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Speaker 1: You know, Steven Spielberg is seventy nine years old, and

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Speaker 1: he's going to be eighty years old Christmas Week this year.

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Speaker 1: He started making movies though, when he was seventeen years old,

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Speaker 1: and he had a film called Firelight, which was about

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Speaker 1: you probably guessed it already UFOs. Now he's had six

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Speaker 1: decades of filmmaking since then. He's built probably the most

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Speaker 1: influential body of alien contact storytelling that's ever been assembled.

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Speaker 1: That includes more than thirty film and TV projects that

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Speaker 1: he's either directed, written, or executive produced that touch on

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Speaker 1: NHI or UFOs or the question of are we alone?

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Speaker 1: And now, of course the buzz is that he's coming

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Speaker 1: back to the subject with Disclosure Day, which opens on

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Speaker 1: June twelfth, and it may well function as his closing

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Speaker 1: argument on the entire topic. At the recent Cinema con

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Speaker 1: Spielberg put it this way, and this is a quote.

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Speaker 1: I believe this movie is going to answer questions, and

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Speaker 1: this movie is going to cause a lot of people

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Speaker 1: to ask a lot of questions. All you need to

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Speaker 1: get from beginning to end and is a seat bill.

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Speaker 1: That's quite a statement from the director. Let me bring

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Speaker 1: in my co host Brent Friedman, Brent, what do you

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Speaker 1: think that's setting the bar kind of high, isn't it?

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Speaker 2: It is? And I think that if anyone could set

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Speaker 2: the bar that high, it's Steven Spielberg. As you said,

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Speaker 2: his body of work on this topic is incredible. But

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Speaker 2: it's not just the quantity of stuff he's done, it's

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Speaker 2: the quality. Some of his work in this area is

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Speaker 2: acknowledged to be the best in the business, and his

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Speaker 2: vision for alien contact, for NHI contact is wide ranging.

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Speaker 2: He has told dark stories, he's told light stories, he's

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Speaker 2: told funny stories. He's told pretty much every kind of

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Speaker 2: story you can tell in this genre. And so if

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Speaker 2: anyone could make a statement like he just did at CinemaCon,

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Speaker 2: it's Steven Spielberg.

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Speaker 3: It's so amazing.

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Speaker 1: He starts with Close Encounters and follows it with et

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Speaker 1: but along the way he's also done taken and wore

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Speaker 1: the World's and frankly, so many other things the whole spectrum.

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Speaker 1: In order to talk about what might be coming with

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Speaker 1: Disclosure Day, though, instead of trying to just analyze his trailers,

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Speaker 1: which we did already, I thought we should try something

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Speaker 1: different this time, folks. What we're going to do is

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Speaker 1: take a look back at those thirty projects, maybe not

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Speaker 1: each one of them, but at least talk about the

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Speaker 1: body of work, if you will, and see if there's

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Speaker 1: some clues embedded in all that about what he may

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Speaker 1: be getting ready to present to the world on June twelfth.

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Speaker 1: And the key here is that we're not going to

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Speaker 1: do it alone. This is an important episode for us

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Speaker 1: because this is the first time we've had a guest.

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Speaker 2: Yes, very exciting. I got my office all cleaned up. Yeah,

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Speaker 2: we're company, the same thing. I thought, it's like you're

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Speaker 2: having people come over for dinner. It's see, I got

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Speaker 2: to clean up.

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Speaker 1: So I went over through my desk and went, I

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Speaker 1: got to get rid of some of this stuff is bad.

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Speaker 3: It's the wrong thing.

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Speaker 1: As it turns out, I think our guest is going

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Speaker 1: to make both of our backgrounds look pretty paltry. Anyway,

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Speaker 1: we're being joined by a special guest tonight, someone who

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Speaker 1: literally wrote a book that Spielberg likes so much that

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Speaker 1: he turned it into a movie.

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Speaker 3: I'm Bryce Abel.

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Speaker 1: Have you ever wondered if there's a secret connection between

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Speaker 1: Hollywood and UFOs?

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Speaker 2: And I'm Brent Friedman. You are listening to sound, light

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Speaker 2: and frequency.

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Speaker 1: Will Steven Spielberg's Disclosure dayby just another movie, or will

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Speaker 1: it answer a question once and for all?

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Speaker 3: Are we alone?

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Speaker 2: And if we aren't alone? Do they walk amongst us?

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Speaker 1: So let me introduce you, folks, to Ernie Klein, who

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Speaker 1: is here joining us from Texas. Ernie, welcome. I see

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Speaker 1: a couple of Deloreans there, not.

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Speaker 4: One, but two days Laureans, and my wife calls them, Yes,

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Speaker 4: I have a pair. This is my first Laurean Act

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Speaker 4: eighty eight, which is a recreation of the Dolorian in

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Speaker 4: my book and in the movie is a mashup of

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Speaker 4: the Ghostbuster's ectamobile, Doc Brown's time machine and with some

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Speaker 4: night writer and BUCKERU Bondsi thrown in. And then this

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Speaker 4: one is the Mandalorian. It's my Star Wars DeLorean has

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Speaker 4: R two unit on the back. And I'm gonna pick

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Speaker 4: this one out on Star Wars Day here next week.

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Speaker 4: I'm excited.

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Speaker 3: That is so amazing.

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Speaker 1: We should probably at least bring everybody up to speed.

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Speaker 1: Though you are an American science fiction writer. The book

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Speaker 1: that got turned into a movie was Ready Player one.

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Speaker 1: You wrote another book as a follow up, Armada, and

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Speaker 1: I believe you're probably working on another book right now,

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Speaker 1: which we could break some news and you could tell

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Speaker 1: us what it's all about, or you could not do that.

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Speaker 4: Okay. I tried out to talk about it before I

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Speaker 4: finish it. You know how that is, You talk about

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Speaker 4: it before we finish slows you down.

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Speaker 3: Now, that can be certainly well. Listen. The thing that

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Speaker 3: I think.

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Speaker 1: Most people who are listening and are watching right now

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Speaker 1: are going to be thinking, is wait a second, this

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Speaker 1: dude had Steven Spielberg make a movie from his book,

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Speaker 1: which means I think that you were on this set

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Speaker 1: for a Steven Spielberg movie.

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Speaker 4: I was. I got a coloded screenwriter credit on a

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Speaker 4: Steven Spielberg movie. It's pretty yeah, pretty great for my

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Speaker 4: second film credit. It's pretty amazing. Well was happening? I

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Speaker 4: would joke, but it was what wasn't really a joke.

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Speaker 4: It was like Saul downhill from here whatever topt this

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Speaker 4: and that movie. We had to move our release date

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Speaker 4: because of the Star Wars. The Last Jedi took our

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Speaker 4: release dates, so they moved it to March twenty ninth,

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Speaker 4: which is my birthday. So my stevens Fullber movie came

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Speaker 4: out of my birthday. Every copy of the post you

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Speaker 4: see as my birthday at the bottom, I was like,

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Speaker 4: whoever's running the simulation, You guys are doing an awful job,

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Speaker 4: but I'm not buying this anymore.

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Speaker 1: Yeah, it's funny you say simulation just to wander off

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Speaker 1: into the weeds here. Some people say, well, I can

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Speaker 1: explain the whole thing that's going on with UFOs and

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Speaker 1: aliens and all that, we're all part of the simulation.

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Speaker 3: Do you believe that?

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Speaker 4: I think that once a simulation becomes indistinguishable from reality,

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Speaker 4: it no longer matters whether or not it's a simulation.

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Speaker 4: Whatever reality is that we're in may as well be

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Speaker 4: a simulation that we're trapped in. We can't get out

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Speaker 4: of it till we die, and don't find out the

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Speaker 4: nature of it until we die. If then you're still

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Speaker 4: not going to step in front of a moving train

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Speaker 4: regardless of what you think the nature of reality is.

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Speaker 4: So I think that's like a circular argument. Reality is

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Speaker 4: whatever it is. And when you start, when you're studying

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Speaker 4: the Devils Steel experiment and all of that, I feel

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Speaker 4: like it's if you people were inside a simulation, like

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Speaker 4: studying the pixels on the or studying the code we

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Speaker 4: regardless of what the what's happening at the at the

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Speaker 4: quantum level, we're still We're all still here and we're

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Speaker 4: sharing this reality. It's a fun argument, but it's not,

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Speaker 4: i don't know, from my perspective, not always relevant. It's

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Speaker 4: more exciting to talk about what's going on in the reality.

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Speaker 4: Whatever it is is pretty wild.

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Speaker 3: This wall here, go ahead.

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Speaker 2: I completely agree. I feel like, if this is a simulation,

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Speaker 2: it's so good that there's no point in talking about

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Speaker 2: it as a simulation. It's so real to us that

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Speaker 2: even if someone told us and put up on a

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Speaker 2: whiteboard a formula that proved it was a simulation, it

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Speaker 2: really wouldn't change anything. It would just be like, Okay,

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Speaker 2: that's interesting. Unless someone's going to give me the God

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Speaker 2: code right where I go in and take control of

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Speaker 2: the simulation, that's a different situation. But short of that,

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Speaker 2: then I don't care simulation reality. It's still where I live,

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Speaker 2: and I have to get up every day and pay

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Speaker 2: the bills and do the work and record the podcast.

