Speaker 1: Now here's a highlight from Coast to Coast am on
Speaker 1: iHeart Radio, and we are back with Robert W. Sullivan
Speaker 1: the fourth talking about symbolism, a cult symbolism in the movies.
Speaker 1: And we're going to focus on one type of cinema
Speaker 1: symbolism and that is a cult casting. So just can
Speaker 1: kind of give us an example. I think there's a
Speaker 1: there's a good one with before we get into the
Speaker 1: shining and so forth. But there's another. There's another example
Speaker 1: with the actor that Sarahlec Guinness, who of course was
Speaker 1: Obi Wan kenobi in Uh in Star Wars. There's another.
Speaker 1: I think we've talked about his casting another movie that
Speaker 1: was I guess supposed to evoke memories of Star Wars
Speaker 1: or something like that. No, it's the one you're talking
Speaker 1: about Max von sdo Ah. Sorry, well this is this
Speaker 1: is a good example. There there's there's many, but we
Speaker 1: can start with this one. This was when um in
Speaker 1: in in the one in Star Wars episode seven uh.
Speaker 1: When when when the movie opens on the on the
Speaker 1: desert planet uh. And this is where Kylo Wren is
Speaker 1: coming for the relic that the Maxilon Cito character has.
Speaker 1: He passes it onto the Poe character. And then and
Speaker 1: then they confront uh von Cito confronts Kylo Wren and
Speaker 1: he gets ultimately gets killed. Um and and it begs
Speaker 1: the question, and this is you know, it's like, what why,
Speaker 1: why can't why are you casting maxiflon Ceto to be
Speaker 1: in this movie for literally what is probably less than
Speaker 1: five minutes of screen time when any numbers of actors
Speaker 1: could have could have played this part. Um and and
Speaker 1: and when I was watching it, there was just something
Speaker 1: that was like a splinter in my head that just
Speaker 1: wasn't sitting right. And it wasn't necessarily sinister or anything,
Speaker 1: but it just stirred this curiosity. I kind of felt
Speaker 1: like I'd seen this all before. And sure enough, And
Speaker 1: this is kind of what I'm talking about when I say,
Speaker 1: are called casting the use of an actor or actress
Speaker 1: to sort of plant something in your subconscious mind. Um,
Speaker 1: the placing of von Sido in the Star Wars episode
Speaker 1: seven is designed to implant in your subconscious mind two
Speaker 1: other movies that von Cido was in, and they're The
Speaker 1: Exorcist and Dune. And what I mean is this when
Speaker 1: when when when the character in the Star Wars movie
Speaker 1: again episode seven, the force awakens, Um comes out and
Speaker 1: confronts Kylo Rend and gets struck down. Um. I mean
Speaker 1: it brings to mind you know what other Max von
Speaker 1: Sido movie opens in the desert and he stands and
Speaker 1: stands up to a dark evil figure. And of course
Speaker 1: the first one is The Exorcist, where you know, he
Speaker 1: starts out von Cido plays the Jesuit priest um in
Speaker 1: the deserts of Iraq, and then he finds the statue
Speaker 1: of Pezuzu Um and he confronts it, and of course
Speaker 1: that's the opening scene. Um. And then there's another one,
Speaker 1: which is Dune, where von Cido is of course on Iraqus,
Speaker 1: which is the desert plant is and does he stand
Speaker 1: up a dark evil figure and of course yes it is.
Speaker 1: It's Baron Harconin. And in that movie he gets struck
Speaker 1: down right away. UM. So why do this, you know
Speaker 1: why places von Cito in Star Wars? What the idea
Speaker 1: is and the way this works is by putting von
Speaker 1: Sido at the beginning of that movie. Um, it's transferring
Speaker 1: the exorcistem Dune to your subconscious mind. It's not done consciously,
Speaker 1: It's done very surreptitiously. Um. And what it does is
Speaker 1: and invests kyler Ren and the first order was sort
Speaker 1: of the diabolical scheme, the evilness as it were, of
Speaker 1: Pazuzu the demon and Baron harconin um. And and that's
Speaker 1: that's what I mean by a coodcasting. It's uh, that's
Speaker 1: for real movie fans though, I mean that's the director
Speaker 1: did that almost just for people like you who are
Speaker 1: who are real cinophiles, who can who can do that
Speaker 1: cross reference and say, you know, say, oh wait a minute.
