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Speaker 1: Now here's a highlight from Coast to Coast am on

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Speaker 1: iHeart Radio, and we are back with Robert W. Sullivan

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Speaker 1: the fourth talking about symbolism, a cult symbolism in the movies.

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Speaker 1: And we're going to focus on one type of cinema

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Speaker 1: symbolism and that is a cult casting. So just can

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Speaker 1: kind of give us an example. I think there's a

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Speaker 1: there's a good one with before we get into the

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Speaker 1: shining and so forth. But there's another. There's another example

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Speaker 1: with the actor that Sarahlec Guinness, who of course was

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Speaker 1: Obi Wan kenobi in Uh in Star Wars. There's another.

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Speaker 1: I think we've talked about his casting another movie that

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Speaker 1: was I guess supposed to evoke memories of Star Wars

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Speaker 1: or something like that. No, it's the one you're talking

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Speaker 1: about Max von sdo Ah. Sorry, well this is this

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Speaker 1: is a good example. There there's there's many, but we

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Speaker 1: can start with this one. This was when um in

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Speaker 1: in in the one in Star Wars episode seven uh.

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Speaker 1: When when when the movie opens on the on the

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Speaker 1: desert planet uh. And this is where Kylo Wren is

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Speaker 1: coming for the relic that the Maxilon Cito character has.

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Speaker 1: He passes it onto the Poe character. And then and

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Speaker 1: then they confront uh von Cito confronts Kylo Wren and

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Speaker 1: he gets ultimately gets killed. Um and and it begs

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Speaker 1: the question, and this is you know, it's like, what why,

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Speaker 1: why can't why are you casting maxiflon Ceto to be

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Speaker 1: in this movie for literally what is probably less than

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Speaker 1: five minutes of screen time when any numbers of actors

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Speaker 1: could have could have played this part. Um and and

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Speaker 1: and when I was watching it, there was just something

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Speaker 1: that was like a splinter in my head that just

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Speaker 1: wasn't sitting right. And it wasn't necessarily sinister or anything,

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Speaker 1: but it just stirred this curiosity. I kind of felt

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Speaker 1: like I'd seen this all before. And sure enough, And

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Speaker 1: this is kind of what I'm talking about when I say,

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Speaker 1: are called casting the use of an actor or actress

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Speaker 1: to sort of plant something in your subconscious mind. Um,

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Speaker 1: the placing of von Sido in the Star Wars episode

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Speaker 1: seven is designed to implant in your subconscious mind two

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Speaker 1: other movies that von Cido was in, and they're The

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Speaker 1: Exorcist and Dune. And what I mean is this when

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Speaker 1: when when when the character in the Star Wars movie

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Speaker 1: again episode seven, the force awakens, Um comes out and

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Speaker 1: confronts Kylo Rend and gets struck down. Um. I mean

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Speaker 1: it brings to mind you know what other Max von

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Speaker 1: Sido movie opens in the desert and he stands and

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Speaker 1: stands up to a dark evil figure. And of course

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Speaker 1: the first one is The Exorcist, where you know, he

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Speaker 1: starts out von Cido plays the Jesuit priest um in

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Speaker 1: the deserts of Iraq, and then he finds the statue

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Speaker 1: of Pezuzu Um and he confronts it, and of course

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Speaker 1: that's the opening scene. Um. And then there's another one,

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Speaker 1: which is Dune, where von Cido is of course on Iraqus,

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Speaker 1: which is the desert plant is and does he stand

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Speaker 1: up a dark evil figure and of course yes it is.

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Speaker 1: It's Baron Harconin. And in that movie he gets struck

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Speaker 1: down right away. UM. So why do this, you know

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Speaker 1: why places von Cito in Star Wars? What the idea

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Speaker 1: is and the way this works is by putting von

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Speaker 1: Sido at the beginning of that movie. Um, it's transferring

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Speaker 1: the exorcistem Dune to your subconscious mind. It's not done consciously,

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Speaker 1: It's done very surreptitiously. Um. And what it does is

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Speaker 1: and invests kyler Ren and the first order was sort

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Speaker 1: of the diabolical scheme, the evilness as it were, of

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Speaker 1: Pazuzu the demon and Baron harconin um. And and that's

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Speaker 1: that's what I mean by a coodcasting. It's uh, that's

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Speaker 1: for real movie fans though, I mean that's the director

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Speaker 1: did that almost just for people like you who are

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Speaker 1: who are real cinophiles, who can who can do that

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Speaker 1: cross reference and say, you know, say, oh wait a minute.