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Speaker 3: Yes, this must happen.

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Speaker 1: Hey, Ernie, I don't want to put you on the spot,

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Speaker 1: but I know people are probably thinking this. They're saying, hey,

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Speaker 1: so he's on the set with Steven Spielberg, and Spielberg's

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Speaker 1: got his headphones on and he's directing action and all that.

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Speaker 1: Does Steven Spielberg ever go, hey, Klein, get over here.

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Speaker 4: Oh all the time, I need to do this? What

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Speaker 4: do you think? Did he ever do that all the time?

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Speaker 4: He is the best. Just picture your dream of how

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Speaker 4: you would want it to be working with a director,

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Speaker 4: and even a famous one. He's been freaking out people

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Speaker 4: with how amazing his art is for so long. It's

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Speaker 4: the Spielberg effect. You guys. Know, when you meet him,

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Speaker 4: you're like, oh my god, this is the big day

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Speaker 4: of my life. I'm Steven Spielberg. It goes beyond cleaning

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Speaker 4: up your apartment. You just you prepare for it. But

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Speaker 4: he knows that, and so he has a way of

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Speaker 4: disarming people. In my experience, he was just so kind

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Speaker 4: to me and a collaborator right from the beginning. And

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Speaker 4: that's why he still makes movies. It's not for the money.

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Speaker 4: He likes making the art and he enjoys the collaborative

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Speaker 4: process of working with all kinds of different people to

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Speaker 4: make all different kinds of amazing art. And he's one

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Speaker 4: of the once your name becomes synonymous with your job,

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Speaker 4: you've crushed it like xerox s Fielburg, like your name

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Speaker 4: is the cliche. I've got Spielberg on the line, like

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Speaker 4: it's he's like the Beatles. But he's just one guy.

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Speaker 4: I told him that if you're a go, I think

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Speaker 4: the goal of an artist is to bring as much

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Speaker 4: experience and joy and entertainment and illumination to your fellow

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Speaker 4: humans as possible. Who in one lifetime has pull off

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Speaker 4: that number more than Steven Spielberg and is still doing it.

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Speaker 4: That's why I'm not sure about this thesis of his

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Speaker 4: final argument. It never could count this guy out. You

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Speaker 4: might hate us again in twenty years with another thesis.

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Speaker 4: Someday somebody's going to tell an amazing the true history

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Speaker 4: of our country and all the stuff that we had

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Speaker 4: know that was going on behind the scenes. So I

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Speaker 4: think can open doors that you know other filmmaker can

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Speaker 4: open and has and might be doing it again. I

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Speaker 4: think he's going to do it again with Disclosure Day.

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Speaker 4: I'm really vibrating with excitement to see it, and I'm

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Speaker 4: excited to talk with you guys about it.

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Speaker 1: When you mentioned that he's become synonymous like Kleenex. And

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Speaker 1: I was just thinking. When JJ Abrams directed Super Eight,

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Speaker 1: every single review that came out called it Spielberg in right.

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Speaker 4: Yes, yeah, it's an amble movie. See if it comes

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Speaker 4: up at the beginning, that was a collaboration. And the

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Speaker 4: thing about it's amazing about Super eight is then the

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Speaker 4: Duffer Brothers went and did eight seasons of Super eight

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Speaker 4: stranger things because it was just kids on bikes and reimagining.

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Speaker 4: It was much more JJ's childhood and Stevens, do you

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Speaker 4: guys know the story about JJ curating a bunch of

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Speaker 4: Stevens original Super eight movies when he was a kid.

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Speaker 4: When J. J Abrams was a kid, he was involved

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Speaker 4: in some Super eight restoration project and they ended up

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Speaker 4: giving all of Stevens old original Super eight movies to

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Speaker 4: JJ and he and so like years later when they

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Speaker 4: met about his first movies, and I have to tell you,

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Speaker 4: I was that kid that worked on your Super eight movies,

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Speaker 4: and Stevens all knew that. Stephen knew the whole meeting

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Speaker 4: that it was this guy met when it was a kid.

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Speaker 4: He's just amazing like that, and everybody who works with him,

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Speaker 4: I think wants to work with him again, and nobody

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Speaker 4: walks away having a bad experience on the Steven Spilberg movie.

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Speaker 1: Brent and I actually met when I had an office

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Speaker 1: at Universe and in the middle of producing this television series.

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Speaker 1: We were all asked to pack up our bags and

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Speaker 1: get out quickly because they were tearing down our offices

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Speaker 1: to make way for the Jurassic Park ride.

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Speaker 4: Man.

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Speaker 1: Yeah, and by the way, Brent and I both met Spielberg. Brent,

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Speaker 1: tell us, you're I met Steven's story.

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Speaker 2: So I met him once in person, I worked with

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Speaker 2: him a couple times in person, and then I met

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Speaker 2: him years later or re met him again virtually. But

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Speaker 2: my first experience with him when I was working at

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Speaker 2: Electronic Arts back in the early two thousands. I would

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Speaker 2: have been brought on by EA to help them reboot

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Speaker 2: their Command and Conquer franchise. And it turned out that

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Speaker 2: right next door on the level that we were working

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Speaker 2: at in the EA building in La Stephen had sold

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Speaker 2: an original idea for a game to EA, and so

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Speaker 2: he had his early development team working right next door

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Speaker 2: to us. And so I don't know how this happened,

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Speaker 2: but at the time, the studio encouraged a lot of

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Speaker 2: kind of cross team collaboration. So I think once a

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Speaker 2: month our team on Command and Conquer, some of us,

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Speaker 2: particularly the narrative people, would go over and sit in

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Speaker 2: on their project and hear what they were up to,

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Speaker 2: and then they would come over and sit on our project.

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Speaker 2: And here just getting some objectivity into the meeting. So

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Speaker 2: a couple of times I got to go in and

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Speaker 2: hear what was up with this game project. And at

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Speaker 2: the time it didn't have a name. It was code

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Speaker 2: named LMNO. And it was, as I said, an original

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Speaker 2: idea by Stephen about a female alien who was stranded

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Speaker 2: here on Earth.

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Speaker 4: Allah.

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Speaker 2: The man who fell to Earth had some sort of

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Speaker 2: mission that I never quite understood, but she had psychic

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Speaker 2: powers and she was being hunted by government operatives. What

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Speaker 2: was cool about it to me was that I could

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Speaker 2: tell he was a gamer. He wasn't just saying video

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Speaker 2: games are popular, so I want to go make a

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Speaker 2: video game. In fact, as it turned out, his oldest son, Max,

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Speaker 2: was working at EA on our team. I actually became

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Speaker 2: friends with Max, and Max vouched for his dad and said,

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Speaker 2: don't know if he plays games all the time. That

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Speaker 2: was very impressive to me, and he was so excited

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Speaker 2: about this project, and he had so many ideas. It

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Speaker 2: was energizing to be in the room with him.

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Speaker 1: I have a Spielberg game story, but it's going to

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Speaker 1: lead us back to the big question.

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Speaker 3: About Spielberg that we have for you, Ernie.

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Speaker 1: But the first time I met him was while we

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Speaker 1: were still doing Dark Skies and I got hired to

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Speaker 1: write a video game for his ambling company because they

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Speaker 1: were going to have a video game division. The name

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Speaker 1: of the video game was Ghost in the Machine. It

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Speaker 1: was about a kind of an AI intelligence that came

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Speaker 1: from alien contact or whatever. And of course, in the

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Speaker 1: middle of writing that, they decided never to produce video

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Speaker 1: games again and they shuttered part of it.

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Speaker 3: That was that.

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Speaker 1: But when I met him, he came into the meeting.

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Speaker 1: I was in his office waiting for him. They sat

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Speaker 1: me down and he shook my hand and said great

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Speaker 1: to see you again, which I always loved because I thought,

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Speaker 1: if the guy thinks that he's met me before, how

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Speaker 1: great is that? Who can And then he said the

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Speaker 1: thing that blew my mind. He goes, I'm a big

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Speaker 1: fan of Dark Skies. Now that takes me to the

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Speaker 1: question for you, dark Skies of course, because we've talked

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Speaker 1: about it is where Brent and I were approached by

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Speaker 1: folks that said they were from the Office of Naval Intelligence.

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Speaker 1: They wanted to make a deal to allow UFO information

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Speaker 1: access for us to then help provide access for them

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Speaker 1: into dark skies, that kind of thing, And we know

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Speaker 1: that we got offered some kind of deal. But even

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Speaker 1: as we were being offered that and talked to about that,

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Speaker 1: we were called very clearly that Spielberg over the years

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Speaker 1: ever since Close Encounters has been rumored to well, you know,

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Speaker 1: people told him things, they gave him insight. So I'm

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Speaker 1: just going to ask you straight out. Did you ever

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Speaker 1: have a conversation about UFOs with Spielberg where he would

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Speaker 1: imply in any way whatever that people had told them

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Speaker 1: things I did not.

