! Fuck it, we'll do it live! Do it live! That's a classic. Yeah. That's a classic look behind the scenes. [00:25] Do it live! Fuck it! Crazy people telling you the news. Yeah. [00:30] That's good. And the William Shatner one where the – [00:35] Um, studio guy, you know, he says, uh, [00:37] Shatner's doing some [00:39] ADR for the cartoon, the Star Trek cartoon. And he says... [00:46] He uses the word sabotage, and he gets corrected by the studio guy. He's like, Bill, it's pronounced sabotage. [00:55] Please don't correct me. It disgusts me. It sickens me. And you say sabotage. I say sabotage. [01:05] I absolutely love William Shatner. My favorite ones are the – excuse me. Fuck. I can't remember his name. Yeah. [01:16] Rosebud. Orson Welles. Jesus Christ. Orson Welles. What happened? You started saying it. I know. What happened? My brain just said, nope, no access. When Orson Welles was doing the Gallo wine commercials. Oh, yeah. Remember those days? Yeah, yeah. Orson Welles. Showing the wine before it's time. I know. And he was like. Everything was like an exhaustive sucking of air to come in. But then he was making fun of how shitty the wine was in between takes. Like he was angry. Yeah.

[01:46] get. I can't remember what it's called, but I have them at home. And it's like all these radio things like that where just when celebrities lose it while doing voiceover and ADR, it's hilarious. Orson Welles is a crazy story, right? Because 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, shut down his career. [02:16] The whole thing about Rosebud is that's the name of his girlfriend's clitoris. [02:21] That was his nickname for her clitoris. And so Orson Welles was doing a kind of very like he was jabbing at him in a very low level way. Like, really? Yeah, Rosebud. How did he know that that was the nickname of his girlfriend's clitoris? People in Hollywood know these things. Oh, boy. Word gets around. [02:44] Word gets around. I would keep that one just to her. Yeah. Who told? Yeah. That's crazy. [02:51] 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. Well, yeah. And he was doing things that nobody else would do. It's like he's like, oh, I want the camera down here like on the phone. Well, we can't get the camera lens down that low. Like what you're talking about is impossible to do. And so he would just grab like 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. Oh, really?

[03:21] with getting a vision on screen that was, even today is so advanced. There's a shot in the very beginning when, [03:30] And young Kane is like a little kid, and he's out there playing with Rosebud. He'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. Well, 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 because of the exposure change. [03:59] It's like an amazing, incredible dolly shot, a reverse tracking shot. It's fantastic. And what year did he do this, too? I don't know the exact year. Citizen Kane has to be 40s, right? Yeah, yeah, probably. It's... [04:16] Yeah, it's in the late 40s, I would think. Is that when it was, Jamie? Yeah. Tell us the... [04:24] Yeah, 41 is when it came out. 41. Early 40s. Early 40s. Wow. Yeah. Wow. Let me see that shot. Wartime. Can we find that? Wartime. It's a wartime film. What, Jimmy? I was looking for it. I was lost in some other one. [04:35] Wartime 40s, right? Yeah, right. It's a wartime movie. It's even crazier. Yeah. I didn't even think of that. Yeah. Oh, my God. A lot of stuff going on back then. [04:44] Probably hard to get people to go to the movies back then. No, it would be easy to go to the movies. In fact, wartime and depression and when things are bad, that's usually the best time for entertainment because people just want to escape.

[04:56] Well, that actually makes sense. Yeah. Be careful, Charles. Pull your muffler around your neck, Charles. Mr. Cain, I think we shall have to tell him now. Yes. I'll sign those papers now, Mr. Thatcher. [05:10] You people seem to forget that I'm the boy's father. [05:13] It's going to be done exactly the way I told Mr. Thatcher. There ain't nothing wrong with Colorado. I don't see why we can't raise our own son just because we come into some money. [05:21] If I want it, I can go to court. [05:23] Well, Father has a right to. [05:25] A border that beats his bill and leaves worthless stock behind. That property is just as much my property as anybody's. [05:30] now that it's valuable, and if Fred Graves had any idea all this was going to happen, [05:35] He'd have made out those certificates in both our names. However, they were made out in Mrs. Kane's name. [05:39] So 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 foam stalks back then. And the other thing is that table gets flown in. Like they move that table into the shot because it's in the way of the camera move. Wow. And so there's all sorts of like, you know, mathematics going on in the creation of this shot. [06:09] and then cut inside, you know, just do it like that. But, you know, Wells was, I mean, he was thinking on a complete other level. It's just, we've robbed, we got robbed of so many films. If you really think about it, what he could have made. You know, yes and no. My favorite film of his is Touch of Evil. And there's this amazing shot with Charlton Heston where he's playing a Mexican. And he's got like this like pencil thin, you know, mustache. And like Chuck Heston as a Mexican is fantastic.

[06:39] Everybody's so sweaty in the movie, and it takes place in Mexico, but it's shot in Venice, California. [06:44] And so the whole opening, which is this... [06:46] setting of a bomb in the trunk of a car. And then, yeah, here's the opening shot. And you can tell that it's actually downtown Venice. [06:54] And this is supposed to be Mexico? Yeah, this is supposed to be like a border town in Mexico. [06:59] I don't know if it's [07:00] Tijuana or some other border town. But he does this amazing, amazing single shot. Wow. Which back then, this is really hard to do. And this is kind of a... [07:13] I mean, it's Charlton Heston essentially saying, I believe in Orson Welles and his vision. [07:21] This is crazy. See, that's downtown Venice. The beach is just beyond that. Ah, wow. [07:27] God, what year is this? Actually, I'm sorry. The beach might be behind us. What year is this? Yeah, 1958. Wow. [07:36] It's an incredible shot. [07:38] And this is incredibly difficult to do as well because you've got a crane. And now you're following the people. Now you're following the people. And there's Charlton Heston with his mustache. [07:48] And we know as an audience that there's a bomb in that car. [07:52] But he doesn't know. [07:54] And so he's still... [07:58] Just the fact that this is all one shot is crazy. And for back then, I mean, it's a big deal. Back then, the camera that you're using isn't just some little handy cam or something like that now, an iPhone. It's a Mitchell BNCR, which takes four guys to move that camera. It's made out of cast iron. It's a giant camera with a blimp.

[08:20] A blimp? A blimp is a soundproofing device. So you have the camera and then you've got to build a giant encasing for the camera. Does it make so much noise? You don't want to hear that. What did that look like? [08:33] I have one in my home. Of course you do. [08:38] Well, that shot's incredible. I didn't know that film existed. I bought mine from this commercial director named Charles Wittenmeyer, and he had a massive collection of stuff, and then he liquidated everything. He just kind of cashed out of Los Angeles, and he had a warehouse full of stuff. And so I went in, and he's like, well, you can get this, and you can get this. I was like, okay, the Mitchell BNCR. [09:03] NCR was used to shoot the Godfather. So that's what it looks like with the big lid on it? Yeah, that's basically the camera. That's the camera. Is that the blimp? Is the thing on top of it? Yeah, the blimp is... Well, the whole thing is actually... The whole thing is a blimp. I mean, well, there's a smaller area with a blimp on it. The big one, like the whole thing is a blimp. And you can actually open up all of these... [09:30] these trap doors on it to reveal the camera inside of it. And then the reels that are in, there you go. There's an opened up one. [09:39] Wow. It looks like it's holding an ARRI on the inside, an ARRI 100. [09:42] One of the things about old movies is they would let a scene cook. You had so much time before people would talk, and you just let the average daily life sort of play out.

[09:56] And it set the tone for the film. And now it's like built for Netflix. Well, now you have a white paper that Netflix gives you and that I think, was it Ben Affleck that was talking about it? You 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. I 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. [10:26] should happen. And by page 30, the first day, you know, he had everything mapped out by page, and that eventually found its way into the hands of studio executives. And they were like, oh, now we know what a screenplay is supposed to be structured like, you know, in order to have proper... [10:40] story arcs and structures in a satisfying design. And that's just the next iteration is Netflix giving you a white paper saying you have to shoot with these cameras, you have to process at these labs, you have to have, you know, tech specs that are within this range. And that's now extending to story because they've [11:03] analytically looked at what audiences are [11:06] you know, able to process now, which is less and less, probably because of the COVID shot, you know, completely frying their pineal glands, can no longer pay attention to anything. And then on top of that, the... [11:20] the mind-controlled device of cell phones. And with all of that, they're now like, "Well, how do we maintain the audience?" And so you end up with white papers. Don't you think it's options too? It's almost like if something is not really fascinating within the first 20, 30 seconds, people just want to, "Let's see what else is on." They just want to keep

[11:42] Well, there is that. I mean, there's something magical about being in a movie theater. [11:46] You know, it's, you know, you're... [11:49] You're in this congregation. Quentin always talks about how movies are my church. Well, it is a congregation, and you're sitting in the dark next to someone you don't even know. They might have completely different ideologies, race, creed, color. Everything is different about them, and 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. [12:19] you're sharing this kind of experience that you're [12:21] physically trapped in, you know, like you don't, you know, you 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. You, you know, you'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. And I think this kind of, this is the magic that they often talk about of [12:52] of being next to people. Yeah. And that there is a kind of unseen electricity between people that unifies us. And I think that there are dark forces in the universe that are attempting to divide people up [13:08] and to take that away, to take away that congregation. Do 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? I personally think that streaming was by design to eliminate residuals.

[13:25] By design? But isn't it just a function of new technology emerging? You notice that all of the executives – well, yeah. I mean part of it is technology, but technology gets pushed and brought to the forefront for specific reasons. And digital cinema hasn't been the greatest thing for the creative process, and I think we see that in the works that we're looking at. I mean if you watch stuff on Netflix and – [13:48] we can see that it doesn't have the same power and impact. And also, you know, when you were making a movie, [13:59] When you were making a film, on film, it was like every time you turn on the camera, you're burning money. It's like every single frame is like four cents or whatever the calculation was. And so that was actually an expensive part of the process. And so there was all this preparation to get everything ready. Like, oh, we want to get all of the props in place right before we shoot. And the actors are in their trailer and they're figuring out what they're going to do. [14:29] You're on your way to set and people are like, hey, I'll see you in the moment. And what they mean by that is when the cameras turn on and you actually hear that happening. [14:39] suddenly everything pops into play. And suddenly you're performing in front of, you know, what you're attempting to do is capture lightning in a bottle. And you don't even know that you have it right away. You ask your DP, like, do we have it? And it's like, oh, well, there's some dust in the frame or a hair in the frame. Let's get another one. You get another one. And, like, then you hold that all in the dark, all that film, because you can't expose it, and you send it off to the lab immediately.

[15:06] And then some alchemist at the lab at the castle, you know, puts it into a potion. And the next day, what comes out are these like little stained glass windows. And you watch it and you realize what you got. You're like, we did it! We did it! [15:19] We captured something. Okay, now everything is different. 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. [15:49] And they're basically watching [15:51] an approximation of what it's going to look like in the end. And they're sitting there. Okay, on my first film... [15:56] There was none of that. I had to stand next to the camera. We didn't even have videotap. Stand next to the camera and look at the actors and see, did the actors do what I wanted them to do? [16:04] And now, you know, they just turn on the camera and it's it costs more money to stop the camera and to restart it again. So you just let it roll. [16:14] And you're just like letting it go. And you're like, hey, the director now is like, hey, go back, start over and smile this time. [16:22] And then they redo it. And then the editor is now like having to take those takes and separate them in the editing room. And the actors are like suddenly the moment is gone. [16:33] in other words. It's vanished. Is there a way to do both? I mean, is it the medium of film? I mean, it seems like it's the environment as well. You're describing an environmental thing, right? Video Village, the executives. The problem is now suddenly you've got a chorus of people sitting there who are like, oh yeah, you got it. I saw he got it. Didn't he get it? You got it. But you as the director still have to run back and forth to the camera and to the actors and everything. And

[17:01] it's, it's, [17:02] Neither is worse than the other. Right. They are both paint. [17:08] But one is watercolor and one is oil paint. And those are... [17:12] opposingly different. If you were an oil artist during the [17:18] British renaissance of watercolor paint where all of a sudden watercolor came out. Everybody wanted watercolor. Why would you try to make... [17:27] your, you know, [17:29] watercolor paint look like oil or vice versa. They're just completely different mediums. They're both paint, but they're different. And so digital has its advantages and its purposes. You can... [17:41] Because you can run like a long mag of video – I call it video. Everybody calls it digital cinema, but that was just to push it through. [17:52] And actually, the technology is different. You know, with film, light travels through the glass. [18:00] It travels through a gate. [18:01] It exposes the silver and the acetate. [18:05] And then you keep it all in the dark and send it away. With video, the light travels through the glass. It strikes the golden sensor. [18:14] and then it bounces back into the glass. [18:17] And that's why video or digital cinema is flatter by nature than most film. And so to combat this, I think, [18:26] filmmakers have started to do the exact opposite. [18:29] of what we used to do. It used to be that you would go to shoot something

[18:33] 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. [18:40] for the most part. I'm, [18:41] over-exaggerating my point, but and 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. [18:50] because you've always had the light behind you. Now, because the image is flatter, they rotate the camera 180 degrees and they shoot into the sun. [18:57] to get lens flare. [18:59] And Lens Flair gives you the illusion of depth. [19:03] where there is none. [19:04] This episode is brought to you by ZipRecruiter. The best way to learn anything is to ask questions. Be engaged. Be curious. Have a conversation. Whether you want to know more about a friend, start a new hobby like surfing, or figure out how your dad makes the best steak, you're not going to get any answers just sitting around. When you're hiring, you're going to be a good friend. [19:23] It's also important to ask questions to make sure the candidate is right for your role. That's why you need ZipRecruiter. It can help connect you with people who could be a good fit. And today, you can try it for free at ZipRecruiter.com slash Rogan. Rated the number one hiring site based on G2, ZipRecruiter has the features you need to find the perfect match for your role. Like filters to show you who's been active recently on the site. [19:53] you can add screening questions to your job post to make sure you're talking to people with the right skill set. Ask key questions and hire faster with ZipRecruiter. Four out of five employers who post on ZipRecruiter get a quality candidate within the first day. Try it for free at ZipRecruiter.com slash Rogan. That's ZipRecruiter.com slash Rogan. Meet your match on ZipRecruiter.

[20:20] I always thought that, like, when you would watch soap operas, I was like, why do they look so weird? And it's because they were shooting them on video instead of on film. Like, when we were filming News Radio, the sitcom, we were doing it on film. And they were, like, really adamant about doing it on film. Like, they really wanted it to be on film. And then there was some process where you could make video look like film. And I was like, this is so interesting. It's like, when you take your photo with your camera on your phone and you use portrait mode. [20:50] Which is you blur out the background, so you're making it shittier? You're doing an artificial... Yeah. That's because we associate... [20:58] you know [20:59] We associate the faults of media as film. People think of old movies as gate weave and sepia tone and dust and scratches and fast motion. When those movies were originally made, the motion was corrected by the cranking of the projector. [21:18] And so it was natural motion. There was no sepia tone change. There was no dust. It was originally – and there was no gate weave because it was – [21:29] a fixed image. [21:30] The image the celluloid hadn't yet shrunk or anything like that and so We now we have this kind of filter Nostalgic filter that we associate with what an old movie looks like and so if you want to make something look old You start adding all this crap to it. You're adding the faults and it's the faults of cinema that actually make it really good It's not the perfection of cinema. That's in my opinion because you would never be able to sell that if that cinema never existed and

[21:56] Like 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. And it's almost like we've become accustomed to the faults and nostalgically we look at them as if it's a positive. And it's also led by – everything is shot on iPhones now, and so that's becoming the cinematic vernacular, the grammar that people are used to, and they now expect that in a big movie. [22:26] You see something like the latest James Gunn's Superman or Guillermo del Toro's Frankenstein. And they've got these crazy wide lenses where there's no distortion and kind of infinite depth. And they're shot in a very large format. But what they're replicating is an iPhone. And I watched both of those movies and I thought, okay, both of them are amazingly technically competent. [22:56] You know, highly professional people, but, you know, it looks like iPhone footage. I'm a huge Guillermo del Toro fan. I even loved his book, The Strain. Like, it was really good until about, like, three quarters of the way through, and it seemed like he just wanted to finish the book. [23:13] Yeah, probably. Like a bunch of shit just sort of just happens in the last quarter of the book where I was like, this is kind of jarring. It became dinner time. Yeah, it was almost – It's like, put this aside. I'm going to go eat. It just seems like, fuck, I can't keep going with this book.