Speaker 1: Max von Cito was in Dune and he was a
Speaker 1: miss movie. That's why he's doing it. It's almost like
Speaker 1: they put that easter egg in there just for you. Yeah,
Speaker 1: it's it's an easter egg and it's very hard to
Speaker 1: pick up one, but it it's it's also I can
Speaker 1: see it, so, I mean I can point it out.
Speaker 1: But if you're watching the movie again, what a lot
Speaker 1: of these guys, what are these directors like to do
Speaker 1: is tweak with your subconscious mind by using archetypes, archetypal
Speaker 1: imagery in this case. Um. So it's almost one of
Speaker 1: those things where it affects the movie goer but they're
Speaker 1: not aware of it. Um. That's sort of the level
Speaker 1: these guys are working. One I know to look for it, UM,
Speaker 1: so I can kind of spot it. And like I said,
Speaker 1: when I first started doing this, the very first UM
Speaker 1: movie I noticed this with was the sequel to The Matrix.
Speaker 1: I believe it was called UM Matrix Reloaded. Maybe it
Speaker 1: was UM. And it was the use of Anthony Zerbe Um,
Speaker 1: the actor in it UM and and and and the
Speaker 1: and the sequel to the Matrix. The use of Zerbe
Speaker 1: was cross referencing Omega Man with Charlton Heston, because Zerbe
Speaker 1: gives a speech in the Matrix movie which is exactly
Speaker 1: the same as the one he gives an Omega Man,
Speaker 1: only reversed. It's everything is backwards UM. And if and
Speaker 1: if you're familiar with Matrix and you're familiar with my research,
Speaker 1: those movies are our gnostic cinema UM. That's the Valentinian
Speaker 1: strain UM. And when you're doing with gnosticism, you're doing
Speaker 1: with a lot of the reversal of Orthodox Christianity UM.
Speaker 1: So the fact that they would use Zerbie and reverse
Speaker 1: everything isn't surprising. That's the first movie I noticed it with.
Speaker 1: And again, when you're doing with adroit filmmakers. Uh, you know,
Speaker 1: you can see it. And like I said, the Bon
Speaker 1: Sido example in Star Wars is just a classic example
Speaker 1: of this. And as I was telling you, I think
Speaker 1: the last time we talked, I was rewatching all the
Speaker 1: James Bond movies and I actually discovered, um, some anomalies
Speaker 1: in there as well. And of course there's really a
Speaker 1: great one in The Shining. Um that that's just uncanny
Speaker 1: that I just actually discovered within the last week. Um,
Speaker 1: that's fantastic. All right, Well, let's get into the Shining
Speaker 1: Before that, I just wanted to mention another example. You
Speaker 1: mentioned Max von Sito in Star Wars seven, and he's
Speaker 1: confronting evil and that's a callback I guess to the Exorcist.
Speaker 1: But the other, the other one example would be Max
Speaker 1: von Sito as Jesus in the Greatest Story Ever told?
Speaker 1: Isn't he in the desert confronting the devil? Um? You know,
Speaker 1: the temptation in the wilderness? Yeah? Absolutely, Um yeah, I
Speaker 1: mean it's another great example of it. I mean you
Speaker 1: can look at it like that um in in in
Speaker 1: the Star Wars. In the Star Wars movie, though, what
Speaker 1: I would say is, if you watch the character very closely.
Speaker 1: He's a hermit. Um. He's he's a hermit living alone. Um.