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Speaker 4: I never felt comfortable bringing up that subject because we

302
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Speaker 4: were together. We were always promoting the movie and always

303
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Speaker 4: geeking out about movies, and talked about his movies and

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Speaker 4: specifically talked about Close Encounters. Michael Kahn, who edited Close Encounters,

305
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Speaker 4: also edited Ready Player one, and I got to hang

306
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Speaker 4: out with him when Alan Silvestri was scoring the movie

307
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Speaker 4: and Michael conn I was starstruck and Michael conn I

308
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Speaker 4: guess hasn't met too many people who were struck by him,

309
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Speaker 4: but I was like he set up an editing bay

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Speaker 4: at Stephen's house in Mobile, Alabama, and was editing Close

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Speaker 4: Encounters each night while they were filming it, and making

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Speaker 4: like rough cut as they were going. And Stephen considers

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Speaker 4: him a collaborator on Close Encounters, Michael Kahn, and he's

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Speaker 4: edited a bunch of Stephen's movies. He's a legend. I've

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Speaker 4: actually found a quote in a book of interviews by

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Speaker 4: Stephen where he says something and basically is similar to

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Speaker 4: what he just said it south By Southwest when he

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Speaker 4: came to town last last month, which is that I

319
00:16:05,600 --> 00:16:08,040
Speaker 4: don't know anything any more than anybody else. He said

320
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Speaker 4: this back in nineteen seventy eight or seventy seven, when

321
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Speaker 4: Close Encounters came out. It's an enigma. And I don't

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Speaker 4: always answer all the questions at the end of my movies.

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Speaker 4: I answer most of the big questions, but I'm okay

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Speaker 4: with leaving some things a mystery. And I don't know

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Speaker 4: all the answers about UFOs, but I think it's a

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Speaker 4: fascinating subject and I love talking about it, and I

327
00:16:28,240 --> 00:16:30,960
Speaker 4: think it's fascinating for as a human story, and that

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Speaker 4: was he's doing press for Close Encounters in seventy seven.

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Speaker 4: So if he had been approached before that, I think

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Speaker 4: it would have been hard. It would have put him

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Speaker 4: in a position to be dishonest in public, which Carl

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Speaker 4: Sagan was clearly fine with doing. But seven doesn't strike

333
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Speaker 4: me as the kind of guy who would be a

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Speaker 4: good liar because it's such a genuine person. And I

335
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Speaker 4: think if they came to him like you guys, if

336
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Speaker 4: they came to him with the song and dance about

337
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Speaker 4: how they wanted to feed him the truth, I think

338
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Speaker 4: he knew enough about them and just a way that

339
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Speaker 4: he was depicting the military in Close Encounters, he knew

340
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Speaker 4: enough about them to know not to trust them and

341
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Speaker 4: that they would be feeding him spin and want him

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Speaker 4: to pass on there.

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Speaker 1: But he's got them shutting down this vast area of Wyoming.

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Speaker 4: Yeah. I do remember seeing him talk about the letter

345
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Speaker 4: he got from the Air Force asking him and all

346
00:17:20,720 --> 00:17:23,159
Speaker 4: their reasons for and he just got excited. He was

347
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Speaker 4: gleeful about it. I knew something that was just more

348
00:17:25,920 --> 00:17:29,040
Speaker 4: confirmation that there was something up. I was telling you guys,

349
00:17:29,040 --> 00:17:32,800
Speaker 4: about that documentary about the making of close Encounters in Mobile,

350
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Speaker 4: Alabama called who Are You People? And it's really interesting

351
00:17:36,800 --> 00:17:39,359
Speaker 4: to see the making of that film from the locals perspective.

352
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Speaker 4: But one of the they talked about a lot of

353
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Speaker 4: scenes that got cut, and one of them they had

354
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Speaker 4: to film a scene in a passenger airliner, and the

355
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Speaker 4: people who film the scene talk about it had got cut,

356
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Speaker 4: but it was they all see a UFO during their flight,

357
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Speaker 4: and then the plane lands and Air Force officials get

358
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Speaker 4: on the plane and walk down the aisle and take

359
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Speaker 4: everybody's cameras. And this one woman talks about I was

360
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Speaker 4: supposed to be angry at the sky as he yanks

361
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Speaker 4: the camera out of my hand. I would love to

362
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Speaker 4: see the scene, but it's never been interesting. I never

363
00:18:05,800 --> 00:18:08,320
Speaker 4: got that vibe and the Project Sirpo thing. I will

364
00:18:08,320 --> 00:18:10,879
Speaker 4: tell you something interesting about Project Sirpo you guys might

365
00:18:10,920 --> 00:18:13,439
Speaker 4: not know, is so that comes out in two thousand

366
00:18:13,440 --> 00:18:16,040
Speaker 4: and five, right, it's leaked on those message boards, and

367
00:18:16,080 --> 00:18:19,560
Speaker 4: it's leaked in the same way, in the same vibe

368
00:18:19,560 --> 00:18:22,840
Speaker 4: as like Majestic twelve and other stuff that seems like

369
00:18:22,880 --> 00:18:27,840
Speaker 4: a controlled release. And they discuss the way that the

370
00:18:27,920 --> 00:18:31,800
Speaker 4: spacecraft of the Zetra Reticulans or work on the planet

371
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Speaker 4: Serpo in in this document and they talk about the

372
00:18:35,560 --> 00:18:40,520
Speaker 4: layered business magnesium stuff that hal put Off was just

373
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Speaker 4: talking about like thirty years later. I actually when I

374
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Speaker 4: met with To the Stars Academy, they let me hold

375
00:18:47,040 --> 00:18:51,000
Speaker 4: the layered the arts parts layered business magnesium in my hand.

376
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Speaker 4: I think it's part of their part of the coding

377
00:18:53,119 --> 00:18:55,680
Speaker 4: process when they were trying to get people to work

378
00:18:55,720 --> 00:18:59,280
Speaker 4: with them, as they let them hold to the art sparks. Yeah,

379
00:18:59,359 --> 00:19:02,440
Speaker 4: I know it works. I was excited, but I asked

380
00:19:02,520 --> 00:19:04,520
Speaker 4: how I'll put Off about this. I was like, Hey,

381
00:19:04,560 --> 00:19:07,600
Speaker 4: how come this stuff about the layered business magnesium was

382
00:19:07,680 --> 00:19:10,640
Speaker 4: leaked into Project Cirpo stuff back in two I asked

383
00:19:10,720 --> 00:19:12,560
Speaker 4: Jim Simivan about this too, and they both told me the

384
00:19:12,560 --> 00:19:16,760
Speaker 4: same thing. They're like, yeah, sometimes when we want something,

385
00:19:16,840 --> 00:19:20,000
Speaker 4: you know, leaked something out, we'll bury it in amount

386
00:19:20,040 --> 00:19:22,639
Speaker 4: of misinformation. There'll be a little truth in there. And

387
00:19:22,680 --> 00:19:24,480
Speaker 4: then so when the truth comes out and then somebody

388
00:19:24,520 --> 00:19:28,919
Speaker 4: says layered business magnesium whatever, you got that from Project Sirpo,

389
00:19:29,400 --> 00:19:33,040
Speaker 4: and it discredits it, and it also it's it's crafty.

390
00:19:33,119 --> 00:19:35,720
Speaker 4: It's like tradecraft. But they both admitted to me that

391
00:19:36,160 --> 00:19:40,440
Speaker 4: Project Serpo, that little bit of it and had resurfaced

392
00:19:40,440 --> 00:19:42,960
Speaker 4: in the To the Stars Academy years where they talked

393
00:19:42,960 --> 00:19:46,160
Speaker 4: about being a wave guide for terror Hertz energy and

394
00:19:46,440 --> 00:19:48,800
Speaker 4: Lily won and how it took this around and had everybody,

395
00:19:49,240 --> 00:19:51,280
Speaker 4: all these metaal ares just analyze it, and it was

396
00:19:51,359 --> 00:19:54,639
Speaker 4: like layered at the micro level. And Steve Justice gave me,

397
00:19:54,880 --> 00:19:56,800
Speaker 4: gave it to me and put it in my hand

398
00:19:56,800 --> 00:20:00,159
Speaker 4: and said, we can't make this. He showed me a

399
00:20:00,280 --> 00:20:02,600
Speaker 4: brick this big, and he's like, this is what it

400
00:20:02,640 --> 00:20:04,919
Speaker 4: looks like if we try to layer business and magnesium.

401
00:20:05,040 --> 00:20:07,000
Speaker 4: This is as small as we can get it. And

402
00:20:07,040 --> 00:20:09,000
Speaker 4: it was this bick and then they show me and

403
00:20:09,040 --> 00:20:11,679
Speaker 4: here it's layered like a thousand times in this little

404
00:20:12,040 --> 00:20:13,800
Speaker 4: So to me, that's like evidence they put in my

405
00:20:13,880 --> 00:20:16,760
Speaker 4: hand something we can't make and here's the guy who

406
00:20:16,800 --> 00:20:18,480
Speaker 4: would know if we could make it, telling you that

407
00:20:18,600 --> 00:20:20,640
Speaker 4: we can't make it. I felt, because I had made

408
00:20:20,640 --> 00:20:23,320
Speaker 4: a movie with Steven, that they were interested in helping me,

409
00:20:23,880 --> 00:20:27,520
Speaker 4: me helping work on secret machines, which the film meditation

410
00:20:27,640 --> 00:20:30,480
Speaker 4: of that, but I could tell in my conversations with

411
00:20:30,560 --> 00:20:32,639
Speaker 4: them which id that would be the same conversation as

412
00:20:32,640 --> 00:20:34,520
Speaker 4: Stephen would have. When you guys are interested in telling

413
00:20:34,600 --> 00:20:37,359
Speaker 4: the truth, I am on board. This is the biggest

414
00:20:37,359 --> 00:20:39,320
Speaker 4: story of all time. I will help you tell the truth.