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Speaker 1: Max von Cito was in Dune and he was a

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Speaker 1: miss movie. That's why he's doing it. It's almost like

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Speaker 1: they put that easter egg in there just for you. Yeah,

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Speaker 1: it's it's an easter egg and it's very hard to

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Speaker 1: pick up one, but it it's it's also I can

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Speaker 1: see it, so, I mean I can point it out.

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Speaker 1: But if you're watching the movie again, what a lot

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Speaker 1: of these guys, what are these directors like to do

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Speaker 1: is tweak with your subconscious mind by using archetypes, archetypal

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Speaker 1: imagery in this case. Um. So it's almost one of

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Speaker 1: those things where it affects the movie goer but they're

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Speaker 1: not aware of it. Um. That's sort of the level

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Speaker 1: these guys are working. One I know to look for it, UM,

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Speaker 1: so I can kind of spot it. And like I said,

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Speaker 1: when I first started doing this, the very first UM

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Speaker 1: movie I noticed this with was the sequel to The Matrix.

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Speaker 1: I believe it was called UM Matrix Reloaded. Maybe it

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Speaker 1: was UM. And it was the use of Anthony Zerbe Um,

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Speaker 1: the actor in it UM and and and and the

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Speaker 1: and the sequel to the Matrix. The use of Zerbe

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Speaker 1: was cross referencing Omega Man with Charlton Heston, because Zerbe

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Speaker 1: gives a speech in the Matrix movie which is exactly

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Speaker 1: the same as the one he gives an Omega Man,

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Speaker 1: only reversed. It's everything is backwards UM. And if and

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Speaker 1: if you're familiar with Matrix and you're familiar with my research,

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Speaker 1: those movies are our gnostic cinema UM. That's the Valentinian

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Speaker 1: strain UM. And when you're doing with gnosticism, you're doing

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Speaker 1: with a lot of the reversal of Orthodox Christianity UM.

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Speaker 1: So the fact that they would use Zerbie and reverse

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Speaker 1: everything isn't surprising. That's the first movie I noticed it with.

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Speaker 1: And again, when you're doing with adroit filmmakers. Uh, you know,

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Speaker 1: you can see it. And like I said, the Bon

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Speaker 1: Sido example in Star Wars is just a classic example

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Speaker 1: of this. And as I was telling you, I think

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Speaker 1: the last time we talked, I was rewatching all the

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Speaker 1: James Bond movies and I actually discovered, um, some anomalies

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Speaker 1: in there as well. And of course there's really a

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Speaker 1: great one in The Shining. Um that that's just uncanny

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Speaker 1: that I just actually discovered within the last week. Um,

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Speaker 1: that's fantastic. All right, Well, let's get into the Shining

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Speaker 1: Before that, I just wanted to mention another example. You

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Speaker 1: mentioned Max von Sito in Star Wars seven, and he's

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Speaker 1: confronting evil and that's a callback I guess to the Exorcist.

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Speaker 1: But the other, the other one example would be Max

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Speaker 1: von Sito as Jesus in the Greatest Story Ever told?

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Speaker 1: Isn't he in the desert confronting the devil? Um? You know,

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Speaker 1: the temptation in the wilderness? Yeah? Absolutely, Um yeah, I

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Speaker 1: mean it's another great example of it. I mean you

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Speaker 1: can look at it like that um in in in

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Speaker 1: the Star Wars. In the Star Wars movie, though, what

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Speaker 1: I would say is, if you watch the character very closely.

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Speaker 1: He's a hermit. Um. He's he's a hermit living alone. Um.