Speaker 1: And when you when you watch in my mind, when
Speaker 1: you watch The exorcistem, dude, it seems to invoke those
Speaker 1: more because the character is more in line, um, with
Speaker 1: a hermit than he is of christlike figure, like a
Speaker 1: savior figure. UM. So again it's it's it's very narrow
Speaker 1: and price splitting hairs a little bit. But certainly, um,
Speaker 1: what you're saying is, you know you could certainly draw
Speaker 1: that comparison also. Okay, So now we're going to talk
Speaker 1: about The Shining nineteen eighty Stanley Kubrick adaptation of Stephen
Speaker 1: King's book of the same name, taking place at the
Speaker 1: Overlook Hotel in um In Colorado. Jack Nicholson, of course,
Speaker 1: that classic role as Jack Torrence and Shelley Duval Scatman Cruthers.
Speaker 1: So there is an example of a cult casting in
Speaker 1: The Shining, right. The one thing that's really unique with
Speaker 1: The Shining, and certainly we've talked about this before, is
Speaker 1: the whole thing with Kubrick exposing the moon landing through
Speaker 1: the use of a little boy, the Apollo eleven sweatshirt,
Speaker 1: the room two three seven, which is the distance from
Speaker 1: Earth to the Moon. And of course, the idea with
Speaker 1: this is that Kubrick actually, you know, filmed the footage
Speaker 1: of these guys hopping around in some sort of secret
Speaker 1: you know, government sound stage where um you know, and
Speaker 1: and and kuber Kubrick is tipping off people, um to
Speaker 1: this in The Shining. Um and or he's just he's
Speaker 1: playing around with it because he knows that people think
Speaker 1: that he was responsible for faking the moon landing, and
Speaker 1: so maybe he's just kind of having some fun with it. Well,
Speaker 1: the idea is that he actually filmed it in and again,
Speaker 1: the the this is not far fetched, um Kubrick. Kubrick
Speaker 1: used in the film that he came out prior to
Speaker 1: The Shining was Barry Linden, and he actually used NASA
Speaker 1: technology to film that movie. Um So. So Kubrick worked
Speaker 1: hand in hand with NASA and the government. Um So
Speaker 1: the idea that he staged this is not is not
Speaker 1: that far fetched, especially when you know that Linden Barry
Speaker 1: Linden was made with NASA massa lenses, NASA NASA cinema lenses,
Speaker 1: camera lenses. Um. Of course, if you watch The Shining,
Speaker 1: the whole thing with the Little Boy with the Apollo eleven,
Speaker 1: you know, sweatshirt, sweater when he stands up, goes through
Speaker 1: two thirty seven. The distance from the Earth to the
Speaker 1: Moon was two hundred and thirty seven thousand miles. So
Speaker 1: the question begs, is is there anything else in there
Speaker 1: that Kubrick is sort of tipping you off to that
Speaker 1: he could have filmed stage this moon landing. They may
Speaker 1: have went, I mean the theories they could have gone
Speaker 1: to the Moon, but they couldn't have filmed there. So
Speaker 1: they hired Kubrick based on Strange Love in two thousand
Speaker 1: and one, to film this footage in a top secret
Speaker 1: government labs on where sound stage, all right, as an
Speaker 1: insurance policy, so that they could prove to the world
Speaker 1: that they did go there even though they did go there. Correct,
Speaker 1: they couldn't have film or the moon is the theory,
Speaker 1: they just couldn't write. So they had that makes sense right,
Speaker 1: They had Kubrick stage. So the question then becomes, is
Speaker 1: there any other movie that came out recently prior to
Speaker 1: The Shining that actually depicts them faking the moon landing
Speaker 1: in the top secret government sound stage, And the answer
Speaker 1: is yes. In nineteen seventy one, that James Bond movie
Speaker 1: Diamonds Are Forever is released, and if you're familiar with
Speaker 1: that film, this is the last of the Sean Connery
Speaker 1: James Bond movies. This was the last time he played
Speaker 1: a mechanical James Bond movies. Play last thing he played
Speaker 1: Double A seven. He breaks into a top secret government
Speaker 1: facility in the Nevada Desert, which is obviously supposed to
Speaker 1: be Area fifty one, and he's walking around, and of
Speaker 1: course he gets found out, so a chasin sues and
Speaker 1: he actually winds up inside a sound stage where they're
Speaker 1: faking the moon landing. They're filing the moon landing. I'd
Speaker 1: forgotten about that, yeah, and he escapes in a faked
Speaker 1: lunar vehicle. You know, they got the astronauts hopping around
Speaker 1: and taking the soil samples and they're filming the fake
Speaker 1: moon landing. So then the question becomes, Okay, does the
Speaker 1: Stanley Kubrick in the Shining reference James Bond anywhere as
Speaker 1: sort of like an homage to Diamonds Are Forever, you know,
Speaker 1: and to tip you off that he takes the moon landing?