415
00:20:39,600 --> 00:20:42,040
Speaker 4: Let's tell the truth together. It's not the vibe that

416
00:20:42,119 --> 00:20:45,200
Speaker 4: I got. It was like meet the new boss, same

417
00:20:45,240 --> 00:20:49,040
Speaker 4: as the old boss. We're gonna We're gonna tell brand

418
00:20:49,040 --> 00:20:51,919
Speaker 4: new lies. They kind of modify our earlier lives, and

419
00:20:51,960 --> 00:20:54,560
Speaker 4: I get why. It's that's the hardest job ever. I

420
00:20:54,640 --> 00:20:57,240
Speaker 4: feel for those guys. You can't tell your friends without

421
00:20:57,240 --> 00:21:00,159
Speaker 4: telling your enemies. And they'd love to tell us. All

422
00:21:00,240 --> 00:21:04,440
Speaker 4: us red blooded American boys would be trustworthy with the truth,

423
00:21:04,640 --> 00:21:07,639
Speaker 4: but they can't tell us about telling everyone else and

424
00:21:07,720 --> 00:21:10,240
Speaker 4: all our strategic enemies. So they have to play this

425
00:21:10,320 --> 00:21:13,520
Speaker 4: cat and mouse game with their own citizens and with

426
00:21:13,560 --> 00:21:16,200
Speaker 4: their enemies. It's three D chess and it's so much

427
00:21:16,200 --> 00:21:19,280
Speaker 4: fun to watch. We will drive you crazy trying to

428
00:21:19,320 --> 00:21:22,600
Speaker 4: follow it, because you'd never know how you know. Everything's

429
00:21:22,640 --> 00:21:25,840
Speaker 4: embedded in this information on purpose, and when you get

430
00:21:25,880 --> 00:21:27,560
Speaker 4: the truth, when the truth hits you, it's so hard

431
00:21:27,600 --> 00:21:29,919
Speaker 4: to see the forest for the trees. But it's an

432
00:21:30,080 --> 00:21:32,960
Speaker 4: endlessly diverting hobby.

433
00:21:37,640 --> 00:21:38,159
Speaker 3: Totally is.

434
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Speaker 1: By the way, who are you guys? Refers to that

435
00:21:41,520 --> 00:21:48,000
Speaker 1: scene in Close Encounters for people, which is exactly what

436
00:21:48,040 --> 00:21:50,840
Speaker 1: you'd want to say to somebody that has dragged you

437
00:21:50,920 --> 00:21:52,080
Speaker 1: into this thing.

438
00:21:52,119 --> 00:21:53,840
Speaker 4: Hey, listen as that question.

439
00:21:54,280 --> 00:21:59,840
Speaker 3: Yes, who are you people?

440
00:22:00,160 --> 00:22:00,680
Speaker 4: Yeah.

441
00:22:00,720 --> 00:22:04,800
Speaker 2: My impression of Steven Spielberg was that he's just a

442
00:22:04,800 --> 00:22:08,159
Speaker 2: big kid. He's like a big exuberant kid, and just

443
00:22:08,200 --> 00:22:10,480
Speaker 2: like you, he geeks out on things and he gets

444
00:22:10,520 --> 00:22:14,040
Speaker 2: super excited, and he did not come across at all

445
00:22:14,080 --> 00:22:18,200
Speaker 2: as somebody that's holding secrets to me. However, I would

446
00:22:18,200 --> 00:22:21,240
Speaker 2: be remiss if I didn't remind the audience and for

447
00:22:21,280 --> 00:22:24,840
Speaker 2: anyone who's a new listener. In our episode two, I

448
00:22:24,960 --> 00:22:27,280
Speaker 2: told a story about something that happened to me by

449
00:22:27,440 --> 00:22:31,160
Speaker 2: a Texas guy, Toby Hooper, who I was previously very

450
00:22:31,160 --> 00:22:34,720
Speaker 2: good friends with and was developing an alien related project

451
00:22:34,720 --> 00:22:38,240
Speaker 2: on the side, and so when we needed a director

452
00:22:38,280 --> 00:22:40,680
Speaker 2: for Dark Skys, I recommended Toby. I was the one

453
00:22:40,720 --> 00:22:43,600
Speaker 2: that got us down that path, and while we were

454
00:22:43,920 --> 00:22:47,080
Speaker 2: spending time together in pre production, we were on a

455
00:22:47,119 --> 00:22:50,359
Speaker 2: location scout up in New Hall Ranch, up north of

456
00:22:50,520 --> 00:22:52,720
Speaker 2: la up in the hills, looking for a place to

457
00:22:52,720 --> 00:22:55,680
Speaker 2: shoot our big crop circle sequence from The Dark Sky's pilot.

458
00:22:56,040 --> 00:22:58,399
Speaker 2: And at the end of that day, Toby and I

459
00:22:58,440 --> 00:23:01,320
Speaker 2: were down in a kind of a oadhouse having dinner.

460
00:23:01,320 --> 00:23:03,960
Speaker 2: There was a small production crew and everyone else was

461
00:23:04,000 --> 00:23:06,600
Speaker 2: talking business and schedules, and Toby and I were sitting

462
00:23:06,600 --> 00:23:09,560
Speaker 2: by ourselves having dinner, and I said, Hey, Toby, so

463
00:23:10,080 --> 00:23:12,200
Speaker 2: you're finally going to have one over on Steven because

464
00:23:12,200 --> 00:23:15,120
Speaker 2: I knew about their relationship. They're very friendly since going

465
00:23:15,160 --> 00:23:17,520
Speaker 2: back to Poltergeist, but they were also very competitive. And

466
00:23:17,560 --> 00:23:20,760
Speaker 2: I said, you're going to have a crop circle on

467
00:23:20,880 --> 00:23:24,200
Speaker 2: film before he does. And he said, oh, but I'm

468
00:23:24,240 --> 00:23:26,400
Speaker 2: never going to be ahead of Steven in this category.

469
00:23:26,520 --> 00:23:28,040
Speaker 2: I was like, what do you mean? And he knows

470
00:23:28,080 --> 00:23:30,800
Speaker 2: a lot. After Jaws, some people from I think it

471
00:23:30,840 --> 00:23:33,760
Speaker 2: was Naval Intelligence or some one of those agencies, they

472
00:23:33,800 --> 00:23:36,920
Speaker 2: approached him and they offered him a deal to learn

473
00:23:36,960 --> 00:23:39,320
Speaker 2: a bunch of stuff, and I'm pretty sure he took it.

474
00:23:39,640 --> 00:23:43,119
Speaker 2: He got all sorts of inside information on a couple

475
00:23:43,119 --> 00:23:45,960
Speaker 2: of like a lot of things. Now, obviously people can say, oh,

476
00:23:46,000 --> 00:23:49,359
Speaker 2: he was just bullshitting you. That was not Toby Hooper's nature.

477
00:23:49,400 --> 00:23:51,720
Speaker 2: If anyone knew him, he was the most down to

478
00:23:51,800 --> 00:23:54,960
Speaker 2: earth kind of grounded guy. I think Bryce will vouch

479
00:23:55,000 --> 00:23:57,280
Speaker 2: for that. For all of our times working with him.

480
00:23:57,480 --> 00:23:59,159
Speaker 2: All I have is that I have to take it

481
00:23:59,200 --> 00:24:01,919
Speaker 2: at face value. Is what he told me. Now he

482
00:24:02,040 --> 00:24:04,639
Speaker 2: may this is what Stephen told him. That wasn't he

483
00:24:04,680 --> 00:24:07,000
Speaker 2: didn't hear this. It wasn't a friend of a friends story.

484
00:24:07,480 --> 00:24:11,280
Speaker 2: And so either a Stephen was messing with him, which

485
00:24:11,320 --> 00:24:13,160
Speaker 2: could have been because I don't know the nature fully

486
00:24:13,200 --> 00:24:15,959
Speaker 2: of their relationship, but I do know that I feel

487
00:24:16,080 --> 00:24:19,480
Speaker 2: pretty confident that Toby wasn't messing with me. Brent, we

488
00:24:19,520 --> 00:24:22,280
Speaker 2: can say one thing. We can say that Spielberg has

489
00:24:22,320 --> 00:24:25,800
Speaker 2: gotten to make his crop circle because in the trailers

490
00:24:25,800 --> 00:24:29,720
Speaker 2: for Disclosure Day, there's a major yes and so stead

491
00:24:29,760 --> 00:24:30,840
Speaker 2: of the hard crop circle.