[23:26] It's what it felt like. It felt rushed, just my opinion. But I'm a huge fan of that guy's. I love Pan's Labyrinth. I love a lot of his films. But I didn't like Frankenstein. [23:37] you know [23:39] Like, I love Guillermo, and I love his spirit, and I love... [23:44] He is an amazing artist. He's just literally as an artist. His sketchbooks are beautiful, and he brings a great amount of passion to his work. He brings that kind of Mexican passion to his work, and I adore him as a person. But to be perfectly honest, I'm not wild about his movies that much. You didn't like Pan's Labyrinth? [24:12] I like parts of it [24:14] But as a whole, it just kind of – I don't know what it is about it, but I mean Blade II is probably my favorite film of his because it's like the least of – [24:28] Well, actually, it's quite a bit of him, but it's just the most accessible for me. I didn't know he did Blade II. Which one was that Patton Oswalt was in where he had the whole bit about – [24:39] Wesley Snipes, and then they replaced him with a cooler Wesley Snipes. Snipes. [24:44] I think that was three. Yeah, it was probably Blade 3. I don't remember Blade 2. [24:49] I don't remember Blade II. Blade I was awesome, though. Yeah. That's my favorite of all the comic book vampire – well, comic book movies. Yeah. Because I was just a giant fan of the Blade comic book series. I also like his Pacific Rim movie, and I like –

[25:02] Parts of like the moment in Frankenstein that I think is, for me, the entire movie, like I could have like left the rest of it. So much of it was just so melancholic and, you know, it was just like I just couldn't engage with it. And but the part that I absolutely loved was at the Miller's house where he's learning language. [25:32] and learning morals. And to me, I could have watched an entire movie about that sequence. And it was also beautifully made, that part. Just the rest of it with... [25:44] I think. [25:45] I could have done without. It was just a little flat. And also it's like, why does it have, it's so freaking long. Like he could really like learn a lesson. Well, I was going to say he could learn a lesson from Ridley Scott who just clips through things. Like he takes, you know, there's a dialogue scene. I'm just going to do the essentials and just get out. Like it's a commercial. This dialogue scene doesn't need to be any longer than 30 seconds. And he just clips along. Somehow yet his movies are still like two hours long. Well, they're so involved. [26:15] I really loved, Nosferatu. [26:18] Did you see the new Nosferatu? No, I haven't. You know... [26:21] I don't want to sound like a persnickety guy, but I had to be in the right mood to engage with that movie because I like that guy's first movie, The Vivitch or The Witch. I never saw that. I heard it's great, though. I love that film. I think that's a great movie. And he's like a production designer. He's doing a werewolf movie right now. Yeah, of course he is. Of course he is. I love a good werewolf movie. I did not like his Moby Dickish Lighthouse movie.

[26:51] That was the Willem Dafoe and Robert Pattinson. It was just garish and I felt like it lost its way. [27:00] halfway through. But, and then, you know, this latest one, Nosferatu. [27:09] I am a Werner Herzog nut, and so I adore Werner Herzog, and I love his Nosferatu. So for me to watch this guy's version of that, I have to be in the right mood. I have to be in the right mood. I just wasn't yet in the right mood to accept it. Which one is Werner's? Who plays Nosferatu? Oh, Klaus, the... [27:33] Incomparable, Klaus Kinski. I know I've seen it. I mean, the thing about Werner Herzog, when he made his Nosferatu, what's, you know, the Murnau movie, which is the original Nosferatu, the very first one with Max Schreck. Yeah. I saw it at the library when I was like 10 years old. So the thing about Werner Herzog as a filmmaker is that most filmmakers have their forefathers that they can look back to. They have a generation before them that they can kind of imprint on. [28:03] And because of the brutality and tragedy of World War Two, he had none. There were no German filmmakers that he could look to. And so he had to look to his grandfather, basically, which was Murnau when he made it. And so his film is almost like haunted by the by the original. And then he bring, you know, Werner Herzog grew up.

[28:25] not using a telephone until he was in his teens. He'd never seen a telephone before. He had grown up like in, you know, upper Bavaria in the mountains. And, you know, so he comes like his film is almost displaced in time. It's like skipped a generation. And he does things like. [28:43] You know, he'll show two actors in the most emotional part of the movie when... [28:48] Mina and Jonathan Harker are at the beach and they're basically saying goodbye. [28:53] Normally, in a Hollywood film, they would cut to a close-up so that we could see the tears. We would cut to that close-up. But... [29:01] Because his film is, you know, because he's displaced in time, he stays back. Like, he doesn't even bother shooting a close-up. To him, it's more melancholic to show them just isolated as figures, you know, in a wide shot. And it truly is. And so his film is super powerful that way. [29:31] You know, who was like, I mean, there's a documentary called My Best Fiend, which is about the relationship between Herzog and Kinski. [29:47] 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 Kinski. And he goes there and it's now occupied by these two just very conservative, this German couple. And 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 because he was an insane guy.

[30:17] He was like – his whole thing was about provocation. And so he brings a kind of – [30:23] crazy vampire. I mean, it feels like a real vampire. I remember it now, but I haven't seen it forever. What year was that? You mean the Kinski one? Yes. I think it was in the 70s, so I'm thinking it was like 78 or 79, maybe even earlier. I know I've seen all the Nosferados. [30:40] Let me see. Give me a clip from Werner Herzog's. I will eventually see this new one. It's fucking good, man. It's good. The dude who plays the vampire, what's his name? The guy who played the clown in It? Oh, yeah, Bill Skarsgård. He's so good. Well, he's so good. [31:00] Thank you. [31:01] So is this the scene when he meets the vampire? I don't know. I just clicked on it. Yeah, this... Oh, he cuts his... Yeah, this is it. I mean, that's... [31:09] Thank you. [31:13] I mean, Kinski brings... [31:14] just an amazing deep empathy. [31:18] It could give you blood poisoning. [31:22] Oh, this is the English version. [31:36] Thank you. [31:38] Thank you. [31:39] Thank you. [31:40] Thank you. [31:44] You... you know...

[31:48] It's only for the best. [31:52] The original German... It's incredible. [32:02] That's so awesome. And that's probably Kinski, like, you know, they're supposed to cut and Kinski just keeps going. [32:11] Yeah, I mean... [32:13] And Bruno Gans, I think it's Bruno Gans, is probably terrified in real life because he doesn't know. Kinski's crazy enough where he'll bite him. Right. [32:21] And he's got those fake teeth then. Yeah. [32:29] Yeah. [32:29] Thank you. [32:31] Let's sit up for a while. [32:34] Thank you. [32:35] Alright, show me a clip from the new one. [32:39] You've got to see the new Nosferatu. I mean, I had never seen a vampire like that. And I think Salem's Lot was made after the TV movie Salem's Lot. Yeah, Salem's Lot was super similar to it. [32:50] Um, there's a scene when he, um, meets the guy at the castle, um, [32:57] I did see one scene from this online with Lily Rose Depp kind of reacting to something, which was like very compelling. Go full screen to this. This is when he makes it into the castle. [33:09] It's really dark, man. He did a fantastic job of capturing the creepiness of it and also the surreal aspect.

[33:18] of him being under the trance of this vampire you recognize that reality is all fucked up and skewed like time passes very quickly it doesn't make sense he's super confused as to what's going on [33:40] I mean, I have to say, this movie feels haunted, as haunted by the Herzog version as Herzog was haunted by the Murnau version. For you. For me. It would be like... [33:52] I encourage anybody to enjoy all three of them, I guess. Yeah, I wonder if he was haunted by that or if I wonder if he was haunted by the original. [34:00] But this is... [34:02] With the use of all... Yeah, the little step frame. ...modern ability. Yeah. Yeah. [34:07] But it's just the way they made the castle and the way they made him is very unique. There's so many aspects of it that I thought were very unique. Even the way the vampire feeds on people is unique. This guy is a very, very, very good filmmaker. I just... You are late. [34:27] Thank you. [34:29] The midnight hour has been... [34:32] pause. [34:39] I don't know so much about the way he's talking. It's weird, but it grows on you. It grows on you. Well, I'm sure it has a haunting quality over time. Yeah, like this. The guy just disappears, and all of a sudden he's way far away. There's a lot of that in this movie.

[34:57] So the scene when they get him to sign papers, when he's get up to that. [35:02] questions about the um if we yet keep close many superstitions here that may seem [35:14] Backward. [35:16] to a young man of your high love. [35:21] I'm sure Prince Charles was jacking off to this film. [35:27] Before they made that painting. Apparently he visits Castle Dracula every year. Well, isn't he related to Vlad Tepes? Yeah, it doesn't surprise me. He's German. He's of German ancestry. I think Prince Charles... [35:43] is related to the original Vlad the Impaler. [35:47] That would... [35:48] Track. You can go further ahead so they get a – That would track with the whole baby eating thing. They give you a look at what he looks like. [35:55] I think it cuts off probably. [36:01] This is going to cut it off. [36:06] They don't want to give away too much. That was the other thing. Like, you don't really get to get a look at them for quite a while. And when you do, it's horrifying. Yeah. And the movie is made in washes of darkness. Mm-hmm. It's very dark. [36:20] I mean, it's very much a candlelit movie. [36:25] Like because I don't like a film where you're pretending that people are in a candlelit, but it's really well lit. Well, and that's an example of where video actually is a better medium to choose. Right. Because digital loves darkness, and it can do things in darkness that film just doesn't have the capacity to do. Right. And so it's an excellent choice. When 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.

[36:55] to create a kind of dissonance between the two. And so, and that's largely because digital loves dark. And this is a great use of it. I'm warming up to it. I like, I've been waiting. I bought it on Blu-ray. I have the movie. I mean, I keep it. It's in that stack. I've just been waiting to, you know, for the right time to expose it, expose myself to it. I'm in the right mood. I loved it. I'm no film expert, but it's my favorite vampire movie ever. [37:25] And that's actually saying a lot. That's incredible. I loved it. That's incredible. A fun vampire movie is 30 Days of Night. [37:33] Yeah, 30 Days of Night is great. I love that one, too. It's not as good as this. This is a better movie. I think I Am Legend is actually a pretty good vampire movie, the one with Will Smith. I thought they were zombies. Well, they're kind of – it's a contagion film, technically. They're not really zombies, but they've been turned into, like, vampire-like creatures in that film. That's a really good one. [38:03] Polynesian director who did the Thor movie did. God, what was it called? [38:11] We are – I can't remember the name of it. But it's like a comedy version of vampires kind of all living in a house and sort of – How old was that? This was made sometime in the mid-2000s, I think.

[38:28] Hmm. Vampires living in a house. Yeah. What we do in the shadows. Did you see that? Nope. [38:33] That is... [38:35] an incredible vampire movie. Really? It's kind of like a mockumentary, like where they're, [38:42] but it's, [38:43] It takes all of the kind of vampire mythology and it makes it really, really fun. I've never even heard of this. It's fantastic. This is his best film. This is, I'm sure, the foundation of everything he's done has been on what we do, for me, what we do in the shadows. Huh. That's so crazy. I never even heard of it. [39:00] Yeah, it's wonderful. Show me the trailer, Jamie. [39:05] We are granted protection for the subjects in this film. Oh, it's like a Blair Witch project type deal. [39:13] *sniff* [39:14] it's been like this the whole time deacon [39:17] on dishes and it still hasn't moved in five years. You're a cool guy but you're not pulling your weight in the flat. [39:24] Oh, I'm glad to hear that I'm cool. [39:27] Thank you. [39:27] No, that's not the point, though. You're missing the point. Yeah, no, I know. Not the flat meeting about how cool you are. When you get three vampires in a flat, obviously there's going to be a lot of tension. Viago was an 18th century dandy. [39:44] A ghost? [39:45] Vlateslav is a bit of a pervert. This is my torture chamber. Deacons like the young bad boy of the group. I'm supposed to pay rent, but I don't. The trouble with being a vampire is you have to be invited in. I'm coming to the bar. Please walk in. Will you invite us in? We need some fresh blood. The whole movie's like that. It's fantastic. Oh, that's funny.

[40:14] Will you invite us in? Just invite us in. The bouncer's like, no. And they can't do anything about it because they're vampires. Let the right one in. Oh, okay. That is, of all the modern vampire movies, I mean, I haven't seen the, what's his name, Eggers? The American version of it? No, I hate the American version. The American version is let them in is terrible. [40:37] Like, I had to wash my eyes afterwards with another movie. I didn't mind it. [40:43] I hated the – because I loved the – I loved the foreign version. [40:48] Which country was it from? I think Sweden. Sweden. It's really good. It's an outstanding, outstanding film. And the book is fabulous as well. It's an amazing novel. [40:57] Yeah, I just love a good horror movie, a well-made horror movie because, like, the suspension of disbelief is, like, inherent to the enjoyment of the film. Like, you know, like, just show me. [41:09] Show me how the guy turns into a monster. Show me. Yeah. Make it so. Make it so. And also, you can see – I mean – [41:18] They have been making Dracula movies again and again and again. It seems like every year there's another vampire movie coming out or every couple of years at least. And, you know, there never seems to be exhausted. The market never seems to be exhausted. Right. By it. No. It's zombie movies. They continue making them. You know, it's like that's the most overused genre. [41:41] This is zombie films. Zombie films, zombie TV shows. I mean, how many versions of The Walking Dead are there? There's multiple. Yeah, and I'm not a big fan of the – I like –

[41:50] I mean – The beginning was great. I think first season of The Walking Dead was great. When it started, but then I – when I realized, oh, it's just sadism. And I mean I get the point. After the first season, I realized, oh, the point is that The Walking Dead are the living. They're actually The Walking Dead. Yeah. Because they've become emotionally – I didn't like – it got into the point where they were just – it was just – [42:11] murder porn yeah and and and that i mean i think i even talked about this before that like that'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 and you know real television you return because you love the characters and you want to return to it well sometimes it's done well like game of thrones did a fantastic job of doing but even that kind of lost its way after a while i mean actually eight [42:41] I'm re-watching it right now. We're actually on season three right now. It's fucking great. I kind of forgot how great it was. But when you get to binge it and you don't have to wait like there was years in between seasons because it took so long to produce. Have you seen the Pendragon cycle? The Rise of the Merlin? No. Okay. So, [43:03] These days, like, you almost don't know where television, where to find television. And that's because you can find it anywhere. And the mainstay producers of it, the studios and everything, they're no longer reliable in producing quality television. And so suddenly we see stuff rising, you know, out of places that is completely unexpected. And this was produced by the Daily Wire of all people. Yes.

[43:33] The CEO of the Daily Wire directed it. This guy, Jeremy Boring. Yeah. I hope I'm not mispronouncing his name. His name is Boring. [43:42] And this is good? Okay. This is, to me, this is better than, you know, it's, I have a very high watermark for Arthurian mythology. Like, to me, Excalibur is the high watermark. [44:00] And this really went through this like I had a chip on my shoulder when I started watching this. I was like, OK, this is very unlikely that I'm going to enjoy this production. But they did it for like a for a micro budget. Effectively, they 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. And it's done for like, you know, for very, very little, you know. [44:30] They're spending billions making these Lord of the Rings things, and nobody cares. They're just awful to watch. [44:37] And in the meantime, these guys just, you know... [44:41] without anybody paying attention, cranked this out. And I've only seen four episodes of it, but... [44:48] I am, like, completely blown away by it. That's so interesting. The Daily Wire. I haven't heard anything about it. I think that's part of the problem. Well, that's because, well, like, we don't hear about a lot of things. Right. And media is, like, the least of it. Right. Good point. But certainly with the Daily Wire, the problem is it's, like, associated with this right-wing production company.

[45:18] television. My prejudice was initially, oh, they're going to somehow or another embed right-wing ideology in this. Well, everybody's embedding their own ideology. Whenever you make any media, there's usually – you have corporate propaganda and personal propaganda. And usually there was a balance between the two. If you're making – [45:41] Midnight Express, for example. Okay, so... [45:44] That movie was nothing like the book. [45:46] At all. Really? Not even close to the book. And it's a complete alternate experience. And you wonder, why was that movie such a big success? Why was that movie such overwhelmingly like Oscars and everything? Okay, I think it had a little bit more to do with the politics of what was going on with Turkey at that time than anything else. [46:16] the rest of his life basically apologizing for the movie. Why? Because he wasn't raped in a Turkish prison. And that's like a joke that gets, you know, in Airplane, they're making jokes about it. [46:32] And so, yeah, Billy Hayes, he was the actual character or the person who lived the experience. And so the movie is a kind of propaganda element. And that's like all Hollywood does that. You 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 – on a very basic level, whether it's just to like mortify or scare audiences or to do things.

[47:02] 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. And you have, you know, sort of more corporate propaganda kind of taking over. And I think the most probably crass example of that is DEI stuff, you know, in movies and pushing characters in situations that are just completely out of whack. [47:32] like that [47:33] I [47:34] Okay, I'm like a big Star Trek guy. I watch Star Trek every day in my house. We watch like two or three episodes. And I'm not kidding. My wife is like a Trekkie. She is like crazy for Star Trek. And so she puts Star Trek on, you know, like at around five o'clock, Star Trek comes on. Original? [47:50] Well, 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. And 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 Tribbles and they kind of blend them into the set and everything that's happening. [48:20] We'll then go back and watch Trouble with Tribbles or... [48:23] You know, same thing with Wrath of Khan. We'll do this, you know. So we'll kind of connect it all together. And so – but – [48:32] Every day there's at least two or three episodes of Star Trek playing in my house. It's like I usually have to wrestle away the controller to say we're watching a movie now.

