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Speaker 1: Now here's a highlight from Coast to Coast AM on iHeartRadio.

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Speaker 1: Robert W. Sullivan the fourth is with us and his

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Speaker 1: latest is Cinema Symbolism three. Now, Rob, we were talking

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Speaker 1: about a couple of movies, Vanilla Sky, The Matrix Fight Club.

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Speaker 1: I think you mentioned that they were all sort of

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Speaker 1: examples of gnostic films, but they have something else in common,

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Speaker 1: and that is there's some nine eleven imaging in those movies.

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Speaker 1: And of course we're coming up on the twentieth anniversary.

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Speaker 1: What's that all about. Yeah, that's absolutely correct. And that's

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Speaker 1: what makes it even more interesting, is all these all

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Speaker 1: these films, the ones you just mentioned, and there's some others,

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Speaker 1: they all feature subtle nine to eleven imagery, somewhat you know,

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Speaker 1: anticipating the event on the actual day. And of course

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Speaker 1: you're absolutely correct, we're coming up in the twenty year anniversary.

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Speaker 1: It's hard to believe, but yeah, I mean, you know,

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Speaker 1: you look at the Matrix and again, these movies all

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Speaker 1: have to deal with awakening the consciousness of Matrix. Of

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Speaker 1: course you have Neo's Pit sport Um expires on September eleven,

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Speaker 1: twenty two thousand and one in Vanilla Sky. The end

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Speaker 1: of the movie, the Tom Cruise character is taken up

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Speaker 1: to this enormously high skyscraper UM in New York City,

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Speaker 1: overlooking the Twin Towers and UM. In order to obtain

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Speaker 1: consciousness to the real world, he has to leap off

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Speaker 1: and he has to plummet down. And of course when

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Speaker 1: you see this, you're immediately you know, recall the people

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Speaker 1: leaping off the buildings, the Twin Towers on that day,

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Speaker 1: and that that that movie actually caught flack for that

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Speaker 1: when it was released. M the director Russell Crowe was

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Speaker 1: urged to remove that scene UM, but he didn't. He stood,

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Speaker 1: He stood his ground and he didn't. I think, I

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Speaker 1: think I'm glad he did, because it's it's very effective,

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Speaker 1: it's very poignant to see UM. And then you get

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Speaker 1: movies other other ones like Donnie Darko UM that features

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Speaker 1: a plane an engine crashing through the Donnie's bedroom. It

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Speaker 1: cuts to an American flag, and the director of that film,

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Speaker 1: Richard Kelly, um the move. The movie was released about

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Speaker 1: a month after nine to eleven. Of course this was

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Speaker 1: filmed beforehand, but he actually blamed that scene for the

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Speaker 1: movie underperforming in the box office. He thought it was

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Speaker 1: too reminiscent of nine to eleven. The Fight Club is

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Speaker 1: another one where I mean you have the destruction of

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Speaker 1: the buildings at the end Tyler refers to him as

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Speaker 1: ground zero. U. You have m the destruction of the

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Speaker 1: of the piece of artwork, the corporate artwork that looks

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Speaker 1: like the sphere that used to stand um at the

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Speaker 1: plaza of the World Trade Centers. Um. So it is,

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Speaker 1: it is unique. The Patriot is another one other that's

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Speaker 1: not a gnostic film that came on the summer of

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Speaker 1: two thousand, where not where mel Gibson is making the

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Speaker 1: chair at the very beginning, Uh, he weighs and it

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Speaker 1: weighs nine pounds eleven ounces, and then he sits on

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Speaker 1: and it comes crashing down. Um. And then and then

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Speaker 1: what would also make some of this a little even

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Speaker 1: more strange is the timing m the timing sequence with

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Speaker 1: this stuff. I mean, you have September eleventh, two years earlier,

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Speaker 1: almost to the day, which was as I believe the

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Speaker 1: date was September twenty first, nineteen ninety nine, so nearly

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Speaker 1: almost to the day you had the release a Fight Club.