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Speaker 1: And when you when you watch in my mind, when

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Speaker 1: you watch The exorcistem, dude, it seems to invoke those

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Speaker 1: more because the character is more in line, um, with

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Speaker 1: a hermit than he is of christlike figure, like a

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Speaker 1: savior figure. UM. So again it's it's it's very narrow

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Speaker 1: and price splitting hairs a little bit. But certainly, um,

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Speaker 1: what you're saying is, you know you could certainly draw

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Speaker 1: that comparison also. Okay, So now we're going to talk

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Speaker 1: about The Shining nineteen eighty Stanley Kubrick adaptation of Stephen

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Speaker 1: King's book of the same name, taking place at the

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Speaker 1: Overlook Hotel in um In Colorado. Jack Nicholson, of course,

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Speaker 1: that classic role as Jack Torrence and Shelley Duval Scatman Cruthers.

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Speaker 1: So there is an example of a cult casting in

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Speaker 1: The Shining, right. The one thing that's really unique with

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Speaker 1: The Shining, and certainly we've talked about this before, is

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Speaker 1: the whole thing with Kubrick exposing the moon landing through

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Speaker 1: the use of a little boy, the Apollo eleven sweatshirt,

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Speaker 1: the room two three seven, which is the distance from

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Speaker 1: Earth to the Moon. And of course, the idea with

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Speaker 1: this is that Kubrick actually, you know, filmed the footage

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Speaker 1: of these guys hopping around in some sort of secret

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Speaker 1: you know, government sound stage where um you know, and

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Speaker 1: and and kuber Kubrick is tipping off people, um to

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Speaker 1: this in The Shining. Um and or he's just he's

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Speaker 1: playing around with it because he knows that people think

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Speaker 1: that he was responsible for faking the moon landing, and

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Speaker 1: so maybe he's just kind of having some fun with it. Well,

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Speaker 1: the idea is that he actually filmed it in and again,

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Speaker 1: the the this is not far fetched, um Kubrick. Kubrick

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Speaker 1: used in the film that he came out prior to

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Speaker 1: The Shining was Barry Linden, and he actually used NASA

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Speaker 1: technology to film that movie. Um So. So Kubrick worked

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Speaker 1: hand in hand with NASA and the government. Um So

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Speaker 1: the idea that he staged this is not is not

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Speaker 1: that far fetched, especially when you know that Linden Barry

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Speaker 1: Linden was made with NASA massa lenses, NASA NASA cinema lenses,

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Speaker 1: camera lenses. Um. Of course, if you watch The Shining,

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Speaker 1: the whole thing with the Little Boy with the Apollo eleven,

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Speaker 1: you know, sweatshirt, sweater when he stands up, goes through

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Speaker 1: two thirty seven. The distance from the Earth to the

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Speaker 1: Moon was two hundred and thirty seven thousand miles. So

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Speaker 1: the question begs, is is there anything else in there

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Speaker 1: that Kubrick is sort of tipping you off to that

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Speaker 1: he could have filmed stage this moon landing. They may

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Speaker 1: have went, I mean the theories they could have gone

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Speaker 1: to the Moon, but they couldn't have filmed there. So

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Speaker 1: they hired Kubrick based on Strange Love in two thousand

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Speaker 1: and one, to film this footage in a top secret

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Speaker 1: government labs on where sound stage, all right, as an

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Speaker 1: insurance policy, so that they could prove to the world

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Speaker 1: that they did go there even though they did go there. Correct,

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Speaker 1: they couldn't have film or the moon is the theory,

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Speaker 1: they just couldn't write. So they had that makes sense right,

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Speaker 1: They had Kubrick stage. So the question then becomes, is

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Speaker 1: there any other movie that came out recently prior to

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Speaker 1: The Shining that actually depicts them faking the moon landing

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Speaker 1: in the top secret government sound stage, And the answer

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Speaker 1: is yes. In nineteen seventy one, that James Bond movie

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Speaker 1: Diamonds Are Forever is released, and if you're familiar with

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Speaker 1: that film, this is the last of the Sean Connery

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Speaker 1: James Bond movies. This was the last time he played

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Speaker 1: a mechanical James Bond movies. Play last thing he played

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Speaker 1: Double A seven. He breaks into a top secret government