492
00:24:31,240 --> 00:24:33,280
Speaker 1: And by the way, he makes a very fine crop

493
00:24:33,320 --> 00:24:35,760
Speaker 1: circle from the clip I saw, because we knew how

494
00:24:35,760 --> 00:24:37,600
Speaker 1: hard ours was. I just wanted to throw out there

495
00:24:37,640 --> 00:24:40,520
Speaker 1: that that, yeah, I worked on Taken and Ernie. I

496
00:24:40,520 --> 00:24:42,600
Speaker 1: don't even know if you know this, but I I

497
00:24:42,680 --> 00:24:46,520
Speaker 1: was doing the Crow television series and when it got canceled,

498
00:24:46,880 --> 00:24:49,439
Speaker 1: they were right next to us in the bungalows that

499
00:24:49,520 --> 00:24:52,080
Speaker 1: were across the street, and one of my friends was

500
00:24:52,080 --> 00:24:54,680
Speaker 1: one of the executive producers, Les bohem So. I ended

501
00:24:54,760 --> 00:24:57,040
Speaker 1: up working six months with the writing team on The

502
00:24:57,119 --> 00:24:58,919
Speaker 1: Taken with him, and Manny.

503
00:24:58,680 --> 00:25:01,359
Speaker 3: Coto was the other ag I could a producer cool.

504
00:25:01,680 --> 00:25:05,919
Speaker 1: And then Spielberg sent everybody home after six months of

505
00:25:05,920 --> 00:25:08,280
Speaker 1: a writer's room. He had something else he had to do,

506
00:25:08,320 --> 00:25:11,520
Speaker 1: and everybody went home. But I didn't get sent home.

507
00:25:11,600 --> 00:25:15,080
Speaker 1: I got me and less were told to go write scripts.

508
00:25:15,400 --> 00:25:17,399
Speaker 1: I got to write one script. I'm not even going

509
00:25:17,440 --> 00:25:20,600
Speaker 1: to get into that. But we did talk to him

510
00:25:20,720 --> 00:25:24,840
Speaker 1: on multiple occasions, and I didn't get the big kid

511
00:25:24,920 --> 00:25:27,280
Speaker 1: kind of thing as much as he was very business like.

512
00:25:27,640 --> 00:25:30,040
Speaker 1: And if the three of us were to have an

513
00:25:30,160 --> 00:25:33,119
Speaker 1: unguarded UFO conversation and just kick it around for a

514
00:25:33,160 --> 00:25:35,120
Speaker 1: couple of hours, you'd be saying.

515
00:25:34,920 --> 00:25:36,800
Speaker 3: I don't know, did you see this? What about that?

516
00:25:36,960 --> 00:25:39,159
Speaker 1: And Brendan say no, no, I saw that, but what

517
00:25:39,240 --> 00:25:42,000
Speaker 1: about this? And we'd all be throwing stuff in. That's

518
00:25:42,160 --> 00:25:46,040
Speaker 1: the way he came across to me, clearly, very knowledgeable

519
00:25:46,080 --> 00:25:49,119
Speaker 1: and well read. But there's thousands of those guys on

520
00:25:49,320 --> 00:25:52,199
Speaker 1: X these days knowing a lot about the UFO topic

521
00:25:52,440 --> 00:25:54,480
Speaker 1: could happen to anybody. But I thought he was a

522
00:25:54,480 --> 00:25:57,720
Speaker 1: great guy, enjoyed working on taking and I thought that

523
00:25:57,800 --> 00:25:59,720
Speaker 1: was great. I just wanted to do something to set

524
00:25:59,760 --> 00:26:02,280
Speaker 1: the because we want to get into a couple of things.

525
00:26:02,480 --> 00:26:05,840
Speaker 1: I'm going to read you a list of things that

526
00:26:05,960 --> 00:26:11,320
Speaker 1: Spielberg either produced, directed, or wrote or all three Close

527
00:26:11,400 --> 00:26:17,280
Speaker 1: Encounters E T Gremlins, Amazing Stories, Batteries not included, Gremlins two, Sequest,

528
00:26:17,600 --> 00:26:21,600
Speaker 1: Men in Black, Invasion America, AI Taken, Men in Black two,

529
00:26:21,840 --> 00:26:25,920
Speaker 1: or the World's Transformers, Kingdom of the Crystal Skull, Transformers,

530
00:26:25,960 --> 00:26:29,880
Speaker 1: Revenge of the Fallen, Super Eight, Cowboys and Aliens, Transformers,

531
00:26:29,920 --> 00:26:32,880
Speaker 1: Dark of the Moon, Falling Skies, Men in Black Three,

532
00:26:33,040 --> 00:26:37,240
Speaker 1: Under the Dome, Extant Transformers, Age of Extinction, Transformers, The

533
00:26:37,320 --> 00:26:41,119
Speaker 1: Last Night, Bumblebee, Men in Black, International Transformers, Rise of

534
00:26:41,160 --> 00:26:46,960
Speaker 1: the Beast, Encounters, Gremlins, Mogwai, Transformers, One Disclosure Day.

535
00:26:47,440 --> 00:26:52,080
Speaker 4: So it's Pilney the group.

536
00:26:52,720 --> 00:26:55,040
Speaker 1: What is he trying to say with all those because

537
00:26:55,359 --> 00:26:59,720
Speaker 1: what Brennan I have always said, if he has a

538
00:26:59,800 --> 00:27:04,560
Speaker 1: ser point of view about et contact, those projects are

539
00:27:04,560 --> 00:27:05,399
Speaker 1: all over the map.

540
00:27:05,760 --> 00:27:07,119
Speaker 3: They cover the whole spectrum.

541
00:27:07,160 --> 00:27:09,280
Speaker 1: So I just wanted to ask you when you hear

542
00:27:09,359 --> 00:27:12,000
Speaker 1: all those and we all I bet you've seen almost

543
00:27:12,000 --> 00:27:14,320
Speaker 1: all of them, a lot of them. What do you

544
00:27:14,440 --> 00:27:19,280
Speaker 1: think they say about alien contact in his head? What's

545
00:27:19,320 --> 00:27:22,840
Speaker 1: his state of mind about what alien contact means? Based

546
00:27:22,880 --> 00:27:23,840
Speaker 1: on those projects.

547
00:27:24,080 --> 00:27:27,440
Speaker 4: I don't think he all of them are necessarily trying

548
00:27:27,480 --> 00:27:30,480
Speaker 4: to say anything. I think aliens are cool. Science fiction

549
00:27:30,840 --> 00:27:33,639
Speaker 4: is cool. He loves science fiction, and I think he

550
00:27:33,680 --> 00:27:37,120
Speaker 4: can get he recognizes things that are would be appealing

551
00:27:37,119 --> 00:27:40,960
Speaker 4: to a lot of people and have storytelling appeal. I think,

552
00:27:41,000 --> 00:27:44,280
Speaker 4: but only some of them seem to be taken and

553
00:27:44,320 --> 00:27:48,520
Speaker 4: close encounters and et are ones that he actually is

554
00:27:48,800 --> 00:27:51,679
Speaker 4: trying to examine the phenomenon from an artistic standpoint. But

555
00:27:51,720 --> 00:27:54,399
Speaker 4: I don't think it's that much different than what you

556
00:27:54,400 --> 00:27:56,720
Speaker 4: guys were doing with Dark Skys, and you were even

557
00:27:56,800 --> 00:27:59,080
Speaker 4: I'm a big Dark Skys fan. I pulled Bryce, by

558
00:27:59,119 --> 00:28:01,840
Speaker 4: the way, But I love that show and more than

559
00:28:01,840 --> 00:28:04,280
Speaker 4: The X Files, because there was a lot more real

560
00:28:04,760 --> 00:28:09,520
Speaker 4: realness and true history hidden in your show. And my

561
00:28:09,920 --> 00:28:15,439
Speaker 4: favorite was Keith Carridy and playing Lonnie Zamora as I

562
00:28:15,440 --> 00:28:18,760
Speaker 4: think my favorite episode. He's so good in that. But you,

563
00:28:19,040 --> 00:28:21,600
Speaker 4: like you guys, had a little bit of truth and

564
00:28:21,680 --> 00:28:23,720
Speaker 4: a little bit of fiction because you have to have

565
00:28:23,760 --> 00:28:26,600
Speaker 4: a little bit of fiction to tell us a story

566
00:28:26,640 --> 00:28:29,280
Speaker 4: in forty five minutes or however long. You have to

567
00:28:29,320 --> 00:28:32,639
Speaker 4: fudge and combine details, and sometimes it's just fun to

568
00:28:33,200 --> 00:28:35,840
Speaker 4: Howard Jews is in Vegas, so why not put him

569
00:28:35,880 --> 00:28:39,280
Speaker 4: in the story? Not necessarily you're trying to say that

570
00:28:39,360 --> 00:28:41,880
Speaker 4: really happened. And I think and that's what you guys

571
00:28:41,880 --> 00:28:44,560
Speaker 4: were doing with taking as well, like taking all the

572
00:28:44,600 --> 00:28:47,680
Speaker 4: different lore, mixing it up, and I think he might

573
00:28:48,160 --> 00:28:51,280
Speaker 4: be doing that a little bit to The screenwriter for

574
00:28:51,600 --> 00:28:55,320
Speaker 4: Disclosure Day is David Kep, who was also screenwriter on

575
00:28:55,520 --> 00:28:58,800
Speaker 4: a few Drastic Park movies and Kingdom of the Crystal

576
00:28:58,800 --> 00:29:01,400
Speaker 4: Skull and King with the Crystal Skull was actually the

577
00:29:01,440 --> 00:29:05,200
Speaker 4: movie that establishes that warehouse is Area fifty one. It

578
00:29:05,320 --> 00:29:07,320
Speaker 4: was never said that it was Area fifty one in Raiders,

579
00:29:07,360 --> 00:29:10,880
Speaker 4: but in Came of the Crystal Skull it's established as

580
00:29:10,880 --> 00:29:12,720
Speaker 4: being an Area fifty one. But I don't know. I

581
00:29:12,720 --> 00:29:15,400
Speaker 4: thought it was just a government warehouse in Raiders, but

582
00:29:15,480 --> 00:29:16,880
Speaker 4: maybe I don't have to go back and look at

583
00:29:16,880 --> 00:29:19,240
Speaker 4: the script and see if they My understanding is the

584
00:29:19,320 --> 00:29:21,840
Speaker 4: very first public mention of Area fifty one is in

585
00:29:22,560 --> 00:29:25,719
Speaker 4: UFO cover Up Live on a map that appears in

586
00:29:25,880 --> 00:29:28,720
Speaker 4: nineteen eighty nine, even before eighty eight, before even George

587
00:29:28,800 --> 00:29:31,560
Speaker 4: did his Blazar story, like a year before it was.