[48:41] And so – and my children were like basically raised on Star Trek and, you know, the sort of morals behind Star Trek. And, you know, and people complain about, oh, you know, I don't like DS9 as much. It's not as dynamic. I hate Bajor and blah, blah, blah. [49:02] 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 it's like really elaborate television and by the way all that kind of dei stuff is still in it it's still there they're you know they're exploring all sorts of things in star trek the next generation uh reicher who's like the uh the second in command to picard [49:28] In 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. And that person then gets taken and reprogrammed. And then there's an episode where Cork is turned into a woman in order to, for some cockamamie reason that they come up with in the show. And he kind of likes it. He's, like, getting into it. [49:58] gender and... They're not just beating you over the head with it. [50:01] It's somehow integrated into good storytelling. And I think something happened at, you know, 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, you know, the the canon, I guess you could say. Right. Is what it was. But, you know, those stories.

[50:26] The seasons of Star Trek are, which I guess you could call the, from the Gene Roddenberry into the Rick Berman era. And, I mean, they had such amazing writers. They had guys like Renea Shaveria and Naren Shankar. And they had technical advisors. And, you know, so if you were just into the tech, you could really like, you know, and most of our technology and most of our aspirations have come from Star Trek. You know, our telephones are basically... [50:55] You know, like tricorders. Tricorders, yeah. And, you know, when we see it on Star Trek, like, oh, we talked to the computer. Well, I want to have that. And so somebody figures out a way to develop that and to make it so. And now we have that. Didn't he actually say computer? Yeah. Like he would say computer and ask the question? Yeah. Well, hey, Siri. Hey, Siri, same thing. Yeah. [51:16] And so, you know, it's a I mean, I think it's a fantastic show. And then this dweeb Alex Kurtzman comes along and just shits all over everything, just like craps all over it. And I mean, I went in and met with the guy. [51:31] I was like, hey, I will write for scale. I'll write on your new show. I just want to be part of it. Just as an opportunity to work on Star Trek. And I basically found out he didn't want anybody who had any kind of fondness for the original show. He wanted to do something new and to create something new. And boy, has he shit the bed, like in a big way. And this latest thing that they've made, this Starfleet Academy. Now, it's still ongoing.

[52:01] I think they cancelled it. Did they? Good! They read the room. They read the room. [52:10] Is it, um, they didn't, they stopped the idea of a season two? That fucking Alex Kurtzman, man. His company's called Secret Hideout, I think. He's going to need a secret hideout after all these, like, after destroying Star Trek for, like, this latest generation. Are we talking about the newest one, the one with Tig Notaro? That's the newest one. Starfleet Academy? Starfleet Academy is an abomination. Is that what you're talking about? I could not get, yes. I could not get through three episodes of Discovery. [52:40] like it is just [52:41] Awful, awful storytelling. Well, it's also clunky dialogue and bad acting. Just horrible. And they're more interested in the corporate... [52:53] corporate propaganda than they are with any kind of personal propaganda. Right. It seems like that's the imperative. It's like they get across this – [53:03] inclusive concept. The card was terrible. It was sad, actually. It was just depressing for me. And so, like, when, you know, when Seth What's-His-Name did that show, The Orville, and, like, that is, like, you know, the proper successor. Like, they brought back guys like James Conroy. I don't know what The Orville is. It was kind of like a comedy version. Seth [53:28] But he hired all the original people that they had fired from Star Trek and basically used them to do his show.

[53:35] And it actually feels a little bit more like a continuation. [53:40] I've never heard of this either. [53:42] And it's on Hulu? Yeah. Yeah. Is it a Star Trek or is it? No, it's not Star Trek. It's the Orville. So they just ripped off Star Trek? They basically just ripped off Star Trek. And they have a sort of like tongue-in-cheek quality, but they bring all the writers from the original and showrunners and people like that. And the original directors like Jim Conroy. God, I'm blanking on his name. I want to say Conroy, but I think it's Conroy. [54:10] Whatever. And so they bring everybody back and it has a little bit more of the same spirit. Another really good Star Trek ish thing is Galaxy Quest. It's something that got kind of buried and with Sigourney Weaver. Sigourney Weaver. Yeah, that was good. Galaxy Quest is hilarious. If you love the original series of Star Trek, Galaxy Quest is amazing. Like it's so fantastic. I love Sigourney Weaver. [54:40] That's a good example of a movie that was like a DEI movie that you never even noticed it was Alien. [54:46] You have a female lead and you never think about it. It's not like we didn't have like powerful women in movies before. We've like had them throughout history. Right. You know, the history of cinema is built on, you know, and by the way, a, you know, a complex woman character can have faults. Right. Like that's.

[55:06] Part of it is characters have faults. Characters have things wrong with them. Yeah. They're not always just, you know, like, you know, I can't, you know. [55:15] Dominant and noble. Dominant and like can do everything immediately. Exactly. Like some of the Star Wars ones that went woke. There was a few of those. Well, yeah. I mean, you know, it's funny. You had – I think it was here. Ben Affleck was on and they were talking about AI and how it always goes to the middle and, you know, it always goes to the middle and always goes to the middle. And I was like – [55:39] Like J.J. Abrams always goes to the middle. And 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 character. And I just thought it was bland and just tasteless and just, you know, nothing new. He just went to the middle. So you don't need A.I. to go to the middle. [56:04] This episode is brought to you by Visible. Folks, there's one thing nobody wants this season, and that's getting catfished. And it's not just dating profiles that are putting you at risk. It's also big wireless carriers. You know the type. Looks great at first. Promises a low price. But once you're locked in, surprise fees and an expensive bill that isn't what you were expecting. Your knight in shining armor? Visible Wireless.

[56:34] data, and hotspot for just $25 a month, taxes and fees included. Now that's a green flag. The best part, Visible is all digital, so you can switch as fast as you can swipe. Don't fall for the trap of getting catfished by wireless. Visit Visible.com to learn more and start loving your wireless carrier. Terms apply. See Visible.com for planned features and network management details. [57:04] date. And the thing about [57:06] Alien 2 was like you didn't know who the hero was. Alien 2 or Aliens? You mean Aliens? As well. I mean, Alien 1. I didn't like Aliens 2 as much. It was fun. But it was like, why are they so easy to kill now? Why are they so obvious? Well, they were, you know, space marines. And marines are tough. Marines are badass. And marines can like end. But the first alien was clever. But those aliens, they still overwhelmed him. I know. But the first alien was clever. He was hiding. He would sneak around. He would jump. [57:36] And that was also cool, too, because it kind of captured you with the suspense. It's one of the best movies ever made. And it's a 1979 movie, too, which is crazy. People don't even know how old it is. What's funny, I recently went back and started watching all the Ridley Scott movies I hadn't seen. You know, like there's a ton of them that I just, you know, kind of missed along the way. And I started off with, God, what was it?

[58:06] and I'm like, what happened to Ridley Scott? And I have not liked any of his recent alien movies. I just think they're... [58:15] I'm confused by them. The Prometheus ones. It's just like when you need a web episode in order to understand what the hell he's talking about in the movie, you failed. And they're just like they're technically technical marvels. Like nobody shoots big. [58:31] canvas cinema like Ridley Scott, like no one shoots a helicopter crashing like Ridley Scott shoots a helicopter crashing. And, and, and, you know, you watch Napoleon and, [58:42] Sure, the Battle of Austerlitz, amazing to watch. You know, cannonballs going into the lake and the ice breaking and people falling in the water. But the minute anybody talks in that movie, it just collapses on its own weight. It's just like you just don't care. My wife was like, this is the worst date movie. You're not going to sleep with me after this. What's wrong with it? I didn't see it. [59:12] because I consider him to be an excellent actor. But in this movie, I think he made a choice to just play it like, you know, contemporary, like he just kind of talks. Everybody else is doing sort of a British or Frenchish accent. Like they're all kind of pretending that they're in a period piece. But not Joaquin Phoenix. He just plays it like he just, you know, walked off Hollywood Boulevard. And just like the battle scene, there's no passion in any of his performance.

[59:42] performance. And, uh, and so I did it on purpose to betray like a sociopath. I think he came on, he was like, I am going to do whatever I want to do the way Napoleon would. And I, and, and I'm not, and I'm not going to try. I'm a Corsican and I'm not, I'm going to be an outsider to all of these other people who were, I think there was an intellectual idea behind what he did and it completely failed. And so I'm like, [1:00:04] Okay, so... [1:00:05] I adore watching Ridley Scott do these big scenes, but what a terrible movie. And, you know, like failure. And then I and so then after that, I'm like, OK, let's let's watch something else. Well, oh, he did Exodus. I've never seen that. Gods and Kings with Christian Bale. Same thing. It's like you start watching that movie and there's some interesting things in the film. He's got like chariot battles and, you know, archers shooting things. [1:00:35] This is my day on set, and he's got a cigar and 20 cameras. I'm putting cameras everywhere. And he's like, shoot from every angle. And he's like a great general shooting. But the minute anybody talks, that movie falls apart. [1:00:49] I mean, I don't know how to say this, but that movie almost did its best to turn me on the Jews. Like, I'm watching it and I'm like, this is like, first of all, is anybody even Jewish making this? Like, it seems like nobody involved in it was Jewish. And like, they start like, you know. How is that even possible? Well, Moses, as a character, when he's an Egyptian, when he's like the adopted Egyptian brother, I'm like totally with him.

[1:01:15] for some reason. Then he becomes Moses after getting hit in the head with a rock. And all of a sudden, he's like a lunatic. And you're like, everybody's following him? [1:01:29] Like he's distaste. He's distasteful all of a sudden. And but every now and then they would show a battle scene and it's like, OK, I can like Ridley Scott's doing his thing again. But like and you know, who's also really good in it is kind of can't remember Joel Egerton, who plays Ramses. It's really funny because Joel Egerton is, you know, usually you imagine Egyptians when they're cast as being kind of tall and. [1:01:53] you know, sort of noble looking and everything. He's kind of like this butch, like sort of tough, you know, wide bodied butch Ramsey's like just kind of like a tough Ramsey's. And every now and then his Australian accent comes out. So he's like, oh, he's like an Australian Ramsey's. And John Turturro places his father, you know, a bald. I'm like, is that John Turturro? Like what a crazy choice this is. And so there were all sorts of like interesting things going on in the movie. [1:02:23] This is... [1:02:24] Awful. Is it impossible for you to watch a movie without just becoming hypercritical about all these different aspects, like how I would do it, what I don't like? Yes and no. [1:02:35] So 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. And I just kind of avoided it. I was doing other things at the time and the poster looked awful and it was like, I'm not going to go see that. And then I, I put it on after watching these other two and I was like, okay, here we go. Let's go again. And lo and behold, uh,

[1:03:01] One of the best films of the century, in my opinion. Really? Absolutely. First of all, those guys know how to write a script. And I know that they wrote it with Nicole Hoffs and Nutter or whatever her name is. And look at Ben Affleck. 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. He's a genius in the film. [1:03:23] I never even heard about this. I was gripped by this film. And this is a great date movie. Like this, my wife got turned on after this film. Believe it or not. [1:03:34] That's hilarious. I don't know anything about this movie. And Adam Driver is magnificent. And like this relationship that these two guys have, and it's kind of a Rashomon story, meaning that like Akira Kurosawa's Rashomon, which was three stories that are all sort of the same event told from different perspectives. [1:03:53] a revelation. And this movie says so much about Hollywood. Like when I watched this, I was like, okay, I'm Matt Damon and Quentin is, uh, Adam Driver for sure. Like 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, you know, to be in the orgy with everybody is like how you get along. It's like, uh, uh, we, we all fuck together and that's how we do it. But Matt Damon, who by all accounts in this, [1:04:23] is a great, you know, he's a fighter. He's a great knight. He's true in his heart, but he's just 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 it's ruinous to everything until they're finally fighting in the very end.

[1:04:53] and [1:04:53] insane fight between these two guys, which, like, was just... Every blow was painful to look at. This, to me, was the best Ridley Scott movie I've seen of the century. I mean, I guess... [1:05:05] Black Hawk Down. I also very much like Gladiator, although Gladiator 2, I throw that in. I never saw that. Throw that in with Exodus, Gods and Monsters. It was actually boring to watch. I loved Gladiator 1, though. [1:05:17] Gladiator 1 is magnificent. It had some kind of secret sauce in it that was fantastic. And Gladiator 2, it just kind of goes through the paces. It's just kind of everybody shows up. Speaking of showing up, when Sigourney Weaver shows up in Exodus, Gods and Monsters, she's not even trying at all. She knows that she's there for a paycheck. Like, 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 I'm out of here. [1:05:47] to town. I'm going to go party for a while. Do you think she just thought it was a bad film and just checked out? I'm not sure what she was thinking, but she may have been thinking what... I mean, maybe she was trying, but it just didn't look like it. It just looked like she was... [1:06:04] That's got to be a weird thing 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. And the other Ridley Scott movie that I just watched that I hadn't seen, again, I avoided it partly because of the... [1:06:17] the title of the film, and there's just nothing excited. I thought it was a comedy. In fact, I'd been avoiding it. It was on my plex.

[1:06:25] There it is. I look at the thing. It looks like a comedy. It'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. [1:06:41] colorful glasses and everything. Robert Downey Jr. with like a broken up nose or whatever's going on with that nose. And, um, [1:06:49] Okay, so I put on the counselor, and... [1:06:51] So looking at that, I thought this was a comedy. I thought, oh, it's going to be a romantic comedy. This movie, after I saw it, I was like, I feel like I've seen too much. I feel like I know too much now about the world. Like, it's made like right before. I think this movie was kind of a disaster for Ridley Scott. And he, you know, had to recover from it, probably, because of the failure of it. I never even heard of it. [1:07:21] by, oh my God, Cormac McCarthy. And so it is dark, dark, dark. And it is an analysis of how power works in the modern world. [1:07:36] which is basically a giant cartel. The cartel runs everything and you cannot escape the cartel. And it is such a spectacular, I, [1:07:46] I think that's such a spectacular movie. [1:07:48] I loved it. I loved it. When did that come out? Like 2014, I think. 2013. 2013. Did you ever hear of it? [1:07:55] Jamie? I don't think so. There's too much content. Well, there's too much content, and yet Ridley Scott's, and he's cranking out movies like every year he's doing a movie. It's like just knocking him back, knocking him back. He's

[1:08:06] And constantly making films. And so that was why I hadn't. And so finally, I was like, well, I got to catch up on some Ridley Scott and and Quentin had been talking about Black Hawk Down and how much he loved it and how he thought it was the best film of the century. And, you know. [1:08:20] He's largely correct. That's not a bad – I could have done without the UNICEF commercial at the very beginning where it's just like a little UNICEF commercial about people starving in Africa and Somalia. But the rest of the movie is just insanely beautiful. So I wanted to check out all the movies I hadn't seen of his. [1:08:42] And so that's why I started researching them and looking them up again. And like the counselor, how did that fall through the cracks? And it gets terrible reviews. Like people hated the film, apparently. What's the criticism? [1:08:55] People like I think they were just like, we don't believe it. They just don't believe that that's what the world is like. And, you know, I found the film to be like. [1:09:04] Do you think that's just because of the time period it was released? Yeah. I think Ridley Scott knows things that – and Cormac McCarthy know things about the world that they put on film before everything was known. Like I think if that movie was released today, people would be like, yeah. [1:09:22] That's what's happening today. [1:09:24] Yeah. And so, yeah. Oh, yeah. Oh, they're putting people in sulfuric acid into milk into drums. Yeah. What the fuck? And shipping them around the world, you know, as a joke, you know, like that's in the film. Yeah. There's also you see the thing in the Epstein files. Oh, yeah. Like they ordered. In fact.

[1:09:42] And I can't believe that, like, everybody's just kind of like, oh, okay, and they're moving on with their lives. Did you see that guy at the Atlanta airport? [1:09:50] flipping out the well-dressed black dude who just freaks out in the... When? Just like a couple of days ago. I saw it on YouTube, and I saw it on Twitter, or X. And this guy is just... [1:10:04] freaking out in the atlanta airport he's like i've read the upstate files like all of you you're going about your lives like nothing's happening look at your old zombies and he's right it's like invasion of the body snatchers everybody is just numb to everything like dudes we had a global pandemic uh aliens uh you know all these like revelations people are you know eating babies uh here's the guy [1:10:32] Miles have been released and all of y'all are acting normal. All of y'all are acting normal. [1:10:39] - [1:10:41] And there's a longer version of that where he's but he's basically like you're all acting like nothing's happening. Like, what the fuck? You know, you're all just pretending you're just drones going on in your normal lives. I think people are waiting for a condensed version that lays out all the facts. It's the people that are like really interested in reading all the emails. I think the Luciferians cast a spell on the world. [1:11:04] For real? Oh, absolutely. [1:11:08] It's just like how vampires can't go into a house unless they're invited. They tell you what's going on ahead of time. It's predictive programming. And once you say it out loud and you put it out there and make fun of it and do a little skit like Stephen Colbert did a little skit on his show where, oh, here's a baby. I'm going to take this baby and I'm going to give it to Moloch.