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Speaker 1: So it's almost like a countdown when the movie was released.

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Speaker 1: And then two years before that in nineteen ninety seven,

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Speaker 1: this was September twenty first, nineteen ninety seven was the

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Speaker 1: broadcast of the Simpsons episode Homer Simpson versus New York City.

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Speaker 1: This is the one where Bart waves that the money

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Speaker 1: in front of the magazine that has nine eleven on

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Speaker 1: it with the trade towers, but the trade tower service

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Speaker 1: the eleven. So that what makes it all even more

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Speaker 1: strange is is like a countdown almost. I mean it's

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Speaker 1: almost to the day, So yeah, I mean it is this,

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Speaker 1: It is this very strange overlap that you have. You

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Speaker 1: have this gnostic Hollywood's you know, eagerness to put out

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Speaker 1: these gnostic films at the turn of millennial, at the

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Speaker 1: turn of the millennium, but prior you also have them

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Speaker 1: anticipating seemingly September eleventh. That's uh right, well, these and

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Speaker 1: these are all obviously produced before the actual event of

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Speaker 1: nine to eleven. So the director was not placing deliberately

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Speaker 1: placing these images in there, or I mean, what's what's

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Speaker 1: your theory as to what's happening here? Sometimes we call

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Speaker 1: it predictive programming. I mean the idea that somehow they

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Speaker 1: had fore knowledge is a pretty sinister, you know, cynical

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Speaker 1: look at humanity. So that, but how else do we

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Speaker 1: explain it? Um, I mean there is another alternative explanation.

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Speaker 1: I mean, sure you can always say they had four knowledge,

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Speaker 1: but I do I mean that is a bit of

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Speaker 1: a you know, a hard pill to swallow, no pun intended.

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Speaker 1: But you know, you could definitely look a look at

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Speaker 1: the idea of the theories of you know, you know

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Speaker 1: what you know, Carl Young and you know of platonism,

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Speaker 1: where the creation, the making of the movie is a

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Speaker 1: creative experience and the idea is such as it's the

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Speaker 1: philosophy is that such a it's such a because it's

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Speaker 1: such a highly creative experience, the filmmakers tapping into a

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Speaker 1: higher realm of conscious and that these images are just

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Speaker 1: being slipped in there unintentionally but very profoundly. Again, this

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Speaker 1: comes out of the world of Platonism, that comes out

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Speaker 1: of the world of gnosticism. This has revived by European

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Speaker 1: Christian mystics. You can find this in the works of

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Speaker 1: people like Meister Eckhart, Jaka Berm, Emmanuel Schwettenborg. These are

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Speaker 1: kind of the guys who are influencing Young who get

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Speaker 1: into dream vision, the idea of prophecy, the idea of prophecy,

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Speaker 1: and creative thought or creation. So that's one explent. That's

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Speaker 1: another explanation for it. I mean, and again you know

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Speaker 1: it's it's I would stress also that it's not only

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Speaker 1: nine to eleven that this happens in. I mean, the

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Speaker 1: movie The China Syndrome, which dealt with a meltdown of

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Speaker 1: a nuclear reactor, was released I think two weeks before

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Speaker 1: the Three Mile Island incident back in in in nineteen

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Speaker 1: seventy nine, nineteen eighty whenever it was. There was a

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Speaker 1: cartoon called The Legends of Chamberlain Heights that about a

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Speaker 1: year earlier had Kobe Bryant dying in a helicopter crash.

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Speaker 1: So it's not just limited to nine to eleven. And

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Speaker 1: these gnostic films like The Matrix, you'll find it in

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Speaker 1: other in other films and other TV shows as well.