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Speaker 1: facility in the Nevada Desert, which is obviously supposed to

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Speaker 1: be Area fifty one, and he's walking around, and of

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Speaker 1: course he gets found out, so a chasin sues and

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Speaker 1: he actually winds up inside a sound stage where they're

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Speaker 1: faking the moon landing. They're filing the moon landing. I'd

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Speaker 1: forgotten about that, yeah, and he escapes in a faked

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Speaker 1: lunar vehicle. You know, they got the astronauts hopping around

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Speaker 1: and taking the soil samples and they're filming the fake

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Speaker 1: moon landing. So then the question becomes, Okay, does the

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Speaker 1: Stanley Kubrick in the Shining reference James Bond anywhere as

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Speaker 1: sort of like an homage to Diamonds Are Forever, you know,

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Speaker 1: and to tip you off that he takes the moon landing?

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Speaker 1: Is there a James Bond reference in the shining anywhere,

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Speaker 1: And the answer to the question is, yeah, there's the

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Speaker 1: biggest one of all, and that is and this will

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Speaker 1: fall through the cracks, is most people, and myself concluded

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Speaker 1: and recently, if you had asked someone who is the

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Speaker 1: first actor to play James Bond, your answer would have

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Speaker 1: immediately gone to Sean Connery in Doctor No For David

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Speaker 1: Nibbons David Niven. False. The first actor to play James Bond,

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Speaker 1: believe it or not, is none other than Barry Nelson,

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Speaker 1: who played it in nineteen fifty four in a TV

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Speaker 1: made for movie on a TV show called Climax where

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Speaker 1: they actually put on a live performance of Casino Royal,

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Speaker 1: which is Ian Fleming's first novel. Who's Barry Nelson who,

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Speaker 1: of course it's familiar with the Shining Barry Nelson is

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Speaker 1: Stuart Allman, the guy who hires Jack Torrence at the

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Speaker 1: near the beginning of the movie. Oh though the manager

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Speaker 1: of the Overlook Hotel. Yeah, is James Bond. Wow, the

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Speaker 1: manager of the Overlook Hotel is the first actor to

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Speaker 1: play James Bond. So Kubrick actually places Jane Bond in

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Speaker 1: the movie by hiring Barry Nelson. Um and Nelson's hiring

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Speaker 1: is a direct reference, is subconsciously telling your mind that

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Speaker 1: you know, he is employing James Bond to least the

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Speaker 1: Overlook Hotel, to rent it out, to hire Jack Torrence

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Speaker 1: as the caretaker, and by employing James Bond himself. Um,

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Speaker 1: I find it to be a completely under the table

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Speaker 1: homage to Diamonds Are Forever um and Kubrick is again

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Speaker 1: sort of suggesting that he is the guy who faked

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Speaker 1: the moon landing footage. And I found that fascinating. I

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Speaker 1: had no idea about that. I just discovered that Richard

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Speaker 1: in the last week. Uh, Barry Nelson Stuart Allman is

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Speaker 1: the first actor to play Double O seven. It was

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Speaker 1: not Sean Connery. It would have been too obvious if

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Speaker 1: he if he hired Sean Connery to play Yeah, yeah, obvious,

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Speaker 1: But I mean, I just I just found that fascinating.

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Speaker 1: I couldn't believe it when I found that out. You know,

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Speaker 1: it was Barry Nelson was the first actor to play

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Speaker 1: James Bond in a TV production of Climax from nineteen

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Speaker 1: fifty four, So I guess you could see that you

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Speaker 1: could view the shining as a kind of Stanley Kubrick's confession. Yeah,

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Speaker 1: I think that's I think that's a fair way to

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Speaker 1: put it. I think when you look at the evidence

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Speaker 1: of it with the Little Boy with the Apollo eleven,

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Speaker 1: and then you have Diamonds or Forever in nineteen seventy one,

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Speaker 1: the Shining just a few years later, I mean, yeah,

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Speaker 1: I mean I think the evidence definitely, as a lawyer,

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Speaker 1: definitely begins to tip the scales without question in favor that, Yeah,