[1:11:34] baby's going to be fine. And they make a joke about it. And the audience laughs. Okay, we're all now conditioned to it. [1:11:39] We've all seen it, and by laughing at it, we're complicit. 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? Yeah. [1:11:52] For sure. Really? For sure. [1:11:55] And by the way, nobody's doing anything about it. We know what's happening. But that has to take, like, there has to be a person or some group of people. Yeah, like about 8,500 people. Yeah. That are manipulating the Colbert show? [1:12:09] They're manipulating everything. It's all an illusion. [1:12:12] Like – [1:12:13] Reality as we know it is fake. [1:12:16] That's the revelation that that guy is having. And he's looking around and he's like, it's like Invasion of the Body Snatchers. Well, it's – see, I don't – [1:12:26] The thing about the emails is one of the things is it's just stuff – [1:12:31] written down and so that's sort of hard to digest like what is this like what are they saying like some of it is in code like walking over beef jerky like saying talking about jerky could you walk beef jerky over to this person like what does that mean for all this pizza they're talking about you never see any pizza right yeah they're ordering i'm gonna get some grape soda it's like with my cheese pizza yeah and like there's all this coded language and everyone's like you know [1:13:01] Oh, you just have Pariola. You're just seeing things where you want to see them. No, there's clearly a code. Well, that was the thing about pizza game. No, it's absolutely a code. And in fact, mundus volt dissipi, ergo dissipiatur. It's a long-known concept.

[1:13:17] And so in Latin, mundus volt disipi means the world wants to be deceived. Ergo, dissipiatur. Therefore, it is. [1:13:26] We want to be deceived. We don't want to believe the horrors that are actually behind the veil. [1:13:42] bizarreness of the code and some of the things like the facts like let's just talk about the sulfuric acid so this was like right after he was indicted in 2000 yeah i gotta get rid of some bodies [1:13:57] Yeah. I've got to dissolve up some bodies. What did it say he ordered? [1:14:02] Like, let's... [1:14:04] I'm not sure. [1:14:06] Like 8,000 gallons. Half a dozen, 55 gallons. Maybe we can get our sponsor, Perplexity, to process this and give us a synopsis of what exactly happened, some sort of a breakdown. Because one of the things they're saying is like he was – [1:14:22] Indicted. [1:14:23] And then right after he's indicted, he orders how many gallons? [1:14:28] six 55 gallon containers full of sulfuric acid. [1:14:32] Jesus Christ. [1:14:35] Jesus Christ. [1:14:40] What? [1:14:41] What? They're eating babies, man. So that you think is real? Well, yeah, not only that, I think that there's sacrifices going on every day in Los Angeles.

[1:14:53] I 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 like, you know, high level. [1:15:08] I don't want to say names because I don't want to get sued. And I don't want to be dead either. What does it rhyme like? Here's the purchase order. I start looking at the comments for some stuff. Not 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. He is on an island. He's on an island. I mean, there's enough pushback because Munduswalt disipi, ergo disipiatur. [1:15:38] then. Oh, no, I just want to put sulfuric acid into my swimming pool, muriatic acid. Well, that's the question. Was there orders for sulfuric acid before this? If they do have a water treatment plan, how does sulfuric acid play into water treatment? [1:15:51] It says it here. It says it's commonly used. This explains it. I don't fucking know. Okay. Okay. [1:15:57] It says RO plant reverse osmosis seawater desalination facility. Sulfuric acid is commonly used in the maintenance of such facilities. Not everything you don't understand adds up to the worst possible thing it could be. [1:16:10] Deception. Look, maybe they're all eating pizza and grape soda. Who is that guy that's saying this? How many billionaires do you know that sit down and eat lots of pizza and grape soda? Yeah. [1:16:18] and ice cream. This is weird. A trial lawyer is saying this. That's why I just go with grain of salt. This is just a plausible answer. I don't know if it is the answer. It could even be wrong. Okay, so does he have a desalination plant on the island? Oh, yeah, for sure. He had everything. He had a dump. They had all sorts of stuff. So that's tunnels. So they were using that. So they were taking seawater and converting it into freshwater for what? For irrigation?

[1:16:48] for all the above. One similar email that he wrote to someone said that like his around his island is like Damascus. [1:16:55] And I'm like, what the fuck does that mean? [1:16:57] He was to go explore buried shit around my island, or what else could he mean by that? [1:17:03] Huh. [1:17:04] What does that mean? I don't know. [1:17:06] I mean, they say a lot of things, and they're not really coding it very much. Well, the code, it's glaringly obvious when they say pizza and when they say jerky. That's glaringly obvious. How do you walk jerky? [1:17:19] You know what I'm saying? And why do I need a chilled container to, you know, a chilled bag or whatever they say? Jesus Christ. So you think they're eating babies? [1:17:29] Oh, yeah. [1:17:30] I absolutely believe that. You should get together with Kurt Matzker. You two would go crazy. I don't doubt it. [1:17:35] for a second. [1:17:37] And I think this dates back like a long, long time. This is Moloch worship. Well, there was the other email that said, thank you for the torture video. I enjoyed the torture video. [1:17:52] And it's like people just... [1:17:54] They don't want to accept it. People don't want to believe it. They don't want to accept it. Okay. Some 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.

[1:18:20] Hmm. [1:18:22] Highly corrosive, strong mineral acid that can severely burn skin, eyes, dehydrate, and char organic material, which is why it features... [1:18:29] in both legitimate industrial processes and in darker hypotheticals. [1:18:34] online. Darker hypotheticals. Darker hypotheticals is where I'm leaning. When you get indicted for sex trafficking and then you order six drums of sulfuric acid right away, are you really worried about your reverse osmosis plant right after you get indicted? I feel like you know you're going to jail. It looks like a duck and it quacks like a duck. It's... [1:18:54] Probably a duck. It's probably a duck. [1:18:57] 330 gallons of sulfuric acid. [1:19:04] purchase order for it i came out here last time and i talked about you know the the pedo cult inside of the cubrick film yes by the way that went viral and i got so much blowback from that you know the online critics are like no no there's nothing in there mundus vault this ip they don't want to see it they don't want they don't want to see those two guys walking away with that girl in the end they just like well no no it's it wasn't in the schnitzel or novel and blah blah blah [1:19:28] I mean, [1:19:29] Dude, look at that movie. It's about a cult. Like, what are you talking about? It's a secret cult. And in fact, Sidney Lumet's character even says at one point, you know, do you know what these people do? I'm not going to tell you what they do. But let me tell you, if I told you what they do, they would like scare the hell out of you. I mean, like... [1:19:47] That's after he's been to the place and seen everybody walking around in the sex club. I mean, it's obviously – there's obviously more going on in that movie, but people don't want to see it. Like I had – what was it? New York Magazine or whatever went so far as to like aggressively trying to get me to debunk it.

[1:20:07] And which is fine, just fine. It's just an interpretation of a movie. [1:20:13] Right. But that interpretation resonated. I mean, that clip went very, very viral. Especially now. It's like people are like looking at it and they're like, well, you know, he was obviously saying something. Even if you extract that out of the movie, he's obviously saying something about people at high levels of power. Well, there's always been weird secret groups and rituals. Yeah. And it's one of the ways to ensure that you're compromised. You'll stay. It's a confidence operation. [1:20:43] young and they're, you know, less inhibited and they, you know, or uninhibited and you catch them doing something that is illegal and maybe you even provide the mechanism for that to happen. And then once it's happened, you now have the video proof or the audio proof or whatever proof you have. You've got proof of it and you show it to them and you say, look, this is what we have on you and we can ruin you at any minute. [1:21:13] but you know what we're going to do? We're going to give you $20,000 a month, or we're going to give you $20 million a year, whatever level that is instead. And you're going to work for us. [1:21:23] And and what else explains some of these people who are so flipped out about like, you know, about Trump? He's a pot. He's like, it's over the top. It's you know what? It's strange how people are how people behave in regarding that. It's bizarre. I think that's also just because the Democratic Party didn't want him to get into power because he was a complete outsider.

[1:21:53] peace. [1:21:54] I think that's all an illusion also. I think everything that you think that it is, is an illusion. [1:22:01] It's all fake. I don't think that any history before 1600. I think everything has been falsified before the year 1600. How so? Well, there's this guy, Anatoly Fomenko, who's a Russian mathematician and historian. And he wrote a book called The New Chronology. It's actually a series of books. It's like six volumes, and I've read them all. [1:22:25] And and and and also his addendum book, the new chronology. He has an addendum book about it. [1:22:33] And he basically says that all of history has been changed. About a thousand years have been added to the timeline in order to justify land claims. And those land claims largely have to do with the Eurasian horde and the elimination of the Eurasian horde by collusion between the Vatican, the Romanovs. [1:23:03] Yeah, 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. And at a certain point, they wiped them out. And 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.

[1:23:33] And he basically says that – let's see if I can get this right – that Rome and Greece and Egypt were actually active until around 1600 and that Rome actually fell around 1600. So kind of imagine – or more like late 1400s, 1492. As opposed to what's the conventional timeline? About 1,000 years before. [1:24:03] The Salem Witch Trials... [1:24:06] took place around the same time as the Inquisition. [1:24:08] Columbus was discovering America around the time Rome fell. [1:24:11] And that all of this was designed to justify or to erase this entire civilization from history. And then there are people who believe that there are a lot of buildings that are still in existence that were this. They claim that Jesus Christ was, I can't remember the emperor's name. It's kind of a composite story. There's a number of... So they think a thousand years are missing from the timeline. Well, think about it. [1:24:41] Byzantine guy and you're like, "Hey, I want to move to the country," and you look over at France, let's say, [1:24:47] and Germany, and you're like, yeah, there's all these, like, indigenous peoples there, and we want to wipe them out. And so you hire, you know, a mercenary. You hire a guy named Charlemagne, and you get him to go in there and kill all the chieftains in one day. Like 5,000 chieftains were killed in a single day, apparently, by Charlemagne. And you completely wipe out everything, and then you move in. You become Jerome I, and you run Paris, or you begin, you know, France. And what it really is is just...

[1:25:15] land. And so you add [1:25:17] time to the timeline in order to justify that land claim. Because what makes more sense? That history was cruising along like this and then suddenly flatlined for a thousand years and then picked up again? Or does it make more sense that somebody took that time, that the dark ages, and kind of added... [1:25:37] added to the timeline. [1:25:39] So I'm confused. So but isn't there like documented history from multiple cultures about that time period? Yeah, but it's all like, you know, written down by the Jesuits who were completely in the control of it's that history. History is easily changed. And in fact, we see history being changed before our eyes in real time. And so the deep past is easy to change. So we're not in 2026. No. [1:26:05] We're like in the 1700s. [1:26:08] Oh, Jesus. [1:26:11] Oh, my God. Just a theory. It's just this guy, Antony Flamenco. [1:26:19] And it's a very interesting theory. And so I read that and I kind of had a tentpole collapse. I was like, well, holy crap. Explain to me the flatness. Like what do you mean by history goes up and then flat? Well, the progression of humanity through history as we kind of are progressing as we go. And then all of a sudden there's this flat line called the Dark Ages where nothing happened. Is there a conventional explanation for this? [1:26:43] Flat line for a thousand years? The collapse of Rome and falling into the time of barbarism. That's not plausible? Yeah.

[1:26:54] Everything is plausible. It's plausible that sulfuric acid is used for RO, reverse osmosis water cleaning. And so everything is possible. The question is, is it probable? Well, Jamie just pulled up that that was the first time they had ever ordered that. [1:27:11] Oh, really? Yeah. Okay. So, well, there it is. Yeah. That's not good. Yeah, that's not good. I mean, that's the least of the things. The thing is we become desensitized to stuff. I mean, look at everything that has happened in the last six years. It's like an insane amount of stuff has happened and everyone's just kind of like numb to it. Well, they get desensitized. And I think it literally is that people's brains have been fried. You think by COVID vaccines? Yeah, for sure. [1:27:41] It crossed the blood-brain barrier and had some sort of a detrimental effect on their cognitive function. mRNA is reprogramming your system. [1:27:49] Okay. [1:27:50] And we've been looking at a giant die-off of people. People are collapsing left and right. Nothing is normal anymore. [1:27:58] I mean, that guy at the airport who's flipping out, [1:28:02] That's what he's realizing. He's having a sudden awakening, and he's tweaking over it. He's looking around, and no one... [1:28:10] cares. [1:28:11] Everyone just wants to like, you know, get through their day. Everyone wants to just make their next movie and maybe they'll let me make their next movie. And 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. There's certainly a lot of that going on. British only care about it as long as I have my daily pint at the end of the day. That's all I care about. You know, in the meantime, their entire country is being overtaken and overrun by – like when else in history has this happened and ended well?

[1:28:41] shocking how quickly it's happening in England that you just go, how do you bounce back from this? Like, what is the remedy? [1:28:48] Yeah. [1:28:48] Because they're doing this mass arrest thing with social media posts, which is bizarre. It's bizarre to watch. And then they eliminate jury trials for anything other than like murder and rape. If you say anything, you're in jail. If you repost anything, you're just immediately sent to jail. Look at what's going on in Canada right now with Carney. I think that's insane what's going on. And most Canadians are just kind of vibing along with it. Nobody wants to rock the boat. [1:29:18] Nobody wants to be discriminatory in any kind of way, rightfully so. And you want to believe that your leaders are taking care of you, and they're not. [1:29:32] And it's over. We've lost everything. [1:29:35] It's over. [1:29:36] I mean, you think it's over here in America as well? [1:29:38] Well, it got slowed down a little bit. [1:29:42] Whether you like Trump or not, and I'm not like a – [1:29:45] I don't really like anybody, but it's a healthy perspective. It definitely added a road bump in the in in the actions of the cabal of the Clintons and the Obamas and and the bankers that that control them.

[1:30:15] and there is no fighting it. [1:30:17] There is no individually fighting it. Like, there's nothing... [1:30:21] any of us can do. That is... And I don't mean to be... I mean, the only thing you can do is, you know, affect what's happening around you locally within the moment. But don't you think that more people are aware of what's going on right now? There's more pushback than ever before. And so there's a possibility that it could be stopped. Yeah. Look at that guy in the airport, though. Nobody... Everyone's like, he's crazy. Yeah, but you're yelling at a fucking airport. I would think he's crazy, too. [1:30:51] yelling out the Epstein file. You're just living your life. Yeah, what do you want me to do, dude? I'm headed to Florida right now. Invasion of the Body Snatchers was about McCarthyism and what was going on at that time. Really? Oh, yeah. The original Invasion of the Body Snatchers was all about McCarthyism. I'm a fan of the Donald Sutherland one. Well, and look at how that ends. That ends with you're walking through the streets pretending to be... You're just pretending [1:31:21] You can get by, and then the minute you show any kind of emotion, that's it. You're caught, and then they're going to make you go to sleep. And so, I mean – So that – the original script was written about McCarthyism? The original film. Yeah, the Kevin McCarthy – [1:31:37] movie. [1:31:38] Okay, so – And in the end, look how that movie ends. That movie ends with him like that guy in the airport on the street. You know, they're – they're aliens. He's basically running through the street just in traffic.

[1:31:52] People just keep driving. [1:31:53] I don't remember the original one. I might not have even seen it. [1:31:58] But the Sutherland one was amazing. I never would have thought that that's what it was about. [1:32:02] I mean, we're experiencing a kind of Bolshevik revolution at the moment right now. [1:32:07] so [1:32:08] In what way? Well, there's a rise of Bolshevism. [1:32:11] It's like we see it occurring. How do you define Bolshevism? Well, it's 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 that we're all going to be equal and everything. And they were murdering Christians. [1:32:41] Yeah, they were murdering Christians and social. And, you know, we're very, very close to that now. [1:32:47] We're very, very we're on. We're standing on. Civilization is standing on the precipice at the moment. And by the way, you know, after this podcast comes out, people are going to be like, oh, Avery's crazy. Avery went to jail. Avery's, you know, a killer. They're going to say all sorts of shit about me to discredit anything that I say. And that's fine. Like, I'm easy to discredit. [1:33:11] And so it's not really my right to speak up anymore about anything. And so you're a human being. It's always your right to speak up. Well, it is. But they can eat shit as I look as I look around like.