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Speaker 1: So the purpose of putting symbolism and these different layers

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Speaker 1: into a movie is it just is it like Easter eggs,

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Speaker 1: They're they're put there for people like you to see

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Speaker 1: them and say, wow, that's pretty cool. Or is there

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Speaker 1: is something maybe even nefarious at work here. Do these

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Speaker 1: occult symbols that are placed in these movies have a

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Speaker 1: certain power? Oh? Absolutely, I think they do have a

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Speaker 1: certain power because it turns the film once they're ditect

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Speaker 1: Once they're detected in the film, it turns the movie

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Speaker 1: into something legendary. It's really, in my opinion, part of

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Speaker 1: the motivation as to why these guys do it is

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Speaker 1: it's creating mythology. That's literally what it's doing. Um, you know,

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Speaker 1: I mean here we are talking about it. I mean here,

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Speaker 1: I am writing about it anytime you are. Um. I

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Speaker 1: mean I've always found that when when these when the

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Speaker 1: I mean a movie that doesn't have any esoteric symbol

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Speaker 1: or esoteric themes, and it doesn't make it a bad movie.

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Speaker 1: But the ones that do, I find are always just

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Speaker 1: so much more fascinating to watch. Um, those are the

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Speaker 1: movies that I find myself drawn to watching over and

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Speaker 1: over again. I mean, these are some of the greatest,

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Speaker 1: you know, biggest blockbusters Hollywood has ever produced. I mean,

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Speaker 1: Star Wars, Harry Potter, Uh, these are all films that

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Speaker 1: deal with archetypal imagery. The Hero's Journey, which was documented

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Speaker 1: by um Joseph Campbell, the American mythologist. These movies are

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Speaker 1: all just retellings of these ancient mythologies. Um, and they

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Speaker 1: they incorporated, you know, they place it at these extra

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Speaker 1: layers of symbolism, themes, undercurrents, and it just it just

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Speaker 1: really you know, pops off the screen. Um. It plays

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Speaker 1: to both the viewers and subconscious mind. And uh, you know,

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Speaker 1: I I'm you know, something like I said, some of

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Speaker 1: the really sophisticated filmmakers, uh, you know, really know how

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Speaker 1: to use this Kubrick. It's a great example. Darren Aronovsky,

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Speaker 1: Aaron ari Ester. Um, these guys, you know, Robert Semeckis

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Speaker 1: is another one. Um, these guys, Alfred Hitchcock, Uh, these guys,

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Speaker 1: David Lynch again, you know another one. Um. These guys

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Speaker 1: really know what they're doing and it's quite effective. People

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Speaker 1: talk about it. People you know, are drawn to these

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Speaker 1: television shows, these movies. Um. And it's no wonder that

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Speaker 1: they don't you know that they generate the money that

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Speaker 1: they do. People are hooked on them. What about the

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Speaker 1: idea of a film as a confession almost you've you've

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Speaker 1: heard of course about the shining and the theory that

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Speaker 1: Stanley Kubrick was trying to confess in that film that

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Speaker 1: he was the one responsible for filming the lunar landing, right,

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Speaker 1: the Apollo eleven landing on a sound stage somewhere in

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Speaker 1: the desert, because you know, they wanted to make sure,

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Speaker 1: not necessarily that the landing was a hoax itself, but

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Speaker 1: the actual photographs and film footage was because it couldn't

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Speaker 1: have been you know, it couldn't have been shot on

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Speaker 1: the moon. So we see all of this imagery in

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Speaker 1: The Shining. We see the little boy wearing the Apollo

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Speaker 1: eleven shirt and you know Room two thirty seven and

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Speaker 1: all these different references. What do you think about that? Yeah,

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Speaker 1: The Shining is a really great film because that's really

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Speaker 1: a study. And I'll get to the moon stuff in

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Speaker 1: a minute. The Shining is a great study and repetition.

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Speaker 1: Kubrick repeat repeats tropes all over the place in that movie,

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Speaker 1: and what he's conveying to your subconscious mind is that

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Speaker 1: the overlook is an oraborous it's a snake biting its tail.

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Speaker 1: It's a never ending cycle. And that's of course what

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Speaker 1: Jack Torrens and the characters are experiencing. Everything keeps repeating.