588
00:29:31,680 --> 00:29:32,880
Speaker 4: But anyhow, I.

589
00:29:33,960 --> 00:29:35,600
Speaker 3: Did not know that little factoid.

590
00:29:35,600 --> 00:29:36,960
Speaker 2: That's that's the.

591
00:29:37,000 --> 00:29:40,280
Speaker 1: UFO cover Up Live is a television show, and I

592
00:29:40,320 --> 00:29:43,880
Speaker 1: believe it was eighty eight where famously they had a

593
00:29:43,920 --> 00:29:47,640
Speaker 1: lot that some interviews that were disguised interviews in the shadow,

594
00:29:47,920 --> 00:29:49,520
Speaker 1: and one of them was a guy saying, yeah, we

595
00:29:49,560 --> 00:29:52,680
Speaker 1: had an alien and it's dead, jugging it used to

596
00:29:52,720 --> 00:29:54,160
Speaker 1: love strawberry ice cream.

597
00:29:54,920 --> 00:29:57,880
Speaker 4: There's also Paul even as a cameo in the movie Paul,

598
00:29:57,960 --> 00:30:00,640
Speaker 4: which is have you guys ever seen that? Oh yeah, yeah, yeah,

599
00:30:00,680 --> 00:30:03,600
Speaker 4: where he's getting he's talking to Paul the alien that

600
00:30:03,720 --> 00:30:06,880
Speaker 4: area if you want to get ideas for et a

601
00:30:07,200 --> 00:30:10,520
Speaker 4: flashback phone call. Yeah, I love to see. I think

602
00:30:10,520 --> 00:30:12,520
Speaker 4: he likes to have fun with the idea that he's

603
00:30:12,560 --> 00:30:15,600
Speaker 4: on the inside. The Men in Black films depict that,

604
00:30:15,960 --> 00:30:18,320
Speaker 4: and then Men in Black. Men in Black has the

605
00:30:18,360 --> 00:30:22,680
Speaker 4: most succinct thesis on why disclosure will never happen. In

606
00:30:22,760 --> 00:30:25,560
Speaker 4: the dialogue of Men in Black is Tommy Lee Jones

607
00:30:26,000 --> 00:30:28,800
Speaker 4: is telling Will Smith there's always like a Karellion death

608
00:30:28,880 --> 00:30:32,200
Speaker 4: ray or an invading alien force. The only way all

609
00:30:32,240 --> 00:30:34,800
Speaker 4: these people go about their lives is if they do

610
00:30:34,840 --> 00:30:37,840
Speaker 4: not know about it. That's like the summation and kind

611
00:30:37,840 --> 00:30:40,160
Speaker 4: of justification for Men in Black and all the horrible

612
00:30:40,160 --> 00:30:44,120
Speaker 4: stuff they've done in all the years of intimidation and

613
00:30:44,160 --> 00:30:47,240
Speaker 4: screaming and threatening to big people disappear in the desert.

614
00:30:47,680 --> 00:30:50,960
Speaker 4: The Men in Black is almost like propaganda for them,

615
00:30:51,000 --> 00:30:54,040
Speaker 4: and it makes them these smooth suit wearing good guys

616
00:30:54,080 --> 00:30:56,240
Speaker 4: who are there fighting the good fight. And I'm not

617
00:30:56,280 --> 00:30:57,440
Speaker 4: trying to keep us all in the dark.

618
00:30:57,680 --> 00:31:00,680
Speaker 1: Listen, while we were doing the research on this thing,

619
00:31:00,880 --> 00:31:02,560
Speaker 1: I just came across a couple of things I thought

620
00:31:02,600 --> 00:31:05,920
Speaker 1: were fascinating, which is going back to nineteen eighty five

621
00:31:05,960 --> 00:31:09,160
Speaker 1: when he did Amazing Stories. They did one episode called

622
00:31:09,240 --> 00:31:13,040
Speaker 1: Fine Tuning that follows high school kids who build an

623
00:31:13,040 --> 00:31:18,400
Speaker 1: antenna and discover they can pick up alien television transmissions,

624
00:31:18,760 --> 00:31:23,200
Speaker 1: revealing the aliens are fascinated by nineteen fifties American TV

625
00:31:23,880 --> 00:31:27,200
Speaker 1: and they're headed to Earth to experience Hollywood directly, which

626
00:31:27,200 --> 00:31:30,800
Speaker 1: seems like there's an episode right up sound Light and Frequency.

627
00:31:30,880 --> 00:31:34,960
Speaker 4: Yeah, that's of my favorite episodes. Starring Matthew Laberteaux Yeah

628
00:31:35,000 --> 00:31:36,400
Speaker 4: episode Yeah Yeah.

629
00:31:36,400 --> 00:31:40,800
Speaker 1: And then in ninety three on sequest DSV. They started

630
00:31:40,840 --> 00:31:43,920
Speaker 1: out with sequests doing more exploration of the oceans, but

631
00:31:44,240 --> 00:31:48,320
Speaker 1: they started going deep into usos and they did another

632
00:31:48,360 --> 00:31:51,360
Speaker 1: one that was called Such Great Patients and they discover

633
00:31:51,480 --> 00:31:55,080
Speaker 1: a million year old alien spacecraft on the ocean floor.

634
00:31:55,280 --> 00:31:58,560
Speaker 1: Spielberg and as far as I understand it, in both

635
00:31:58,600 --> 00:32:02,120
Speaker 1: these TV series, major involvement from him looking at all

636
00:32:02,160 --> 00:32:05,560
Speaker 1: the scripts and putting in his input. It isn't just

637
00:32:05,720 --> 00:32:07,680
Speaker 1: I guess what I'm saying is it isn't just his

638
00:32:07,920 --> 00:32:11,000
Speaker 1: film agraphy where the man is putting all this stuff in.

639
00:32:11,120 --> 00:32:14,080
Speaker 1: He went through a period in the mid twenty tens.

640
00:32:14,120 --> 00:32:16,520
Speaker 1: I guess where he does under the Dome and the

641
00:32:16,560 --> 00:32:19,520
Speaker 1: dome turns out to be an alien thing that's holding

642
00:32:19,560 --> 00:32:22,920
Speaker 1: everybody in. And then he does extent with halle Berry

643
00:32:23,080 --> 00:32:25,800
Speaker 1: and that brings in I guess what you would call

644
00:32:25,960 --> 00:32:28,160
Speaker 1: is some kind of hybrid. So I just want to

645
00:32:28,160 --> 00:32:30,600
Speaker 1: ask you this, Ernie, when you think of all this

646
00:32:30,680 --> 00:32:34,520
Speaker 1: stuff and you've seen the trailers yourself for Disclosure Day,

647
00:32:34,960 --> 00:32:36,880
Speaker 1: is he saying hybrids?

648
00:32:37,000 --> 00:32:37,200
Speaker 3: Is that?

649
00:32:37,320 --> 00:32:41,000
Speaker 1: Because in Taken, that's what we said, we went deep

650
00:32:41,040 --> 00:32:45,360
Speaker 1: into the hybrid so fortaken, But frankly, Brent, you and

651
00:32:45,400 --> 00:32:49,080
Speaker 1: I did it in dark Skies before taken, Sure, abductions

652
00:32:49,120 --> 00:32:50,000
Speaker 1: and hybrids.

653
00:32:50,200 --> 00:32:53,960
Speaker 3: So is hybrids the truth he's talking about?

654
00:32:54,000 --> 00:32:56,360
Speaker 4: Do you think it seems to the trailer seem to

655
00:32:56,400 --> 00:32:59,600
Speaker 4: imply that he's a master of misdirection too. He'll make

656
00:32:59,600 --> 00:33:02,240
Speaker 4: you think things going to happen based on the trailer

657
00:33:02,440 --> 00:33:06,120
Speaker 4: and then it's something else completely. But just the imagery,

658
00:33:06,320 --> 00:33:08,440
Speaker 4: the shots that I keep thinking about again and again.