[1:33:24] civilization is on the precipice. [1:33:26] And, you know, mostly good people tend to not take action against stuff. Until they have to. Until they have to. We were talking about this yesterday, actually, with Cheryl Hines. And I was saying, I think we were talking about this. I was talking about this recently where I was saying that it's almost like we need something like a 9-11 to wake us up. I would never want that to happen. [1:33:56] Like we really do need to be united as one group, a community, and recognize that, that we – our brothers and sisters in the streets are not our problem. And – Yeah, but – [1:34:09] We even know about 9-11 now that like so much of it was like Building 7, Thermite. [1:34:16] The evidence is there for anyone to look at. Nobody wants to look at it. And nobody wants to look at it. Nobody wants to look in the conspiracy like how did these guys get a hold of these planes? How did they fly into the building? Why were the dancing Israelis watching it, cheering it on? Why did they get – [1:34:34] You know, shipped out of the country. Yeah, and that guy who owned the building, who bought it, who took out the insurance policy, and then, you know, had Eliot Spitzer kind of push it through and force it through so that he could receive his billions in insurance claim money. And why did he say he made the decision to pull it? Because they wanted to tear down that building, and it would have been too expensive to do, and all the asbestos and everything. So, hey, better to just destroy it. It's like, what was that building housing?

[1:35:00] Like Building 7. Building 7 was housing all sorts of – it was an IRS – I mean – NSA. Yeah, it was NSA. What was in Building 7? Let's find that out so we don't just – I think – but there was certainly some intelligence – [1:35:16] and data that was being collected in billions. The fact that no one wants to admit that that building fell like a controlled demolition is really crazy. And again, [1:35:26] I'm not saying it's a controlled demolition, but the fact that people want to say, no, it wasn't like a controlled demolition. Like when was the last time you ever saw a fucking building collapse like that ever? Yeah. [1:35:37] only controlled demolitions. There's been many buildings that have been very badly damaged and lit on fire, but their frame remains. Reputable structural engineers have basically also proven the towers could not have fallen the way they fell without explosives, pre-planned explosives. And the people on the scene, the rescuers on the scene, the people who were there said, yeah, I heard explosion. Boom, boom, boom, boom. They're describing the sounds of controlled demolition. U.S. Secret Service. [1:36:06] Floors 9 through 10, CIA, the Department of Defense, sharing the 25th floor with the IRS and the Equal Employment Opportunity Commission. Like you put all that together, CIA, Department of Defense, IRS. You know, who thinks any of those people have your – Right. But also if you wanted to destroy data – [1:36:26] You want to destroy data. Like 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. Yeah. Yeah.

[1:36:37] Didn't the accounting part of the Pentagon get hit by that air quotes plane? Yeah. Yeah, that plane that came in very – What's that, Jamie? [1:36:47] The building contained about 24,000 gallons of diesel fuel for generators used by tenants like Salomon Brothers and the Emergency Command Center. Floors 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. [1:37:08] And the SEC, whoopsies. And has the world been the same since then? The SEC, like having that there too, boy, that's super convenient. Guys, we lost the data. Let's just start from scratch. There's no case anymore. Whatever they were doing. And yet nobody wants to accept it. And nobody cares, actually. The video of it that is like really shocking. I had this really dumb guy on the podcast once that was a skeptic, a professional skeptic. [1:37:38] with me for saying that it looked like a controlled demolition. [1:37:42] you're promoting a dangerous conspiracy theory. I'm like, no, I'm saying... [1:37:47] It looks like you're saying it doesn't look like control. Let's watch it. I'm like, let's watch it. I mean, it falls. Conspiracy theorists have had a pretty good run lately. Let's watch it. Let's watch building seven collapse because it's kind of kooky. Now, 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, building seven, that collapses first. Yeah.

[1:38:09] And it does it. [1:38:10] I think a minute before the actual building collapses. Yeah, but these are skirt buildings. And what that means is that's actually the most structurally sound part of the building. The rest of the movie is a facade that's hanging off of the inner structure. The rest of the building, yeah. Yeah, that's the most sound part of the building. It's built over a Kahn-Edison substation requiring large transfer trusses on lower floors to support the tower above, creating long-span floors vulnerable to thermal expansion. Yeah. [1:38:35] Long, unsupported floor beams and girders up to 50 feet connected to critical interior columns, like column 79, with sheer studs that failed under fire-induced lateral loads rather than just gravity. It was the auto manual flip-flop. The exterior tube frame provided stiffness, but the open interior layout... [1:38:57] lacked redundancy to prevent fire-induced progressive collapse with connections not designed for horizontal thermal forces. [1:39:05] Hmm. [1:39:08] Okay, that's a cute way of saying that's why it fell at free fall speed and looks like a controlled demolition. Because if that was my building, I would say, give me my fucking money back. You made this shit ass building. This building got lit on fire and just collapsed on itself. Let's watch it collapse. Because the way it collapses is so kooky. Because it really does it at free fall speed or close to it. It's strange. Like there's never been a building that looks that intact that falls like that. [1:39:38] It's weird, man. I mean, it's fucking weird. Anybody that says it's not weird, look, this is how it happened.

[1:39:46] It's weird. Now, the planes hitting Tower 1 and Tower 2, okay, that makes maybe more sense to me. Does it? Yeah. Does it? Yeah, because it fell from the top down like it looks normal. It doesn't collapse into its base. Tower [redacted address] Tower 1 and Tower 2 fell. How about the testimony of people saying they heard multiple pop, pop, pop, pop, pop explosions? Is that just girder snapping? It could be. Yeah. I mean, you've got to think. You have immense, immense amounts of weight. [1:40:16] It is collapsing. So if it does collapse, the way it looks, it's collapsing from the top down. It's not going to be silent. You're going to hear tremendous explosions when concrete hits the slabs below it. It's going to sound like explosions. Also, you have the fog of war, right? So you have these people that are involved in an extremely traumatic situation, and their memory is very fucked. [1:40:37] Like your memory is fucked when you experience something like this. You remember things funny. You have confirmation bias. There's a lot of weird stuff that happens. So this is the explanation that a piece of the plane falls down and hits that building. And big tower on top. Yeah, yeah, yeah. I'm sorry. A piece of the building. I meant to say. Sorry. So that piece of the building falls down and not a plane, obviously, hits the building next to it, Tower 7. [1:41:07] That's super suspect. And I do know that there was a fire inside the building, I'm sure. [1:41:12] I'm sure there was. But the way it fell was crazy. [1:41:16] See, Tower 1 and Tower 2, it's like I don't know what happens when a jet flies into a building like that, and neither do you. And also you've got to deal with corrupt construction companies cutting corners, not doing things up to code. Perhaps, perhaps.

[1:41:31] I'll give you that. I'll be super charitable. But with Building 7, I'm like, come on, man. That's weird. [1:41:37] That one's fucking weird. [1:41:39] Because it doesn't fall like one and two. One and two fall from where the impact was, the deterioration of the structure, the weight of what's above the impact. It falls down on it, and you see a progressive collapse from the top to the bottom. [1:41:54] Tower seven is nuts. Tower seven just drops, just drops all at once. Free spot, free fall speed into its base. [1:42:04] That's weird. [1:42:06] Anybody that doesn't think that's weird is being naive. That's never happened before to a building that hasn't been a controlled demolition. Again, not saying it's a controlled demolition. Maybe it's accurate that these enormous drums of diesel are creating this fire, unprecedented load on the structure of the building. But even with that – With everything else that occurred, with all the tangential stuff that's occurred, you're still – [1:42:32] giving the benefit of the doubt, you'll have suspension of disbelief. No, no, no, but I'm saying right now, I was trying to finish, that fire is not on every floor uniformly. So why is it collapsing uniformly from the top down into the base? Why 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? Why is it every floor has the same amount of damage

[1:43:02] of doesn't make sense because the fire is not uniform throughout the building. It's not like the building is one gigantic flame ball and then it all gives out at the same time. [1:43:13] But even then, I would think it would tip over. It would fall to the side. Falling into its base is... [1:43:19] That seems to indicate some sort of a control. Like it was done uniformly. They time it. When you watch like in Vegas when they blow up a casino, it's like, and then it does that. Let's watch an actual controlled demolition. [1:43:37] So when you watch an actual controlled demolition, it looks just like that. [1:43:41] It was just like that. [1:43:43] And then I don't know. I mean, the testimony of your eyes are telling you the truth. But your brain... [1:43:50] you know, we'll come up with all sorts of stuff because... [1:43:53] Mundus volt der CP. Well, I'm not allowing it to with Tower 7. I've always maintained a pretty open mind with that. But also, I lean towards... [1:44:04] shenanigans. [1:44:06] In that one, because that one just seems... [1:44:08] Fucked. [1:44:09] Tower 1 and Tower 2? Maybe. Maybe. [1:44:12] Tower 7, come on. [1:44:14] Tower 7, nobody looks – and if they're telling you that Tower 7 seems normal, they seem so gaslighting. Everybody that says that seems like they're gaslighting. [1:44:24] So here we go. [1:44:27] Hit it. [1:44:29] Okay, this one they're setting up for a controlled demolition, so they're showing you how. That's kind of a shitty one. There's other ones that I've done a better job with. But it's the same kind of thing. It's still falling onto itself. Yes, it's falling into itself the same way Tower 7 did. See, that movie, that building has a different shape. That has a skirt building. It's got a center structure. Yeah, it's a different kind of structure. It has a different look to it. Let's watch that one. Okay, there, like there.

[1:44:54] Come on. [1:44:55] That looks exactly like Tower 7. [1:44:59] When you watch that, back that up again a little bit, please. Watch that from the top, from the beginning. Just a little bit before, right before it drops. So watch. They're looking. They're watching. We're going to watch the building drop. [1:45:09] There it is. [1:45:10] That fucker goes right down like tower. From there, come on. [1:45:14] That's exactly like a controlled demolition. And even the way it looks as it's going down looks exactly like Tower of Sight. You know, we were talking about predictive programming and how movies like spells can predict stuff in advance and, you know, kind of prepare you for the future of what's coming. You know, in 1999, a movie came out which was effectively a manifesto, and that movie was called Fight Club. [1:45:44] The 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. Who produced that movie? Arnon Milchan. Who is Arnon Milchan? And they got a commercial director to do it, Fincher. And he's an excellent director. And I think it's an excellently, beautifully made film. But who is Arnon Milchan? Well, he himself has said, I am a Mossad agent. [1:46:14] Like, that's not me saying that. That's him saying that. And Fincher said, oh, yeah, my last movie. [1:46:21] Oh, that was made by an arms dealer. Well, that's him. That's Arnon Milchan. And so, you know, and what's another Arnon Milchan movie? The Medusa Touch with George C. Scott and I think Lee Remick. And in that movie, what happens? An airplane crashes into a building. You could probably pull that one up, too. An airplane crashes into a building. This guy's obsessed with airplanes crashing into buildings and buildings collapsing in movies. And so what's likely?

[1:46:51] these scenario plans that defense departments make and that are maybe, you know, Mossad plans that are made. I've worked for the DOD through John Milius and we wrote scenarios. They gathered together a bunch of Hollywood writers into a, you know, into a, what is it, like 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. And we all wrote [1:47:21] on how to attack LA. And now they just use AI to do all that. But so, you know, has he just been like reading these? Does he have access to them? And so he just puts them into his movies. Well, that movie was made in 1999. And what happened right after that movie got released? [1:47:37] Those buildings came down. 9-11 came down. And so is it predictive programming where you're showing the world what's to come and that makes it almost somewhat acceptable to do? Whoa. Or is it just coincidence? [1:47:51] And most people out there will say, oh, no, it's just coincidence. It's coincidence. He just happens to be. I mean, that's what he has said. I don't know if he is or not, Mossad, but that's what he said. So, well, that's the thing about the majority of term conspiracy theorist. It's it's slapped on things and it immediately sort of diffuses any conspiracy. [1:48:11] real questioning of, oh my God, are things this bad? [1:48:14] Is there this much? But 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 –

[1:48:28] much of it. I've only read the things that are really outrageous that my friends have sent me because I'm just trying to maintain my sanity. Well, that's just it. Most people want to maintain sanity. I just want to get through the day. You're busy. People are busy. It's even more than busy. I want to be happy. I want to raise my children in a world that is a peaceful world and where people respect each other and where you can make something out of yourself through hard work and [1:48:58] merit. You know, it's like that's the world I want to live in. And more and more, it feels like we're not in that world. Did you see that thing that was just released today? I think it's the AI company Anthropic. [1:49:11] I think that's the company. So one of its engineers resigned and, [1:49:16] And essentially said that humanity is doomed. Yeah. And he's going to move to the UK and just write poetry. Yeah. [1:49:24] And just waited out. Hasn't that guy seen Threads? [1:49:27] the UK is like one of the most dangerous places to be that's where he's going to wait it out well he probably has this romantic idea I'm not sure, maybe it means like the Scottish Highlands maybe he's going to hide and go into some small town and fucking just hang out at a pub they're going to populate that town with suddenly 800 war capable men from another country are going to move in [1:49:57] Some place that the West has conveniently been bombing and creating refugees on. Yeah, creating angry people. Yeah. Yeah. And who have a – But you don't want to think that it's all planned out like that. Of course you don't. But that was a bit of the exposure of USAID.

[1:50:13] So I, like many people, thought USAID was about aid. I thought it was like a beautiful philanthropic program where the United States donates money to all these poor countries. That's how they get food. Like I had Bono on the show, and he's like, I've heard that 30,000 people have already starved to death because of this. 30 million people are going to die. I'm like, okay. But do you know how much corruption was involved with this? Do you know that it's not aid? [1:50:43] doing was regime change shit. And Mike Benz laid it out and he said, USAID was for... [1:50:49] Tasks that were too dirty for the CIA. [1:50:52] Which is crazy. So 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. [1:51:15] Like... [1:51:16] So many people do not want to admit that that was really going on, despite all of the evidence. It's designed to destroy whatever confidence you have in law enforcement, in civilization, in the electoral process. What's the answer? Okay, so given a choice between totalitarianism or cannibalism, which would you prefer? Right, right. You take cannibalism because you don't want to be eaten.

[1:51:44] Yeah. No, I mean you take totalitarianism because you don't want to be eaten. I would rather not be in the movie The Road. [1:51:51] But I feel like we're increasingly in the movie Children of Men. [1:51:58] 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. [1:52:12] I mean, they're experiencing that right now. A totalitarian. South Korea, Japan. Can you find that guy's manifesto? Corona is a genius for making that film. [1:52:21] to say yeah fantastic movie [1:52:24] So today is my last day at Anthropic. I resigned. Here's the letter I shared with my colleagues today. [1:52:30] explaining my decision. That's a lot to read. What is the synopsis? Just ask perplexity what the synopsis of what this guy said. [1:52:39] Okay. Sharma, 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. He 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. [1:53:09] $350 billion valuation, fueling debates on balancing safety with commercial speed.

[1:53:16] Okay, but what is he saying specifically is the issue? [1:53:21] let's click on that fuck it let's click on his AI started talking to him and scared the bejesus out of him the safe hold he's part of the guiding of the damn it lost the word [1:53:35] Yeah, um... [1:53:38] I 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. [1:53:50] Yeah, scary people who are comfortable. Who are all in the same club, you know, drinking baby blood and offal together. [1:53:57] What's awful again? Shit. Meconium. Meconium, which is like a thing. Baby poop. Yeah. That's in the files. What comes next? I do not know. I think fondly of this famous Zen quote, not knowing is most intimate. [1:54:12] What? My 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. He's already working on his poetry right here. [1:54:23] feel called to writing that addresses and engages fully with the place we find ourselves. [1:54:30] And that place [1:54:31] places poetic truth alongside scientific truth as equally valid ways of knowing. Yeah, it was written for him by AI. Elon said something very bizarre recently. He was talking about the speed of light [1:54:44] that the speed of light cannot be... [1:54:46] You can't bypass or exceed the speed of light. If you believe Einstein. He said unless we live in a simulation. Or unless Einstein was wrong. Right. I 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. And everything that we know about the stars and how we view the nature of the universe is fundamentally incorrect. How is it wrong?

[1:55:16] of the stability of Kelvin temperatures in the sun, which is this... [1:55:23] P equals P prime thing. And the guy who invented like CAT scan machines, there's sort of a Venn diagram overlapping of, you know, this photographic technique and astrophysics. And what he realized is, holy cow, [1:55:39] That is not true. And therefore, so much of everything that we know about how we view the cosmos is incorrect. [1:55:47] And so – Now, how did they find out that it was incorrect? Well, he's a math teacher. He figured it out. I would have to look up his name and everything. And what is incorrect about it? Do you remember that? Well, it's – [1:56:01] At the beginning of astrophysics, there is this formula, and if that formula is wrong, then the preceding calculations are also wrong, or at least off. And so the idea is that what we view is really just a cartoon that's painted for us using all these formulas and using radio telescopes. [1:56:27] things are not as they seem. [1:56:29] Well, they already have issues with the findings from the James Webb telescope. [1:56:34] Oh, yeah. Well, that's... [1:56:35] probably part of it. You 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, you know, concepts of things. And that's partly because I'm a screenwriter, and I'm looking for these kind of conflicts and interesting ideas and stuff like that. So take what I'm about to say with a grain of salt. But the big one, the biggest

[1:57:05] is flat earth. [1:57:07] Now, [1:57:08] I don't know what the earth is. [1:57:10] but experientially... [1:57:12] Through the testimony of the eyes, it is flat. [1:57:15] And 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. [1:57:26] And, you know, the way laser sighting across large bodies of water or navigation maps for air travel for pilots is always a presumption of a flat earth. It's always in the pilot manuals. [1:57:44] And on maps. How so? Well, if you're flying a jet at low altitude, you're not making corrections for curvature. [1:57:51] even though you're going fast enough where you should be. [1:57:53] And so what's actually happening there? Well, and so the idea is, look, I don't know what the world is or what the realm that we're in is. [1:58:04] But experientially, [1:58:06] From my perspective in life, it is nothing but it's a flat earth. But what about travel routes? Like what about when they fly over Antarctica? What about what if they – Well, they don't fly over Antarctica. Well, you can watch the sun rise and fall as you fly. They don't even fly from Cape Town to Buenos Aires. There's an understanding of the procession of the equinoxes. They travel up into the other hemisphere and like land in London or something and then travel back down whenever you're doing a flight across the Atlantic.