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Speaker 1: Kubrick definitely must have had a hand in this. And

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Speaker 1: then again, the real smoking gun on all this, which

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Speaker 1: a lot of people aren't aware of, is the movie

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Speaker 1: that he made before The Shining, which was Barry Linden,

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Speaker 1: which you know he filmed with NASA lenses. You know,

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Speaker 1: the camera equipment all came from nassas, so he clearly

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Speaker 1: had a working relationship with them. I'll just add real

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Speaker 1: quick the reason the reason he needed NASAD technology for

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Speaker 1: Barry Linden. It's set during the Napoleonic era, and he

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Speaker 1: wanted the film seems scenes exclusively lit by candlelight, which

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Speaker 1: you can't do. Um, they're too dark. Um. If you

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Speaker 1: ever watch a movie in the forties and fifties or

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Speaker 1: even sixties. Whenever there's a scene set by exclusive candle light,

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Speaker 1: you can see then you know the lighting coming from

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Speaker 1: the side, they're just too dark. NASA had developed lenses

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Speaker 1: that were way ahead of their time that allows you

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Speaker 1: to do that that that you know, fractured the light

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Speaker 1: and you know, enhanced the candlelight. So Krubrick found this

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Speaker 1: out and went to NASA and got these cameras, got

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Speaker 1: these specific lenses that he used to film these scenes

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Speaker 1: strictly lit by candlelight in Barry Lindon and again that's

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Speaker 1: sort of the real smoking nun On. This is it

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Speaker 1: proves this relationship, the symbiotic relationship became between Brick and NASA.

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Speaker 1: And when you couple that with what's going on in

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Speaker 1: the Shining and certainly now you can add in Barry

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Speaker 1: Nelson as a James Bond diamonds are forever reference. Uh

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Speaker 1: you know James Bond himself. Yeah, I mean, I think

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Speaker 1: I think the scales are definitely tilted in the to

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Speaker 1: the idea that Cooper had a hand in this. Robert W.

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Speaker 1: Sullivan The Fourth Cinema Symbolism Volumes one through three. Are

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Speaker 1: you working on volume four? Yes? I am. That is

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Speaker 1: actually being worked on as I speak, and that is

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Speaker 1: coming along very very well. How often do you have

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Speaker 1: to watch a movie until you start to make all

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Speaker 1: of these connections and determine, Okay, this is the occult theme, here,

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Speaker 1: the occult casting and somewhere. How often do you have

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Speaker 1: to watch the film? Oh, more than once? Usually, when

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Speaker 1: I watch a movie for the first time, it's usually

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Speaker 1: just done for entertainment value, unless it becomes very very

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Speaker 1: obvious to me that there are things just leaping off

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Speaker 1: the screen the flat screen at me. But no more

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Speaker 1: than one time, and even on multiple occasions I'll miss something.

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Speaker 1: There are movies to this day that if I sit

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Speaker 1: down and watch them, despite the fact of having watched

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Speaker 1: them countless times in the past, I'm never really going

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Speaker 1: to pick up on something new, you know. I think

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Speaker 1: of a movie like Black Swan, the one that I've

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Speaker 1: watched repeatedly that's just over overloaded with stuff. Is the

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Speaker 1: last Halloween movie, Halloween Ends, that's got lots of stuff

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Speaker 1: going on in it. That's what I would describe as

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Speaker 1: if Hallow, if a Halloween movie was made by David Lynch,

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Speaker 1: that's what it would look like, because that thing really

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Speaker 1: tweaks with reality and what's happening and what's happening on

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Speaker 1: the screen and is Michael Myers even there? Lots going

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Speaker 1: on in that movie. Like I said to you, I

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Speaker 1: I just went back and rewatched all the James Bond

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Speaker 1: movies from start to finish. Lots going on in those.

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Speaker 1: The one that I just picked up one was the

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Speaker 1: one I just mentioned, But there's another one from nineteen

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Speaker 1: seventy five, The Man with the Golden Gun. Listen to

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Speaker 1: More Coast to Coast AM every weeknight at one am Eastern,

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Speaker 1: and go to Coast to Coast am dot com for

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Speaker 1: more