659
00:33:08,560 --> 00:33:11,240
Speaker 4: First is the UFO coming out of the clouds, the

660
00:33:11,280 --> 00:33:13,600
Speaker 4: first time seen a flying saucer in a Steven Spielberg

661
00:33:13,640 --> 00:33:16,680
Speaker 4: movie since et I guess, I guess you could count

662
00:33:16,960 --> 00:33:19,080
Speaker 4: some of those things in War of the Worlds. But

663
00:33:19,200 --> 00:33:21,480
Speaker 4: it's a close Encounter's kind of image of coming out

664
00:33:21,480 --> 00:33:24,000
Speaker 4: of the cloud Yeah, disguise.

665
00:33:23,720 --> 00:33:24,880
Speaker 2: Feels very ilm.

666
00:33:25,160 --> 00:33:27,760
Speaker 4: Yeah. And the shots that they added in the most

667
00:33:27,800 --> 00:33:31,800
Speaker 4: recent trailer of the Roswell footage, which you know, and

668
00:33:31,880 --> 00:33:35,200
Speaker 4: that's so tied in with disclosure and the mythos from

669
00:33:35,200 --> 00:33:37,680
Speaker 4: the Lore of Disclosure. It seems like he wants to

670
00:33:37,720 --> 00:33:41,600
Speaker 4: make like his maybe it's his his thesis. Now Close

671
00:33:41,680 --> 00:33:44,320
Speaker 4: Encounters was his thesis then as a twenty seven year

672
00:33:44,320 --> 00:33:46,920
Speaker 4: old guy, he's had a whole lot of life experience,

673
00:33:47,000 --> 00:33:50,040
Speaker 4: and like you guys, I bet he has had not

674
00:33:50,120 --> 00:33:53,080
Speaker 4: just before close encounters. I bet they keep coming at him.

675
00:33:53,280 --> 00:33:55,520
Speaker 4: And it's not just the same guys. It's not just

676
00:33:55,800 --> 00:33:58,960
Speaker 4: it's not just JC, it's different people show up. Also,

677
00:33:59,120 --> 00:34:02,760
Speaker 4: I think there's people embedded in all the different movie studios,

678
00:34:02,800 --> 00:34:04,680
Speaker 4: just like there are in all the different news studios.

679
00:34:04,840 --> 00:34:07,480
Speaker 4: Could there are probably a whole you could never even tell.

680
00:34:07,640 --> 00:34:10,120
Speaker 4: And it's so easy to keep movies from getting made.

681
00:34:10,120 --> 00:34:12,440
Speaker 4: You just buy it and then put it in development

682
00:34:12,560 --> 00:34:15,759
Speaker 4: forever and they'll never get made. It's the easiest thing ever.

683
00:34:15,800 --> 00:34:17,760
Speaker 4: You just give some money and then you could prevent

684
00:34:17,800 --> 00:34:20,759
Speaker 4: that story from getting from getting told. So it's so

685
00:34:20,960 --> 00:34:23,279
Speaker 4: fascinating to me. But he is above and beyond that.

686
00:34:23,400 --> 00:34:25,400
Speaker 4: He can make any movie he wants, regardless of the

687
00:34:25,440 --> 00:34:27,399
Speaker 4: subject matter. If he wants to make a movie about

688
00:34:27,480 --> 00:34:30,720
Speaker 4: us Olo disclosure, no one can sabotage him or stop

689
00:34:30,800 --> 00:34:33,960
Speaker 4: him from making it. He can send whatever message he

690
00:34:34,000 --> 00:34:36,000
Speaker 4: wants and the whole world will receive it. And he's

691
00:34:36,040 --> 00:34:39,120
Speaker 4: earned that power as an artist to make a statement

692
00:34:39,200 --> 00:34:42,600
Speaker 4: and to have everybody everybody's waiting for it, so I

693
00:34:42,640 --> 00:34:45,319
Speaker 4: can't wait. June twelve, Hunt in the Days.

694
00:34:45,320 --> 00:34:48,440
Speaker 2: Well, one of my favorite things to do is embrace

695
00:34:48,480 --> 00:34:51,399
Speaker 2: the concept of pattern recognition. Look to see is there

696
00:34:51,400 --> 00:34:54,479
Speaker 2: any signal in the noise. And as you were pointing

697
00:34:54,520 --> 00:34:57,200
Speaker 2: out Bryce, like the spectrum of work that he's done,

698
00:34:57,440 --> 00:34:59,759
Speaker 2: at first you'd go, he's just done everything. He's done

699
00:34:59,760 --> 00:35:02,640
Speaker 2: all the cool stuff, and it's most of it's all

700
00:35:02,640 --> 00:35:05,719
Speaker 2: been incredibly successful. So he's had his finger on the

701
00:35:05,719 --> 00:35:09,080
Speaker 2: pulse of pop culture. Right, That's maybe the only defining

702
00:35:09,120 --> 00:35:11,600
Speaker 2: thing you can say. However, I just want to point

703
00:35:11,600 --> 00:35:14,239
Speaker 2: out a couple things. When you look at his seventies

704
00:35:14,239 --> 00:35:17,520
Speaker 2: and eighties films or anything he did back then, there

705
00:35:17,600 --> 00:35:20,240
Speaker 2: was a general sense of the more kind of benign

706
00:35:20,320 --> 00:35:23,719
Speaker 2: alien story that was more about the curiosity the wonder.

707
00:35:23,920 --> 00:35:26,520
Speaker 2: And then as we got moved into the turn of

708
00:35:26,560 --> 00:35:30,439
Speaker 2: the century, it was most of his dark stuff came

709
00:35:30,640 --> 00:35:33,960
Speaker 2: post nine to eleven, right, Taken came two thousand and two.

710
00:35:34,120 --> 00:35:35,799
Speaker 2: Then there was a series and that he wore the

711
00:35:35,840 --> 00:35:39,120
Speaker 2: worlds and whatnot. And so if I was trying to

712
00:35:39,160 --> 00:35:42,319
Speaker 2: find a pattern to anything that he did, and this

713
00:35:42,360 --> 00:35:45,840
Speaker 2: could have been something that was completely unintended at the time.

714
00:35:46,320 --> 00:35:50,600
Speaker 2: It's that his stuff is culturally relevant, right. His movies

715
00:35:50,680 --> 00:35:54,840
Speaker 2: reflect the consciousness of the era in a way that

716
00:35:54,960 --> 00:35:58,759
Speaker 2: either he's aware of that or it's just his his

717
00:35:58,800 --> 00:36:02,120
Speaker 2: finger on the pulse so acutely that he knows what

718
00:36:02,239 --> 00:36:06,160
Speaker 2: stories the public needs to hear. Now, flash forward all

719
00:36:06,200 --> 00:36:09,759
Speaker 2: the way to Disclosure Day, and you think that's the

720
00:36:09,800 --> 00:36:13,040
Speaker 2: pattern holding up, because we are in the midst of

721
00:36:13,200 --> 00:36:16,400
Speaker 2: a president who has just gotten an argument with a

722
00:36:16,920 --> 00:36:20,360
Speaker 2: previous president about who knows more about aliens and who's

723
00:36:20,400 --> 00:36:23,400
Speaker 2: broken codes and all of that kind of thing, leading

724
00:36:23,480 --> 00:36:26,880
Speaker 2: to now President Trump being harassed by various members of

725
00:36:26,920 --> 00:36:30,680
Speaker 2: Congress to release files which he says are going to happen,

726
00:36:31,040 --> 00:36:34,440
Speaker 2: files and videos. And so is it a coincidence then

727
00:36:34,719 --> 00:36:37,560
Speaker 2: that Steven Spielberg has a movie coming out at this

728
00:36:37,920 --> 00:36:41,359
Speaker 2: very culturally impactful time called Disclosure Day.

729
00:36:41,600 --> 00:36:43,239
Speaker 1: The only thing I can say, Brent, by the way,

730
00:36:43,440 --> 00:36:45,719
Speaker 1: is that the last thing Donald Trump probably wants to

731
00:36:45,760 --> 00:36:49,000
Speaker 1: do is give aid and comfort to a Hollywood liberal.

732
00:36:49,360 --> 00:36:49,799
Speaker 3: I don't know.

733
00:36:50,000 --> 00:36:53,480
Speaker 2: I would be if it'll misdirect everyone away from everything

734
00:36:53,480 --> 00:36:54,399
Speaker 2: else that's going on.

735
00:36:55,040 --> 00:36:58,640
Speaker 4: Let me think about the somewhere, there's a ministry of

736
00:36:58,680 --> 00:37:03,000
Speaker 4: disinformation our country, and somebody sat at a typewriter wrote up

737
00:37:03,280 --> 00:37:07,359
Speaker 4: thousands of preages of Project Sirpo and snuck in. It

738
00:37:07,360 --> 00:37:10,080
Speaker 4: was somebody's job to insert the truth into this fiction

739
00:37:10,200 --> 00:37:13,040
Speaker 4: and then release it. Same with the Majestic twelve documents.