[1:58:36] When you look at it on a flat Earth map, and there are plenty of them. Yeah, but there's satellite photographs of Earth from space. Those are all cartoons. What are you talking about? I'm saying that even the NASA, the guys who actually do those composites, those are composite imagery. [1:58:50] Listen, I am not saying that... But it seems like you're saying that the earth is possibly flat. I'm saying experientially. [1:58:59] Right. But that's a scale issue, though. Correct. We're a tiny little thing on an enormous thing. Correct. But, you know, snipers have to calculate for the curvature of the earth when they shoot. [1:59:12] Only the curvature of the landscape that they're on. Why do you think the landscape curves? [1:59:17] The landscape doesn't curve. It is mountainous and uneven. Not always. No, on flat plains you have to do the same thing. If you're making a long shot over a flat area, like if you had to shoot – [1:59:28] Well, then why don't pilots make adjustments? I'm not a pilot. I don't know. But I do know that when you look at the film from the space station, you see an Earth that's not just round but spinning. I see. Actually, the space station, the international space station, is actually not high enough to see curvature. And what you're seeing is the lens distortion. [1:59:58] And it's not high enough to see curvature. No, it's actually it's actually even like it's it's very, very close to the. Let's look at footage from the space station of Earth.

[2:00:10] So when you see satellite images that are taken of the Earth, you think they're lying? You think there's this grand conspiracy to piece all these pictures together and turn it into a circle instead of have it flat? All I'm saying is that's the fundamental... [2:00:23] conspiracy theory that unravels everyone. Well, it doesn't make any sense because everything that we see in the cosmos that's a planetary body is round, including stars. So it's all round, except for small moons. Everything is round, and that's because – I'm not even certain – [2:00:42] certain that space exists that well that the moon is anything more than a plasma [2:00:48] A plasma. [2:00:50] What does that mean? That it's a plasma effect, a lenticular effect of some kind. So that it's not a real thing, but it affects the tides. It is something that we have landed. At the very least, we've landed probes on. We don't know that it affects the tides. People theorize that it affects the tides. So this is footage from the space station. [2:01:10] This is live footage from the space station. And I'm saying that's lens curvature and that what you're actually seeing. Why do you think that's lens curvature? And that what you're seeing is horizon. So what you're talking about is like a fisheye lens. I'm saying if I'm trying to provoke you, that's what I'm saying. Right. But let's not do that right now because I don't want you to be completely fucking insane because this is a round body just like the moon, just like Mars, just like Jupiter, just like Uranus. That appears to be a – but in your practical life experience,

[2:01:40] a certain amount of faith is what I'm getting at at any moment. But they understand the procession of the equinoxes. You have to believe... [2:01:48] Okay, do you know that the procession of the eglonauts is how they measure the sky over a period of 26,000 years? I see right there a little stitching, like right there. So this would just keep going straight forever? Do you see that line? Do you see that line right there? What is that? What is that line? Yeah, what is that line? Well, that looks like stitching to me. It looks like they've stitched together and it crosses over there through that mountain range right there. That is weird, whatever that is. [2:02:18] have a certain amount of faith in that. And on the surface, Mundus volt des api. Okay, okay, okay. [2:02:23] You're freaking me out. Go back to that, Jamie. So what is the explanation? Go back a little bit. Yeah, what is the explanation of that line right there? Right, but how weird is that? [2:02:33] That is weird that there's this line. Right, because that in itself is a composite image, a cartoon that has been put together for you to look at this. [2:02:41] this apparent live imagery. So is this multiple images that are supposedly pieced together? Is that what they're... I'm saying that things fall into, like the way perspective works is that things appear to fall into the horizon. But now you use a, what is that camera? Is it a P200 camera that where you can actually zoom in and lift things out of the horizon that have appeared to fall into the horizon? This live video... [2:03:09] This 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, the video will return when the connection is reestablished. So this is during the live feed. This isn't from NASA's YouTube channel. It's just down right now.

[2:03:27] It's just down right now. Okay. [2:03:29] But you're saying that this is like a fisheye effect of a lens. Yeah, I'm saying that. I'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. And then every now and then the camera turns and it inverts for a moment. Then it goes back down. I've never seen that. I watch a lot of NASA stuff. And listen, I'm not saying that we're not living on a globe or at least an oblate spheroid, as Neil deGrasse Tyson says. [2:03:59] Have you ever noticed how spasticated that guy gets whenever you throw out the word flat earth? He flips out like the way Robert De Niro flips out on like irrationally. Well, he flips out when you say that men can't be women. [2:04:14] Which is very weird. Yeah, exactly. And that they should be able to compete in women's sports, which is very weird. Like for a man of science, that's bonkers. Or that they should be able to go to jail and that a sex offender who is being – Yeah, fucking insane. Not just that, but rapists. Yeah. Like people who rape children. And then they have to pay for their electrolysis and breast augmentation, which is okay. [2:04:44] any fucking sense so much so that you're willing to house male prisoners and with females and [2:04:51] Because they say they're a male with an intact penis? And even if they get female prisoners pregnant or rape them? We're all just trying to construct what reality is. And it tends to be a consensus of what it is. But there are fringes on the ends that don't believe with what the consensus says. Are they wrong? But do you know how many people would have to be involved to promulgate this idea that there's a flat earth?

[2:05:21] thing and pretend it's round? And what's the motivation of covering up the fact that the earth is flat? I mean, if we're really fundamentally getting down to it, it's about God. And it's about what is this realm that we're in? And are we part of creation? And, you know, but why would it be more likely God if it was flat? Every culture throughout recorded history [2:05:51] covers it up until like when the 1930s. Right. When they start making telescopes. Well, and right. I mean, so this is a grand conspiracy. Like Galileo was wrong. Copernicus was wrong. All these people. All of recorded history is wrong. [2:06:06] And I mean... [2:06:07] The other option is that we are just specks of nothing. [2:06:11] 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. Well, they're not mutually exclusive. Just because we are in this vast cosmos that's almost impossible for mammal minds to grasp the magnitude of it doesn't mean that God's not real. It's exclusive to people who believe the Bible word for word. [2:06:41] I'm not saying I do necessarily. I would be considered apostate by most people. I've been reading the Bible a lot, and one of the problems that I find is it's clearly got the hand of man on it. Well, it's been edited. It's been edited. The King James – who was King James? He wrote books on demons as well. Well, even the Old Testament. The Old Testament has the hand of man on it.

[2:07:11] so many different times. [2:07:13] Like ancient Hebrew, the letters double as numbers. There's no numbers in ancient Hebrew. So words have numerical value to them. And imagine translating such a complex language where like the word God and the word love, they have the same numerical value. I believe. Here's another thing. I've read that. I don't know if it's true. So let me find out if that's true. [2:07:35] Put that into perplexity. There's a lot of weird stuff in the Bible. In Genesis, when the Nephilim come down and they find women comely. And so they're like, okay, what's actually going on there? These angels or Nephilim are coming down and they're taking women from men and having sex with them and then creating hybrid offspring. [2:08:05] told me about the book of Enoch. I was like, you have to read that. Have you ever read it? I don't know. So I read it. [2:08:09] Have you seen The Carpenter's Son, the Nicolas Cage movie? No. No. [2:08:14] incredible I just what did I just have you look up though before I lose my train of thought King James Bible thing I [2:08:21] What? That's what I was trying to ask specifically, which part did you ask about? No, what I asked you was ancient Hebrew. [2:08:28] So the letters also double those numbers. That's what that movie Pi is all about. And that the word love and the word God have the same numerical value. I'm very... [2:08:38] very certain that that's true, but I want to really double check. Well, numerology exists around us,

[2:08:43] Everywhere. And, you know, everything, it seems to have a kind of and that's what the Aronofsky film Pi was kind of all about. That was a great movie. Yeah, it's a very it was also he's a very interesting film. Really fascinating statement by this mathematician. We talked about it on a recent podcast was that how strange is it that. [2:09:04] we find out that the universe is made out of math and that it's encoded in the universe itself. So a tool that we used... [2:09:15] that human beings created to measure the universe, it turns out that that tool is how the universe is actually encoded. Well, this gets back to what Elon is saying about the world being a simulation. I mean, what is a simulation? So 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, [2:09:41] So what is the basis of that rumor? [2:09:43] A sacred name equals 26. A name for God equals 86. [2:09:50] Is there a word for God? Elohim. [2:09:54] Does that have the same? It's a name. Right. [2:09:58] What is the value of... [2:10:00] Click on that below that, below that where it says what is the geometric – what is that word? I had to look it up. Gematria. Primary Jewish mystic – oh, Kabbalah. Yeah. Religious studies define hidden spiritual meanings in sacred texts. Okay.

[2:10:15] It is fascinating that there's numerical value in words. There's no way you're going to get that when you translate it to Latin. [2:10:23] So that is a value of 86. And what is love's value? [2:10:29] What is the ancient Hebrew word for love? [2:10:35] What is the ancient Hebrew word for love? [2:10:42] That's going to... [2:10:43] What you mean by love is going to be very – you have to say it. You mean like love between two people? Okay. What is the gemantria? Love that doggy in the window? Do you like your child? Yeah, yeah, yeah. That's a good point. That's a good point. I have different words for it. Definitely. So what is that? Click on that. What's the gemantria value of a Vala? [2:11:00] Right there. [2:11:01] Right there. [2:11:03] Yeah. [2:11:03] Click on that. [2:11:08] It's 13. So that's a different number, too. [2:11:11] Interesting. [2:11:12] 13 twice equals 26, the value of Yahweh. [2:11:17] Huh. [2:11:19] This movie, The Carpenter's Son, is all about the infancy of Jesus, I think is written by Matthew, and it's... [2:11:26] part of these, uh, um, [2:11:28] I mean, I may have this wrong, but Coptic texts. And it is like... [2:11:37] Nicolas Cage is so good in this movie. [2:11:40] So twice 13 equals 26, the value of Yahweh implying love mirrors or completes God's essence. Okay, so that's where that comes from. I was going to ask where it came from. Right, that's where it comes from. God is love. So love twice is God. So here's a question. What happened? So go put... I understand. I understand. Go to ask a follow-up. So...

[2:12:10] The... [2:12:11] How was the numerical value of ancient Hebrew language... [2:12:17] lost... [2:12:18] when they translated it to Latin. To Greek. But to Greek first, right? Yeah. [2:12:22] Thank you. [2:12:23] How is the numerical value... [2:12:26] of ancient Hebrew words. [2:12:29] I don't... [2:12:30] Numerical value of ancient Hebrew words lost... [2:12:35] when they translated it to Greek. [2:12:38] Because it seems like if the – it's not just context. Like what is your word for that? Like the word meant a different thing to them. [2:12:46] You know? [2:12:48] Numerical values of ancient Hebrew words calculated via geometria were letters double as numbers was not preserved in Greek translations. [2:12:59] Hebrew letters inherently carry fixed numerical values, enabling word sums – [2:13:06] Greek letters have their own values [2:13:09] So equivalents rarely match Hebrew sums exactly. So you're going to lose it. Like, you know, when you read like Russian translations of English or English to Russian, it gets like super screwy. For sure. For sure. Is this for sure like real? Ancient Spanish. It's incredibly difficult. [2:13:27] Even all... [2:13:29] All words mean another number that all have some sort of secret meaning? Runic writing from the Nordics is the same thing, and there is a striking resemblance between many of the runes with Hebrew. And 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. Let's get to that for a second, but let's find out what Jamie's saying.

[2:13:59] 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. What's interesting is like it's an older language, but doesn't that seem like a more complex language, a language that combines numerical value with words? [2:14:22] Like if 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. That seems like a better way to communicate. [2:14:40] Than just nouns and verbs and adverbs. Rather than bifurcating numbers and letters together. It sounds like a way better move. [2:14:48] I mean, doesn't it? It seems like [2:14:50] 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. Isaac Asimov wrote a book called Asimov on Numbers, which is fantastic, which talks about this. And he talks about Kalahari Bushmen, who have no concept of the number zero and how they process and understand – [2:15:10] Concepts like when no one is around, if the village is empty, things like that. And so just different people are just trying to – [2:15:21] figure out how to articulate everything. And, you know, computer programming is a language that utilizes numbers. It's weird when there's like certain languages that don't have a word for something. So people really grasp, they have a hard time grasping what the fuck you're trying to say. Like, what's the translation for this? Like, we don't have a word for that. We don't, we don't understand the concept of empathy. But there's certain cultures that are like,

[2:15:51] They can't understand the concept of maintenance. Yeah, yeah, yeah. They don't have it. I've heard that. Yeah, which is weird. Like, you think about it, like, oh, right. Why would they need maintenance? Right. Why would they need maintenance? If you live a subsistence lifestyle, you live off the land, you don't need maintenance. And then suddenly you're thrust into the 21st century and the Chinese are building highways for you. And the highways collapse. Yeah, and the highways just collapse because no one's maintaining it. Right. Yeah. It's interesting. But it's interesting when- [2:16:21] or maybe the [2:16:23] Iron Age. And dropping them suddenly into – To take this back to this idea that we're missing 1,000 years. So if we really are missing this 1,000 – there's two things I want to get to that. Added 1,000 years. Yeah, yeah, added 1,000 years. I really want to get to that. [2:16:38] And, well, I meant by missing, like they don't exist in the real world. Right, right. I want to get to that, and I want to get to, is there a conventional explanation for that stitching process? [2:16:47] Why that image? Like, what is the mainstream? Well, I've got to dig up what that, what we're even looking at. Right. It was not the NASA channel we were looking at. I don't, you know, I can dig down that rabbit hole. What were we looking at? I've tried to pick up a video of live. You know, the globe imagery that. Hold on a second. So that image might not have been an official image. That might have been something that someone created. I'm not saying that. Well, let me retract so I'll. [2:17:11] Words aren't taken out of context. I'm just saying it seemed like a live video. It was live on YouTube. [2:17:18] Oh, but it could have been AI or shit. I don't know. Yeah, I have to go back to look at the show. I'm trying to work fast over here. No, I get it, dog. I get it.

[2:17:27] Jamie, you do the job of 15 dudes, so I appreciate what you do. I found a video from 11 years ago on Vimeo that is from SpaceX, so it's not NASA. It's someone else, and it's like – [2:17:38] Up and down of the rocket. You can argue all day that it's got curvature. It doesn't have curvature. When you see a rocket launch, what does it do? It goes kind of sideways across the sky. [2:17:47] And so, like, we've now seen that, you know, pretty regularly. And that's because they're really not going above the troposphere, which. Well, I watched this. I watched the SpaceX launch live. I was there. It went straight up in the air. And then it curves and it travels sideways across the sky. Well, it gets to a certain orbit and then it traveled and dropped off in Australia 35 minutes later. I went out of your view. [2:18:10] No. I watched the entire thing from the command center. I watched it from like 24 different cameras. But how high did it go above the troposphere? [2:18:21] Not likely. Like this is not above the troposphere. This is like how many miles is that up? This is low Earth orbit. Right. But at low Earth orbit, Jesus Christ, that looks like a globe, huh? But watch as the camera rotates. This is also an edited video. I don't want to get stuck in this. Right, right. Like this, as Elon would say, it's real because it looks fake or when it looks fake, that's when you know it's real. Say that about Bigfoot then, bitch.

[2:18:50] It's fake as fuck, and it's definitely not real. [2:18:53] You know what's real? That Turkish sharpshooter. That dude was a G. [2:18:57] Open the corner. Press play. See what this is supposed to be. It cuts. It cuts. Yeah. Okay. [2:19:03] Oh, I see, I see. So it's a bunch of different images. Now you can actually see an inversion. [2:19:08] Occurring on the horizon right there. Oh, you're only seeing a small piece of it. Correct. But the lens distortion on the side of the frame is causing the horizon there to invert. And that's because of lens distortion. [2:19:21] I see what you're saying. It is. And the fact of the matter is, 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. [2:19:42] Even presuming that, the height that they're at right now, you would still only see a [2:19:47] you know, a circular... [2:19:49] You can see the limit of your vision. Right. Because it's so massive. Yeah, because it's so massive. You're still not high enough to truly see curvature. If we are in a simulation and if consciousness affects the reality of things and they are only real if we are experiencing them. [2:20:10] That's when things get really squirrely. The testimony of your eyes. Yeah. Like, I know that I am here right now. Not just the testimony of your eyes, but your consciousness interacting with reality is what creates it.