Speaker 1: Is there a James Bond reference in the shining anywhere,
Speaker 1: And the answer to the question is, yeah, there's the
Speaker 1: biggest one of all, and that is and this will
Speaker 1: fall through the cracks, is most people, and myself concluded
Speaker 1: and recently, if you had asked someone who is the
Speaker 1: first actor to play James Bond, your answer would have
Speaker 1: immediately gone to Sean Connery in Doctor No For David
Speaker 1: Nibbons David Niven. False. The first actor to play James Bond,
Speaker 1: believe it or not, is none other than Barry Nelson,
Speaker 1: who played it in nineteen fifty four in a TV
Speaker 1: made for movie on a TV show called Climax where
Speaker 1: they actually put on a live performance of Casino Royal,
Speaker 1: which is Ian Fleming's first novel. Who's Barry Nelson who,
Speaker 1: of course it's familiar with the Shining Barry Nelson is
Speaker 1: Stuart Allman, the guy who hires Jack Torrence at the
Speaker 1: near the beginning of the movie. Oh though the manager
Speaker 1: of the Overlook Hotel. Yeah, is James Bond. Wow, the
Speaker 1: manager of the Overlook Hotel is the first actor to
Speaker 1: play James Bond. So Kubrick actually places Jane Bond in
Speaker 1: the movie by hiring Barry Nelson. Um and Nelson's hiring
Speaker 1: is a direct reference, is subconsciously telling your mind that
Speaker 1: you know, he is employing James Bond to least the
Speaker 1: Overlook Hotel, to rent it out, to hire Jack Torrence
Speaker 1: as the caretaker, and by employing James Bond himself. Um,
Speaker 1: I find it to be a completely under the table
Speaker 1: homage to Diamonds Are Forever um and Kubrick is again
Speaker 1: sort of suggesting that he is the guy who faked
Speaker 1: the moon landing footage. And I found that fascinating. I
Speaker 1: had no idea about that. I just discovered that Richard
Speaker 1: in the last week. Uh, Barry Nelson Stuart Allman is
Speaker 1: the first actor to play Double O seven. It was
Speaker 1: not Sean Connery. It would have been too obvious if
Speaker 1: he if he hired Sean Connery to play Yeah, yeah, obvious,
Speaker 1: But I mean, I just I just found that fascinating.