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Speaker 1: The murders just keep repeating over and over again. The

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Speaker 1: idea that Kubrick was including. This idea is not as

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Speaker 1: far fetched to may sound. Um. You know, of course,

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Speaker 1: like you said, you have the little Boy with the

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Speaker 1: Apollo going to room two thirty seven. Um, this is

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Speaker 1: not as far fetched as it sounded. And the smoking

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Speaker 1: gun on this M was a movie that directed that

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Speaker 1: Kubrick directed beforehand, which is a movie called Barry Linden

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Speaker 1: And that that's kind of the smoking gun on this

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Speaker 1: because he filmed that movie using NASA technology. Of all things. Um,

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Speaker 1: he wanted to film a movie M with scenes that

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Speaker 1: were lit naturally by candle light, and you couldn't do it. Um.

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Speaker 1: Anytime you had a scene where you had characters sitting

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Speaker 1: around a table with candles burning, you always had to

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Speaker 1: have an exterior light. It's not seen on this, it's

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Speaker 1: not seen on screen, it's you know, behind the camera

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Speaker 1: illuminating it because the candles didn't didn't light it up enough. However,

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Speaker 1: NASA had developed a lens that filtered light and enhanced

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Speaker 1: the light where you could see it. And through his

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Speaker 1: connections with NASA, UM Kuber got access to these lenses

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Speaker 1: and actual we use them to film Barry Lindon. It's

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Speaker 1: quite remarkable, and it's clear cut documentation that clearly, Um,

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Speaker 1: there is a concrete, you know, NASA Kubrick connection. So

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Speaker 1: the idea that back in the late sixties that Kubrick

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Speaker 1: was retained by NASA, you know, like you said, on

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Speaker 1: a secrets sound stage in Nevada somewhere, which is actually

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Speaker 1: seen in a James Bond movie. I think it's Diamonds

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Speaker 1: Are Forever Um, where Bob Bond accidentally breaks into the

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Speaker 1: you know, like area fifty one secret area and sees

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Speaker 1: the guy filming filming the fake moon landing. Um. The

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Speaker 1: idea is that they actually could have gone, but they

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Speaker 1: could have filmed there. So of course the footage of

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Speaker 1: them hopping around on the moon was in a sound

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Speaker 1: stage filmed by your friend and mind, Stanley Kubrick. And

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Speaker 1: when you couple that, you know, with the idea that

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Speaker 1: NASA you know, liked his work in two thousand and

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Speaker 1: one and Doctor Strange Love, and that the fact that

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Speaker 1: Kubrick was using NASA technology to film. Barry Linden, Um,

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Speaker 1: it's not as far as it stretch as it may sound.

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Speaker 1: And what about his final film, Eiswaite shut again as

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Speaker 1: a confession that he was maybe the appointed filmmaker for

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Speaker 1: the Illuminati. And in this final film he's letting the

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Speaker 1: cat out of the bag. Yeah, that seems to be

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Speaker 1: one exclamation for it. I mean, clearly he is showing

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Speaker 1: us the viewers that that there is this secret society,

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Speaker 1: secret group that is pretty sinister, pulling the strings as

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Speaker 1: it were. And interestingly, of course, or maybe not so interesting.

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Speaker 1: He died right after the movie was made. Um, I

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Speaker 1: believe right after the movie came out, and um, yeah,

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Speaker 1: this is the idea that Kubrick was kind of exposing

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Speaker 1: this secret organization that was sort of manipulating mankind. Um,

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Speaker 1: you know, pulling the strings as it were. He does

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Speaker 1: this one of things that he does. One thing that

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Speaker 1: he does that is one of the reasons I like

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Speaker 1: Kubrick so much, as he uses different techniques. One of

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Speaker 1: the things that he does really effectively in Eiswatch Shut

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Speaker 1: is the whole uses of Chris miss lights. Um. They