[2:20:22] Correct. I mean – That's where things get super slow. How do you know gravity exists, for example? Well, gravity is not clearly defined, right? Correct. Gravity is a concept. And it's a truly non-provable concept because you can prove the exact same thing through density and buoyancy. You know, the density and buoyancy, you know, make a lot of – how come the oceans, you know, react the way they do and don't – you know, it's not necessarily – [2:20:52] provable, but it's believable. You come to a certain point where you're like, okay, faith takes over. [2:20:57] At this point, my faith in that 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. And not just that. And you accept that as a fundamental piece of what reality is, because we want to believe we understand the universe. What I'm saying is we don't understand jack shit. [2:21:19] about the universe. We don't know anything. [2:21:22] And all we do is we believe what they tell us. And they is just the cumulative understanding of how things are. But in ancient times, they had a different understanding of things. And that was how it was back then. And so because they had no other way to describe. Right. But even then, the reality is just built things based on where the sun was going to be during the solar equinox. [2:21:52] of Earth's orbit. So Earth spinning around doesn't spin perfectly. There is a 26,000-year wobble, and you can predict it by the night sky. And somehow Polaris remains centered in the sky, and all stars rotate around it. That's extraordinary. If we're traveling... What do you mean? So during the procession of the equinoxes over a 26,000-year cycle, Polaris remains in the exact same spot?

[2:22:22] through the galaxy in this complex dance of planets. Right, but with the perception of the equinoxes, this wobble, over a 26,000-year period, it will move in the sky. Well, the point of Polaris will always remain where it is directly to the north. The point, but our perspective of it will vary depending upon where we are in this 26,000-year cycle. It undergoes a kind of penumbra of sorts, a kind of motion of sorts. It changes. A figure-eight motion through time. It changes. [2:22:52] right here. Due to the 26,000 year axial precession cycle, the North Star changes over millennia. While Polaris is the current North Star, other stars have held this position, including Thuban, 3000 BC, and future stars will include Arai, Alderman, and Vega. So it's not the same star. [2:23:16] It's just what is dependent upon where we are in the procession of the equinoxes. [2:23:22] That's why. [2:23:23] Well, there it is. It's not that the Earth is flat. I know it's true because it's on Google. But it's not just that. We 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. So we understand this wobble. And 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 how it wiggles around.

[2:23:53] yellow and orange and now it's just like white like reality is changing i mean things change the sun looks exactly the same to me does yeah the sun is the same to me it's i think pollution is affected it's somewhat especially if you live in la well there used to be more pollution and so maybe that's an excuse of why uh the sun would be more yellow but i've lived all over the world did you see epstein talking about gravity [2:24:14] Oh, boy. Oh, here we go. Here we go. [2:24:19] I'll just say. What does he have to say? It's only 45 seconds. I just let it go. [2:24:25] So someone's pushing the ball. Because I know that I am confident that the only thing that gets something to move is with a force that pushes. So there's a force that's pushing the ball. [2:24:36] down. [2:24:37] In fact, [2:24:39] He called it gravity. [2:24:42] He measured... [2:24:43] how fast it was pulled. [2:24:46] but [2:24:48] Never was able to explain why it happened. How is it? What is gravity? Gravity. [2:24:53] It's this... [2:24:54] Everybody says, well, why did the ball fall to the ground? Because gravity took it. But what's gravity? Gravity. [2:24:58] That's, as Feynman would say, [2:25:00] That's the name of the thing. We have no idea what it is. [2:25:04] Or it's just density and buoyancy. He was really into this topic, apparently. Apparently. He knew a lot about it. You know who you should have on is Eric Dubé. Do you know who this guy is? Oh, he's the flat earth guy. Yeah, he's the flat earth guy. And he's written a book called 100 Proofs. And in order to prove something, you also have to prove things wrong. You went down some rabbit holes, Roger Avery. Look, I'm a screenwriter. And so I'm always looking for things like this to write stuff about. And so it's... So in order to prove... I take it all... In order to prove what?

[2:25:34] a proof, you also have to disprove. And so he wrote a book called 100 Proofs about the nature of the earth and how it is. And it has explanations for many of the things you're talking about. Hasn't he debated people that actually understand science? [2:25:54] How you can prove that the earth is round? He does it very calmly and it infuriates people. Right, but I don't think he's done well. It's very enjoyable to watch because it's really funny. But to people that are actual cosmologists, he's not performed well in these. Well, 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, you know, the other proofs. Right, but there's plenty of people that have disproven that the earth is flat. [2:26:24] Thank you. [2:26:25] With simple experiments. [2:26:43] That the testimony of your eyes, you will never experience a globular Earth. But you do experience the 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. They've made models of how that could work. Dorks have. Dorks have made models. But it doesn't line in with our understanding of cosmology. It doesn't line in with our understanding of our orbit around the sun.

[2:27:13] orbit around the sun. And listen, I'm not saying that we don't orbit around the sun. I'm not saying we don't live on a globular Earth. But the numbers match. Don't take me wrong. But the numbers match. [2:27:22] If you do assume that they're correct, that we orbit around the sun, their calculations are completely accurate. If they make the calculations on their flat Earth model as well, then you still have to prove that wrong. But is NASA doing that? Is MIT doing that? Of all people to believe, the ones who are digitally stitching shit and saying, that's a government agency. You went so deep with this, boy. [2:27:52] When I get on the plane later today and I'm flying back and I look outside, I'm going to see a flat... [2:27:59] you know, a flat horizon, a horizontal horizon before me. [2:28:05] And when I land, everything else is faith-based. [2:28:13] Well, that's all I'm saying. It's not, though. It's science-based. It's based on data. It's based on our understanding. The word science means observation. It means testimony of the eyes. Which I'm talking about, the measurements, data. The data is so far removed, one, from my ability to understand, but from most people's ability to understand. But you can understand the circumference of the earth, right? You can understand the numbers, and the numbers line up exactly with how much time it would take for the earth to go around in a day. [2:28:43] Sure.

[2:28:44] And it works. And what other experiment can you show me where water clings to a spinning ball? Like that's kind of the classic flat earther thing that they'll ask you. Like, well, show me any other example of that. Show me a fucking ball that's 24,000 miles wide. And the answer to that is gravity. And what he's talking about in that clip that you just showed is gravity is just sort of this idea that we came up with to justify that. But there's clearly a force. Yeah. [2:29:12] That does that, right? That's density. Just density? Yeah, density. Well, then how come these two things will fall at the same time if I drop them when this is far heavier? How come? I do not have an answer for that. Right. But gravity does, right? Gravity is, like he said, it's just a measurement. It's a measurement of how things fall. Right. And the word that they invented, gravity, is just an explanation for how objects are pulled downward. Right. [2:29:42] If it was just density, wouldn't a heavier object? [2:29:47] drop faster. [2:29:48] Well, when a... There's two balls. There's a bowling ball and feathers dropping in a vacuum, and they're falling at the exact same time. [2:29:56] How weird. Vacuum. No density. [2:29:58] They both fall at the same time because of gravity or whatever the force we call gravity is. But there is some sort of a force that we call gravity that can be measured in a vacuum. [2:30:08] Look how excited they all are. Yeah, Brian Cox would be pissed if he was here right now. He'd be shitting the whole thing. Oh, no, he'd be pissed. Listen, all I'm saying is that my experience in the world. Of course, but your experience is based on perspective of being a tiny little thing on an enormous thing. Correct. Yeah. That is correct. Yeah. That is correct. There's a few YouTube channels that have broken down all of those.

[2:30:28] Flat Earth ideas, too. A ton. I tried years ago, and I gave up. It is absolutely a rabbit hole, but what's interesting about it is that if you – [2:30:40] extract the faith that you have in these kind of ideas. [2:30:49] and you supplement it with the faith of these other ideas, [2:30:55] But they're exchangeable. They'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 – [2:31:11] results that all these different space agencies have, that the idea that they're all in collusion, that Japan and India and even countries that hate each other. [2:31:20] They're all in collusion on this lie that the earth is round. [2:31:25] Well, it 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. Right. [2:31:42] I still saw digital stitching on your example. Yeah, it wasn't my example. It was some shit Jamie randomly pulled offline. That was weird, though. And that's perfect for this world that we live in, to have sort of a glitch like that. But that's kind of what I'm getting at is there's so much out there that it just falls to faith. And also, what does it really matter? That's kind of what I'm getting at, ultimately, is what does all of that really matter?

[2:32:12] that there's a cabal of 8,000 plus people who are secretly controlling the world and doing occultism and drinking baby blood. What does it really matter as long as you can just have your daily pint? This is a very different subject now. We've shifted. You'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... [2:32:39] evil people that are involved in cult-like rituals, which has, by the way, always existed. And 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. We don't want to believe in evil that is that deep. But in my opinion, if you can find out that evil is real, right? Evil most certainly is real. [2:33:09] Yeah. [2:33:18] to where the other cartel was. They probably thought that was funny. They probably thought it was funny. Having a good time. That's clearly evil. There's plenty of evil. Do you believe in demons? [2:33:29] Yeah. [2:33:30] I believe in the concept of demons. I mean, demons don't materialize before us necessarily. They rest upon the shoulders of men and whisper into their ears. I believe. And then people do evil things. This is what I believe. I 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.

[2:33:53] If you were a demonic idea – [2:33:57] And you got into Oppenheimer's head or Patton's head or anyways, and you wanted them to do something horrific to a bunch of innocent people. And you could say it is because we're at war. So we're going to drop a nuclear bomb on Hiroshima. Like that's a demonic act. It's a demonic act of eliminating hundreds of thousands or 100,000 plus people off the face of the earth who did nothing. [2:34:27] country that is in a conflict with some people that they don't even know. And then you just got vaporized like that. That seems demonic. You've just expired. But there are people who would argue that there are people who would argue that the war would have continued. And I've heard this argument. I've heard that argument, too, that the war would have continued and so many more would have died. Well, if I was a demon, I would want to propagate that idea. I would want you to think that you have to do it. And so, like, is is evil justification of things? [2:34:55] Thank you. [2:34:56] Um... [2:34:58] Certainly. If of actions, if you wanted to find a way where a demon like just like assume that demons are real, how would demons best be able to. [2:35:12] enact demonic [2:35:14] things on earth. Would they do it by saying, I'm a demon and this is what you should do and this is horrible and evil? Or would you creep into someone's head and find justifications for doing a demonic thing?

[2:35:30] There's a lot of things. You would creep into someone's head. Right. And you would boil the frog slowly. Let's imagine this is the AIDS crisis, and you know that AZT is killing people. But you also know that you are making... [2:35:47] 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. He literally used the same language that he used during the crisis. He's been doing this for a long time. He has. If I was a demon, I'd want to get in that guy's head. [2:36:10] And I'd want to get him to keep doing it and say, look how much money they're making. [2:36:14] You've got to keep this money. There's a way to justify this. You're the purveyor of information. You are the gatekeeper of the truth. You just find a way to dance around these numbers. You do not know what you are talking about. This is not gain of function. I mean, just what he did there, that was evil. [2:36:32] By taking a virus... [2:36:35] Funding it, even though it was illegal to fund it in the United States, by doing it through EcoHealth Alliance and then farming it out to them. They do it at the Wuhan lab. And you are, in fact, doing gain-of-function research on a virus designed for human beings to make it more deadly and more contagious. [2:36:53] That's demonic. You don't have a cure. There was a researcher in Canada at the Manitoba Level 4 lab, Dr. Kipri.

[2:37:02] I think is how you pronounce her name. And she was the one who solved Ebola. [2:37:07] Like she had come up with the vaccine for Ebola, which is manufactured by a California company that is basically a Chinese company. And like a rock star, she had made a... [2:37:20] It was like a hit. [2:37:22] She had a hit, a huge hit. And just like a rock star, everybody's asking you, what comes next? What comes next? And so she started actively working, working really, really hard at coming up with that next thing. [2:37:52] It's microbes and viruses and Ebola strains and whatnot. It's all patented. And 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. And so he was crossing the border, and he didn't want to, like, you know, have to reproduce all of his work. And so he just put it into a thermos inside of a thing and tried to cross the border, and he got caught. [2:38:16] Well, she got caught in 2019 by the Royal Canadian Mounted Police basically moving stuff from Canada via Air Canada Freight from Manitoba, from Winnipeg. [2:38:30] This is the Winnipeg Lab to Wuhan.

[2:38:33] and they were moving everything, and I tracked where those – because I was writing a screenplay about it. And so I tracked, like, where did that come from? Well, 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, and she was able to do all this stuff, and she was basically just shipping – [2:38:57] you know, everything, Hanta and all these patented things to Wuhan, you know, in order to do it. And the Rail Canadian Mounted Police basically... [2:39:07] you know, stopped it. And she got like walked out of the laboratory and everything because they were like, is there a misappropriation of money going on here? Like, what are all these flights that are occurring? And they redacted who her financer was. And we still don't know who her financer was, but it's one of three people. And it's the people you probably can guess, you know, these people who [2:39:37] It was just like anybody. She was just wanting to have that next hit. [2:39:42] And she would do anything to do it. [2:39:45] to repeat what she did with Ebola. [2:39:48] So she was helping to engineer viruses? Yeah, they were engineering stuff, and then she would ship them via Air Canada Freight from Winnipeg directly to Wuhan, literally on Air Canada flights. [2:40:01] So you're flying on Air Canada to Wuhan and down below in cargo, there's all this like, you know, leprosy and some horrible strain of something, something that's patented. And then they're just shipping it over to and, you know, none of this has come out. Like some papers in Canada, you know, like the Winnipeg Free Press or something was trying to cover it. But, you know, it just gets kind of buried.

[2:40:31] talk about [2:40:32] engineering a pandemic. [2:40:35] Yeah, yeah. [2:40:36] Yeah, I read that too. [2:40:38] I read that too [2:40:39] that they were like actively working on it, like, you know, running models and figuring it out. And, you know, well, if we do this, then this will happen. And, [2:40:48] Yeah, they were pretty successful at that. But why would Epstein be involved if he's a financier? He was involved in everything. Right. He was involved in everything. It was, like, amazing the energy that that guy had. Who has the energy to be, like, doing all this stuff, like, all over the world? And, like, oh, in Nigeria we're doing this. [2:41:06] Yemen were doing this, and here we're doing that. [2:41:09] And at the same time, trafficking all these girls and young children and all this stuff. Right. Who has the energy to do that? It says, no credible evidence in the recently released Epstein Files links Jeffrey Epstein or his associates to engineering the COVID-19 pandemic. Claims stem from a misinterpreted 2017 email referencing routine pandemic preparedness discussions, not a plot. [2:41:36] So what was the claim, the original claim? I didn't ask it about COVID-19. Right. You just asked it about engineering a pandemic. So what is the pandemic claims? Scroll up a little so I can read that. That's all. Scroll down a little. There it goes. So 2017 email originally from 2015 discussions to Bill, widely assumed to be Gates, was, [2:41:56] forwarded to Epstein, proposed recommendations and technical specifications for pandemic modeling of various strains.

[2:42:05] It focused on health care data, simulations for preparedness and neurotechnology, not creating or engineering a virus. Gates Foundation later ran public event 2001 and 2019, a standard exercise with John Hopkins and WHO predating COVID reports. That whole public event 2001 is fantastic. [2:42:29] fucking weird. Event 2001 is weird. [2:42:33] context and debunking pandemic simulations are common public health tools for the like those for SARS or flu. Right. But why is Jeffrey Epstein involved in these discussions involved in everything? He's involved in gravity. But how fucking weird is that? [2:42:50] How weird? A pandemic? [2:42:52] A pandemic was reportedly mentioned in the Epstein files three years before COVID-19. She was running the world. Well, this is what my friend Eddie Bravo believes. And creating the illusion. In the meantime, Ghislaine Maxwell is running the Reddit forum on World News. Like, she's literally shaping the World News Reddit forum at that time. She was? Yeah. She was running the World News forum on Reddit? Yeah, she was. And it all went dark the minute she got picked up, her person. [2:43:22] Thousands of posts, like all day long, posting world news, shaping our perception of things. One email was a subject preparing for pandemics was sent by a person whose name was redacted.