Speaker 1: I couldn't believe it when I found that out. You know,
Speaker 1: it was Barry Nelson was the first actor to play
Speaker 1: James Bond in a TV production of Climax from nineteen
Speaker 1: fifty four, So I guess you could see that you
Speaker 1: could view the shining as a kind of Stanley Kubrick's confession. Yeah,
Speaker 1: I think that's I think that's a fair way to
Speaker 1: put it. I think when you look at the evidence
Speaker 1: of it with the Little Boy with the Apollo eleven,
Speaker 1: and then you have Diamonds or Forever in nineteen seventy one,
Speaker 1: the Shining just a few years later, I mean, yeah,
Speaker 1: I mean I think the evidence definitely, as a lawyer,
Speaker 1: definitely begins to tip the scales without question in favor that, Yeah,
Speaker 1: Kubrick definitely must have had a hand in this. And
Speaker 1: then again, the real smoking gun on all this, which
Speaker 1: a lot of people aren't aware of, is the movie
Speaker 1: that he made before The Shining, which was Barry Linden,
Speaker 1: which you know he filmed with NASA lenses. You know,
Speaker 1: the camera equipment all came from nassas, so he clearly
Speaker 1: had a working relationship with them. I'll just add real
Speaker 1: quick the reason the reason he needed NASAD technology for
Speaker 1: Barry Linden. It's set during the Napoleonic era, and he
Speaker 1: wanted the film seems scenes exclusively lit by candlelight, which
Speaker 1: you can't do. Um, they're too dark. Um. If you
Speaker 1: ever watch a movie in the forties and fifties or
Speaker 1: even sixties. Whenever there's a scene set by exclusive candle light,
Speaker 1: you can see then you know the lighting coming from
Speaker 1: the side, they're just too dark. NASA had developed lenses
Speaker 1: that were way ahead of their time that allows you
Speaker 1: to do that that that you know, fractured the light
Speaker 1: and you know, enhanced the candlelight. So Krubrick found this
Speaker 1: out and went to NASA and got these cameras, got
Speaker 1: these specific lenses that he used to film these scenes
Speaker 1: strictly lit by candlelight in Barry Lindon and again that's
Speaker 1: sort of the real smoking nun On. This is it
Speaker 1: proves this relationship, the symbiotic relationship became between Brick and NASA.
Speaker 1: And when you couple that with what's going on in
Speaker 1: the Shining and certainly now you can add in Barry
Speaker 1: Nelson as a James Bond diamonds are forever reference. Uh
Speaker 1: you know James Bond himself. Yeah, I mean, I think
Speaker 1: I think the scales are definitely tilted in the to
Speaker 1: the idea that Cooper had a hand in this. Robert W.
Speaker 1: Sullivan The Fourth Cinema Symbolism Volumes one through three. Are
Speaker 1: you working on volume four? Yes? I am. That is
Speaker 1: actually being worked on as I speak, and that is
Speaker 1: coming along very very well. How often do you have
Speaker 1: to watch a movie until you start to make all
Speaker 1: of these connections and determine, Okay, this is the occult theme, here,
Speaker 1: the occult casting and somewhere. How often do you have
Speaker 1: to watch the film? Oh, more than once? Usually, when
Speaker 1: I watch a movie for the first time, it's usually
Speaker 1: just done for entertainment value, unless it becomes very very
Speaker 1: obvious to me that there are things just leaping off
Speaker 1: the screen the flat screen at me. But no more
Speaker 1: than one time, and even on multiple occasions I'll miss something.
Speaker 1: There are movies to this day that if I sit
Speaker 1: down and watch them, despite the fact of having watched
Speaker 1: them countless times in the past, I'm never really going
Speaker 1: to pick up on something new, you know. I think
Speaker 1: of a movie like Black Swan, the one that I've
Speaker 1: watched repeatedly that's just over overloaded with stuff. Is the
Speaker 1: last Halloween movie, Halloween Ends, that's got lots of stuff
Speaker 1: going on in it. That's what I would describe as
Speaker 1: if Hallow, if a Halloween movie was made by David Lynch,
Speaker 1: that's what it would look like, because that thing really
Speaker 1: tweaks with reality and what's happening and what's happening on
Speaker 1: the screen and is Michael Myers even there? Lots going
Speaker 1: on in that movie. Like I said to you, I
Speaker 1: I just went back and rewatched all the James Bond
Speaker 1: movies from start to finish. Lots going on in those.
Speaker 1: The one that I just picked up one was the
Speaker 1: one I just mentioned, But there's another one from nineteen
Speaker 1: seventy five, The Man with the Golden Gun. Listen to
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