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Speaker 1: permeate every scene in the film, and he surrounds them

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Speaker 1: with these uh you know, um the sins of mankind

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Speaker 1: as a word, drug used, prostitution, child pornography, child trafficking,

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Speaker 1: sex rings, stuff, like that. I mean, every time the

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Speaker 1: Tom Cruise character is incorporating Bill Harford is encountering you know,

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Speaker 1: one of these sins as it were, um, degradations, there's

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Speaker 1: always these bright, gaudy Christmas lights present. However, when he

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Speaker 1: gets to the Summrton mansion, this is where the illuminatis

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Speaker 1: hanging out. Um, there's no Christmas lights. And this is his, uh,

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Speaker 1: Kubrick's way of telling us the audience, Hey, this is

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Speaker 1: where the real evil is. So yeah, I mean it's

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Speaker 1: it's again something that um, you know Kubrick. I mean,

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Speaker 1: it's you know, you can break it down. I talk

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Speaker 1: about it in in actually the second movie book that I wrote.

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Speaker 1: I mean, the one thing that I thought Kubrick did

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Speaker 1: really well was that was when they're doing the a

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Speaker 1: called ritual in Summertown, the Master of Ceremonies cats the

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Speaker 1: magic circle counterclockwise eyes, bitter shins. That's black magic, that's

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Speaker 1: not white magic. Um, that's something very interesting. So again,

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Speaker 1: you know, you know, when you're dealing with someone like

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Speaker 1: Stanley Kubrick, you're doing with a very sophisticated filmmaker. Um,

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Speaker 1: you'll find this these stuff permeating things, not only in

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Speaker 1: you know, the movies like The Shining Eyes Watch Shut,

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Speaker 1: Barry Linde. But one of the movies I also talk

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Speaker 1: about is low lead up, which seems to we anticipate

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Speaker 1: every movie he ever made after it, which is fascinating.

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Speaker 1: I can't figure it out. But yeah, I mean Eyes

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Speaker 1: Watch Shut is definitely one of those movies. You definitely

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Speaker 1: throw it into the category of illuminati cinema, as it were.

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Speaker 1: And those I'm guessing those those layers weren't necessarily, let's say,

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Speaker 1: for example, to Shining those those layers, those symbols weren't

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Speaker 1: contained in the Stephen King novel. Kubrick put those in

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Speaker 1: there on his own, right. Oh absolutely. Um, if you

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Speaker 1: actually looked at some of the screenplays, um that that

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Speaker 1: Kubrick was using, you'll see you'll see him he notes

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Speaker 1: about it. Um, you know you're wanting to repeat numbers,

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Speaker 1: wanting to repeat doubles, having repetitive tropes in the film. Yeah,

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Speaker 1: I mean, this was all something Kubrick did on his own.

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Speaker 1: And this is one of the reasons why Stephen King hated,

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Speaker 1: hated the theatrical version of The Shining Um. You know,

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Speaker 1: King's novel is really a ghost story. Um, kop Kubrick's

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Speaker 1: exercise is it is Kubrick Films is an exercise and repetition. Um.

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Speaker 1: I mean you have those that one scene at the end,

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Speaker 1: were close to the end where Shelley Daval goes into

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Speaker 1: the hallway and has the skeleton sitting around, and it's

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Speaker 1: actually kind of, in my opinion, looks like a corny

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Speaker 1: haunted house almost. Um. But you know, this was kind

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Speaker 1: of the theme that the King was emphasizing in the novel,

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Speaker 1: and uh, Kubrick really kind of downplayed it. Um. Kubrick

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Speaker 1: was much more interested in this whole idea of repeating

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Speaker 1: things um in the Shining and that's something that's definitely

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Speaker 1: in the movie that you won't find in the novel. Right. Yeah,

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Speaker 1: he definitely would take a million a book and make

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Speaker 1: it his own, make it his own. Listen to more

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Speaker 1: Coast to Coast AM every weeknight at one a m.

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