[2:43:36] By the way, did you see that? Why would they redact the person who sent that? [2:43:41] That's not a victim. You're supposed to redact victims. I think they just – they did like – supposedly they just did massive redacting. But sometimes you can see like, oh, the name is short. It's probably Bill. And then the one that comes after that, if it's a little longer, it might be Clinton. And if it's a little shorter, it might be Gates. You know, like you could – but again, that's just, you know, it's like there's no – it's like plausible deniability until they release all these names. [2:44:11] Jeffrey Epstein's Fortnite account suddenly became active in Tel Aviv. And that somebody is playing right after his supposed death. Right. Suddenly he's playing Fortnite again. Yeah. He doesn't even have the decency to make a new account. Well, he wants to keep all of his stats. His stats. He wants to keep all that stuff. Yeah. And he's safe in Tel Aviv. [2:44:35] You know, in another country. So do you think they just like did those? That's another thing. There was another Reddit thread about some guy who said that he was a guard. It was a 4chan. It was a 4chan. Yeah. So it was a 4chan thread where this guy said that he was a guard at the facility and he posted this before Epstein was killed. He was a guard. They uncovered using whatever way they do it, but using phone records or whatever from 4chan. They discovered he was a guard and that he was like a legit guy. He got caught basically talking about it. [2:45:05] But they snuck – they used a decoy body. There was an unscheduled ambulance arrival that night. They never logged in, and you're always supposed to log in. There's footage of, like, you know, orange – people in orange moving through the facility on the – you know, just glimpses of it. So you think he's alive somewhere? Yeah.

[2:45:26] Oh, God. [2:45:27] It's... [2:45:28] It's not impossible. It's not impossible. It's... [2:45:31] probable [2:45:32] Also, didn't... [2:45:34] It's a probability. [2:45:36] Whatever. It's more than a possibility. The guy who did the autopsy, did anything happen to him? [2:45:42] The guy who... He committed suicide. Yeah, let's find that out. That would be fucking crazy. Because that happened to the guy who did the autopsy on Andrew Breitbart. Didn't he wind up dying shortly after that? [2:45:55] Like Andrew Breitbart? Yes. And who's the guy who said that Podesta was- An alarming amount of people commit suicide. Alarming. Who are doing this stuff. Or die of something real weird. Real reason to do so. Yeah, suddenly they do it. I saw people in jail who committed suicide, and they didn't commit suicide. They got killed by their celly. Nobody bothered checking in on that. Yeah. [2:46:14] That makes sense. [2:46:15] The guy who did the autopsy – [2:46:18] for Jeffrey Epstein. Did anything happen to him? [2:46:22] A woman? New York Chief Medical Examiner, Dr. Barbara Sampson. And she just resigned a year ago. Okay, so nothing happened to her. You're talking about evil... [2:46:32] You know who the devil was in The Exorcist? [2:46:34] Who? Well, they say it's like Pazuzu and we're presented with an actual devil. But when you actually watch the movie, there's kind of evidence that and people have talked about this, that, you know, there's evidence within the film that it's it's it's more than just demonic possession, that the demonic possession comes from some place.

[2:47:04] trauma affects like clairvoyance and telepathy and things like that, how you're able to invoke those out of traumatic, out of trauma. And in The Exorcist, there's, you know, you have Reagan, who's Linda Blair, and there's that, [2:47:24] party scene. And you remember in the exorcist, they're making a movie within the movie. [2:47:28] You know, they're actually shooting a movie. The character of the mother is she's acting in a film inside of the movie. And there's a director in that film. And they have a big party scene after it. And the director, you know, he's he's basically yelling at the the butler, her her house man, you know, calling him a Nazi and stuff like that. And he's I bet you went bowling with Goebbels and things like that. [2:47:58] While he vanishes from the party and we later see like Reagan afterwards, like completely flipped out, like laying in bed. And then after that, she comes and then he's leaving the party and he turns to the mother and he's like, I have to tell you something. I have to tell you something. [2:48:17] I'm not. [2:48:18] Fuck it. [2:48:19] And he leaves. [2:48:20] And so and then after that, Reagan comes down and she looks to the astronaut guy and says, you're going to die up there. And then she pisses on the floor and everybody's like, shit. And from that moment on, there's all this like highly sexualized devil speaking through her with a British accent. And the guy, the director.

[2:48:40] He's a British guy. And 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. So the implication is that the director is the one who has raped Reagan and thus invoking this demonic presence into her. And it turns out that – I thought it was some totem that they found and it was possessed. [2:49:10] The Ouija board is there and everything. But it turns out that William Peter Blatty actually made a movie called John Goldfrapp. Your life is blah, blah, blah. I can't remember the exact title of the film. And he made that movie with Shirley MacLaine. And the director of the film is this guy, J. Lee Thompson. [2:49:29] British director who looks exactly like the actor in that. And so the idea is that... [2:49:37] Reagan's mother is Shirley MacLaine, and Reagan is her daughter Sasha, and the British director is J. Lee Thompson. And when you start looking at his movies, they're a little strange. You know, there's like, you know, he directed the original Cape Fear, which has a kind of strange... [2:49:56] pedophilic thing going on in it so does the second one and yeah yeah they yeah they all do and then uh you know especially they they amplify it yeah with juliette lewis and robert de niro this movie kinjite with uh bronson and that all has kind of like a weird pedophilic thing he did this movie the reincarnation of peter proud where peter proud dies and then uh or he rather uh peter proud remembers his reincarnation he remembers his iteration of his other self who was murdered

[2:50:26] who maybe did it and then starts sleeping with her daughter, which is basically sleeping with his daughter because he's reincarnated. So this guy, as a filmmaker, is done all this. And so the question... [2:50:38] And so William Peter Blatty worked on that film with Shirley MacLaine and shortly thereafter wrote the book The Exorcist. And Sasha in her, you know, autobiography even mentions, you know, the person on the cover of the book looked a lot like me. And everyone's just saying, oh, it's just a coincidence. And, you know, well, I never walked down the stairs on all fours and I never vomited, you know, pea soup or whatever. None of that ever happened to me. [2:51:06] but there's a pretty dark implication behind the whole film. And I brought it up with William Friedkin. Hey, [2:51:12] is this meant to be J. Lee Thompson? Is this a way to talk about that that actually happened? You know, in real life, he said, I cannot talk about that, but I'm not saying you're wrong. [2:51:30] And Reagan is talking to her mother and she's like, well, do you like him? Do you like him like you like daddy? And so there's this idea that he's been coming over and they've been having this affair. And then all of a sudden she says to her daughter, and it kind of jumped out at me when I rewatched it. She says to her daughter, well. [2:51:46] I like pizza, but I wouldn't marry one. [2:51:51] And it was like, oh, my God, there's like a pizza reference in the middle of this, in the middle of everything that's happening. How long is that? That's Periola, but still. Ben Swan brought up during the whole Pizzagate thing that got him fired.

[2:52:03] But how long has the term pizza been used? Well... [2:52:07] It jumped out at me, and The Exorcist is in the early 70s, and so, what is it, 1971, and that movie that he did with Shirley MacLaine, who is effectively, that's the movie that's shooting inside of the movie. And so this was a way for Peter Benchley, I mean, not Peter Benchley, William Peter Blatty, to kind of... [2:52:28] Trans code all of that. And the astronaut in the film, Shirley MacLaine, talks about the I can't remember who was her husband or boyfriend that she remarried who was an astronaut. And in her autobiography, she talks about how he was cloned. He came back from space and a different person that he was cloned. And she kind of everybody kind of laughed it off like, oh, it was just kind of a joke that I wrote into my autobiography. [2:52:53] But... [2:52:53] It's kind of weird. [2:52:55] Real weird. Yeah, it's really strange. So people speak through movies, and they hide information in films. And so I think that – Some more than others, right? Yeah, William Peter Blatty, who was doing all sorts of Ouija stuff with Shirley MacLaine, who was really into that kind of thing back in the late 60s and early 70s. And, you know, he sits down to write his book, and what's he writing about? [2:53:25] that movie is about Shirley MacLaine [2:53:27] Her daughter, Sasha, Saatchi, I'm sorry, Saatchi, and, you know, the astronaut. And, you know, it's all and J. Lee Thompson, who basically he eviscerates within the film, but in a way that nobody really connects it.

[2:53:46] It all happens off camera. [2:53:48] But the implication is that she was raped by that director. And from that moment on, has a kind of... [2:53:57] You know, she's speaking with a British accent as the devil. It's his voice, actually, that's coming out of her. She's talking about, you know, being raped by a crucifix. That actor, that's his voice? Is that what you're saying? Yeah, that's what I'm saying. It's like the voice of, I think his name is Gowan, and he died shortly after the film was made also. [2:54:20] Shortly after The Exorcist was made. Well, we know that people have encoded very bizarre things. Like Kubrick was famous for it. Yeah, well, that's Kubrick. Everybody does it. I do it. Everybody does it. I mean, motion pictures are a kind of magic spell. [2:54:35] And, you know, when you write your hearing, I hear voices and they come through me and they land on the page. And I don't know where they come from, but it is a kind of... [2:54:48] in invite to possession. [2:54:51] And that these things come into you and that you put it on the page and then you make this movie and everybody, like I said, sits in a theater in the dark and watching a flicker of this thing. And it's telling you both our myths and traditions, but it's also predictive programming. Everybody. [2:55:07] And so. [2:55:08] Jesus, dude. Have you seen? [2:55:13] Have I seen what? Well, actually, I was thinking about the Daily Wire thing. But media comes from a lot of different places now.

[2:55:24] You don't know where you're going to find your next entertainment. Right. And there's this show that I really like that show, Rome. Did you see Rome? No, I never saw it. Okay. I loved Rome. [2:55:38] Thank you. [2:55:39] Flat. Because it told the story of ancient Rome 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. And then it told a very ground level story from the perspective of like handmaidens and centurions and still has Mark Anthony and Cleopatra and everything going on in it. [2:56:09] like drama through it. And so there was this other show and it had been out like three seasons when I started watching it. [2:56:16] And it did the exact same thing. Nobody had ever like nobody was talking about it. Nobody had ever heard about it. Most people don't even know about it. [2:56:23] It's The Chosen. Do you know this show? What was that? It does the exact same thing, but it does it with the Gospels. And it's all about Christ. And it's like a low budget, or it was low budget. [2:56:36] crowdfunded story of Jesus. And it just basically, like Rome, tells this historical tale about Jesus and... [2:56:46] Okay, so I'm watching. I've seen every movie about Jesus ever made. I've seen King of Kings, both versions. I've seen the Zeffirelli film. I've seen Last Temptation of Christ. I've seen The Passion of the Christ. I've seen all of them. I've seen the Jeremy Sisto Jesus movie.

[2:57:05] movie. I've seen everything. I worked with Paul Verhoeven on his Jesus film that was unproduced. And so like I had a lot of experience in it and I never really got it, to be perfectly honest. I never really understood the story. This show, I started watching it. I was like, OK, I've got a chip on my shoulder. Let's see. And it's really cheap. It's like rocks are made out of styrofoam. [2:57:35] And so it's like it's really, really inexpensive. And the script is even a little bit contemporary, which almost becomes like a joke as you're watching it. It's kind of funny. [2:57:46] I'm watching it, and there came a moment by about episode three where it was like, ding, ding. [2:57:51] I get it. [2:57:52] Like Jesus is kind of punk rock. [2:57:55] He's basically saying there are no rules to anything. Like, you know, you can commit miracles on the Sabbath. You know, there are no rules. Anybody is like all you need to be is wanting of salvation. And it was like a third eye opened up to me. And this show is fantastic. And it breaks all the rules. It's outside of the Pharisees of Hollywood. [2:58:25] filmmaker right now. I think this guy's brilliant. He's directed every single episode of this show, and they've got like seven seasons out, and you can watch it for free. On what? On anything. Like if you have an Apple TV, you can just look up the chosen app, and boop, up comes the chosen app. So it's an app thing. Or you can watch it on YouTube, or you can watch it. I think Netflix eventually bought it, and now they're showing it. Basically, you can see it anywhere. They give it away the way the

[2:58:55] Thank you. [2:58:55] And, um... [2:58:56] And, you know, [2:58:58] It... [2:58:59] I thought it was fantastic. And 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. And I was like, wow, like they really got a big budget. And then I looked it up and I was like, oh, no, they're using the Mormons have all these standing sets for their biblical productions in Utah. And they're incredible. These sets are unbelievable. If I had known, it's like Chinichitta in Utah. [2:59:29] absolutely fantastic and um and the characters are like they only have money for like three romans costumes probably and so they're kind of like making do with what they have but they've got this guy playing the legate there who is hilarious he's in the first season he is absolutely hilarious and the show is great and then like proper television you're watching it and you're starting to love these characters and you're starting to like it's and it's you know what it [2:59:59] Yeah. [3:00:09] And requires much more maturity to make a movie about forgiveness. And this kid, Dallas Jenkins, I call him a kid, but he's not a kid. That's an insult. He's super great. He is making every single episode is effectively, because it's the Gospels, about forgiveness. And he has done this magnificent work.

[3:00:31] Unbelievable achievement. And the show is huge now. They've got like seven seasons. They built a studio, you know, like outside of Dallas-Fort Worth on a Salvation Army property that they've built, you know, sound stages and everything. And it is – and like – [3:00:47] And that's like you can get it anywhere. You can watch it anywhere. And they're making programming that should have been on HBO. It should have been produced by HBO the way Rome was. [3:00:57] And instead, it's just it's coming out of the ether. And it's almost like, [3:01:02] With the inattention given to, you know, most modern... [3:01:08] Or rather the way that people are making things, that they're focused on wrath and revenge, [3:01:16] Like this other thing, like the Pendragon cycle and The Chosen have kind of risen out of out of the vacuum that those that the studios and broadcasters have kind of created because they're not no longer making that kind of product, at least not as much. [3:01:33] And so I think this is actually one of the most exciting times in media and television. [3:01:39] Yeah, I definitely think it's a very unusual time where the normal people that are producing things don't have – [3:01:48] a complete monopoly on what people see and that many of the times these alternative things have gotten much larger than the mainstream thing i am i find it like almost impossible to get a movie going like i'm uh you know i'm like an independent filmmaker i go out there and i usually i work on a script and then i figure out the budgets and i figure out that and i go out and i hit the pavement and it's like really hard part probably because i'm a flat earther kid i am not a flat

[3:02:18] I go out there and I try to get this stuff made, and it's almost impossible to get it. [3:02:23] And then I built a technology company over the last year. [3:02:26] And basically making AI movies. And all of a sudden, boom, like that money gets thrown at it. And all of a sudden, just by attaching the word AI and that it's a technology-based company, all of a sudden investors came in and were in production on three films now. AI is not right now. I 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 A24 or blah, blah, blah. [3:02:56] trying to like, you know, hit the pavement. I have to go to Europe to gather together, financing and everything like that. No, 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 will be in theaters this holiday season. We're making a faith-based film for next Easter. And then we're making a kind of big romantic war epic. And like as classical movies, and we have like a proprietary stack of technology that we use for our process. [3:03:26] with this company, Massive Studios. [3:03:29] AI, and formed my company, which is General Cinema Dynamics. And I'm based here in Texas now, or in Texas. [3:03:38] my company is, and I'm slowly transitioning. Nice. And it's like, [3:03:44] It's actually kind of – I think so many people are against AI like Guillermo and love him, but he's like, fuck AI, fuck AI. But all it is is visual effects. And I have experience like with that Beowulf movie doing it and what used to be a million dollars a minute is now $5,000 a minute. And so to do it really, really well, like it looks –

[3:04:06] kind of amazing, actually. And so I think for independent cinema and for the future of film and television production, these are super exciting times. [3:04:15] All right, Roger, we just burned through three hours plus. Really? Oh, my God. Yeah, it's already 4 o'clock. I figured this out just to share it with you. All right, so what I pulled up is this. This is NASA, right? This is proper NASA. Let me just explain right away. Let him talk. So this is a FAR TV. They're pulling in multiple feeds. There's three different boxes at the bottom. As you can see, this one in the middle says Offline. [3:04:33] So as I showed you also, I pulled up the NASA feed, which is this. [3:04:37] since it's offline. [3:04:39] When that is offline, [3:04:41] this channel adds a 3D model showing where the satellite currently is so that you can still follow along. [3:04:48] 30 minutes ago, it wasn't offline. It was showing a different feed, and I wish I could have showed it to you then. [3:04:52] But I didn't interrupt. So. Got it. There is a Flat Earth YouTube or Reddit account asking this exact thing. What is that? [3:05:00] And the people on the Flat Earth read it. [3:05:03] gave me the answer. [3:05:04] Yeah, the crazies. The crazies have come out to – [3:05:09] Mm-hmm. [3:05:10] Okay. There you go. So that was what that was. [3:05:13] Well, I'm glad we put that to... So just as the video description, switch to a simulation with the ISS above the Earth when the connection is lost, a.k.a. offline. I was going to point that out because you can see the stars in there and you can't normally see the stars while you can see the Earth. [3:05:25] I'm glad we can be comforted by at least one thing that is secure and stable in our understanding of reality. Roger, that was very fun, though. Thank you very much. Let's do this again. Really a pleasure. It was a good time. Really super pleasure. Thank you, brother. Appreciate you very much. All right. Bye, everybody.