740
00:37:13,440 --> 00:37:15,440
Speaker 4: If you know any of those, I think that was

741
00:37:15,440 --> 00:37:18,920
Speaker 4: a controlled, controlled releases. That's what's fascinating to me about

742
00:37:19,040 --> 00:37:21,319
Speaker 4: JC coming to visit you guys. You got to think

743
00:37:21,760 --> 00:37:24,640
Speaker 4: like they send somebody out so that they send somebody

744
00:37:24,640 --> 00:37:27,440
Speaker 4: to Chris Carter when he did the X Files, this

745
00:37:27,560 --> 00:37:31,760
Speaker 4: book that Bob Balaban, who plays Lacomb in Close Encounters,

746
00:37:31,760 --> 00:37:34,600
Speaker 4: he wrote a diary with all the dates of the

747
00:37:34,680 --> 00:37:36,879
Speaker 4: date George Lucas came to the set and the date

748
00:37:37,000 --> 00:37:40,080
Speaker 4: that Bob zamechis and Bob Gail and he talks about

749
00:37:40,120 --> 00:37:43,319
Speaker 4: using the identa Matt hand scanner, the Bibblesar talks about

750
00:37:43,320 --> 00:37:46,680
Speaker 4: it puts in Close Encounters. It's real fascinating stuff. But

751
00:37:46,719 --> 00:37:49,319
Speaker 4: he talks about jay aalen Heinich coming and visiting the

752
00:37:49,320 --> 00:37:51,400
Speaker 4: set and one night they're all up and jalen heinichs

753
00:37:51,440 --> 00:37:55,400
Speaker 4: is telling UFO stories and creeping everybody out, and Steven

754
00:37:55,520 --> 00:37:59,319
Speaker 4: is like a jukebox. Tll about that one Stephen tells

755
00:37:59,320 --> 00:38:01,160
Speaker 4: a story there are if you ever heard the story

756
00:38:01,200 --> 00:38:04,319
Speaker 4: about women's women in Texas who saw UFO and on

757
00:38:04,360 --> 00:38:07,040
Speaker 4: the side of it were painted the letters UFO NO.

758
00:38:08,239 --> 00:38:10,480
Speaker 4: I found an old interview where Steven talks about this

759
00:38:10,920 --> 00:38:14,640
Speaker 4: as like an example of the trickster phenomenon. He said

760
00:38:14,680 --> 00:38:18,040
Speaker 4: he read everything when he was researching close Encounters, including

761
00:38:18,120 --> 00:38:21,719
Speaker 4: all the National Inquirer or tabloid. He read everything and

762
00:38:21,760 --> 00:38:24,120
Speaker 4: distilled it all down and put it into close encounters.

763
00:38:24,120 --> 00:38:25,759
Speaker 4: So I think, and that's what you guys are doing

764
00:38:25,760 --> 00:38:29,719
Speaker 4: with dark Skys. You guys read everything, distilled it all down. Well,

765
00:38:29,760 --> 00:38:31,600
Speaker 4: if we put this and pulled in all these threads,

766
00:38:31,719 --> 00:38:34,279
Speaker 4: and I think he's doing the same thing. And the

767
00:38:34,320 --> 00:38:36,080
Speaker 4: other idea I wanted to throw at you guys is

768
00:38:36,160 --> 00:38:39,279
Speaker 4: if we believe remote viewing is a real thing, and

769
00:38:39,360 --> 00:38:42,560
Speaker 4: that Project Stargate is real and a lot of regular

770
00:38:42,560 --> 00:38:44,880
Speaker 4: people have the ability to remote view, they just don't

771
00:38:44,920 --> 00:38:47,560
Speaker 4: know it. I think maybe the only time people in

772
00:38:47,600 --> 00:38:50,120
Speaker 4: their lives ever try a remote view without realizing is it.

773
00:38:50,160 --> 00:38:51,880
Speaker 4: And when they try to sit down and write a story,

774
00:38:52,000 --> 00:38:54,680
Speaker 4: what would happen? And they go into their imagination and

775
00:38:54,719 --> 00:38:56,920
Speaker 4: doesn't stand the reason if remote viewing is real, that

776
00:38:56,960 --> 00:39:00,160
Speaker 4: some writers would be remote viewers without realizing it. One

777
00:39:00,280 --> 00:39:03,239
Speaker 4: Stephen King is a really badass remote viewer, and he's

778
00:39:03,320 --> 00:39:07,400
Speaker 4: like pulling in threads from he doesn't nowhere. Sameless songwriters,

779
00:39:07,440 --> 00:39:11,400
Speaker 4: some songwriters just people don't always know where creativity comes from.

780
00:39:11,600 --> 00:39:14,239
Speaker 4: What if it's coming from some quantum connection that we

781
00:39:14,280 --> 00:39:17,280
Speaker 4: all have to collective. It's real, all fascinating, but Stephen

782
00:39:17,320 --> 00:39:19,480
Speaker 4: may be one of those people not only like taps

783
00:39:19,520 --> 00:39:22,879
Speaker 4: into the zeitgeist and the collective unconscious, but also ends

784
00:39:22,960 --> 00:39:25,799
Speaker 4: up changing it. I always thinking about Jaws and how

785
00:39:26,239 --> 00:39:28,919
Speaker 4: grown up in the pool you've just done done that's

786
00:39:28,920 --> 00:39:32,120
Speaker 4: because of Stephen, Like kids in swimming pools all around

787
00:39:32,120 --> 00:39:35,800
Speaker 4: the world like making this sound because he decided to

788
00:39:35,840 --> 00:39:38,080
Speaker 4: do that in his movie, and it's a part of

789
00:39:38,120 --> 00:39:40,959
Speaker 4: the whole culture of the world all around the world

790
00:39:41,040 --> 00:39:44,000
Speaker 4: as a result of And I think Close Encounters had

791
00:39:44,000 --> 00:39:46,440
Speaker 4: that effect too. I know when I saw it on television,

792
00:39:46,920 --> 00:39:50,919
Speaker 4: I had UFO dreams for like weeks after that because

793
00:39:50,960 --> 00:39:53,680
Speaker 4: it was just such a profound The first Shirett movie

794
00:39:53,760 --> 00:39:56,400
Speaker 4: just jolts you right when when it's dark and you

795
00:39:56,480 --> 00:39:59,680
Speaker 4: hear the music and then wham like the brightest light possible,

796
00:40:00,160 --> 00:40:03,839
Speaker 4: just doing that to everybody's pupils all around the world

797
00:40:03,880 --> 00:40:07,360
Speaker 4: at the beginning of Close Encounters, like making everybody's pupils dilate,

798
00:40:07,719 --> 00:40:10,359
Speaker 4: and then tells you the story. I love that movie

799
00:40:10,400 --> 00:40:12,359
Speaker 4: so much. I keep going back to it.

800
00:40:12,520 --> 00:40:17,200
Speaker 1: Hey, Ernie, you have seen many thousands of films. Have

801
00:40:17,280 --> 00:40:19,080
Speaker 1: you seen any Transformers films?

802
00:40:19,200 --> 00:40:23,400
Speaker 4: I believe I saw the first or second Transformers movie.

803
00:40:23,640 --> 00:40:25,560
Speaker 4: I did not think it started to blur together to me.

804
00:40:25,960 --> 00:40:28,680
Speaker 1: There's been seven of them made, right, and there is

805
00:40:28,760 --> 00:40:33,719
Speaker 1: an evolution in the storyline about non human intelligence or

806
00:40:33,800 --> 00:40:39,040
Speaker 1: machine intelligence that evolves in these things, and literally seven

807
00:40:39,080 --> 00:40:43,000
Speaker 1: of them. I don't know if Spielberg has any association

808
00:40:43,160 --> 00:40:46,400
Speaker 1: with those films other than being an executive producer and

809
00:40:46,520 --> 00:40:49,759
Speaker 1: passing off on them, or do you think he's been

810
00:40:49,800 --> 00:40:50,600
Speaker 1: involved in them?

811
00:40:50,600 --> 00:40:51,200
Speaker 3: What's your take?

812
00:40:51,400 --> 00:40:54,439
Speaker 4: Actually, AI was the last screenplay credit that he had

813
00:40:54,520 --> 00:40:57,720
Speaker 4: that he took me before this. It takes story credit

814
00:40:58,000 --> 00:41:00,880
Speaker 4: for Fableman's obviously, and this I think he has a

815
00:41:00,880 --> 00:41:03,440
Speaker 4: story about credit on. But the last screenplay credit he

816
00:41:03,560 --> 00:41:06,680
Speaker 4: had before AI was Close Encounters, And he said in

817
00:41:06,719 --> 00:41:08,600
Speaker 4: the interviews that's because he couldn't get anyody else to

818
00:41:08,600 --> 00:41:10,400
Speaker 4: write it the way that he wanted. You guys know

819
00:41:10,440 --> 00:41:11,240
Speaker 4: about Night Skies.

820
00:41:11,560 --> 00:41:15,960
Speaker 1: Yes, that's the family under attack, right and then right,

821
00:41:16,719 --> 00:41:18,319
Speaker 1: and then it becomes.

822
00:41:20,360 --> 00:41:23,880
Speaker 4: The family in Hopkinsville threatened to sue him if he

823
00:41:24,040 --> 00:41:27,080
Speaker 4: made their story about their farm getting attacked, and that

824
00:41:27,280 --> 00:41:29,160
Speaker 4: would still make a great movie. I don't think I've

825
00:41:29,160 --> 00:41:31,400
Speaker 4: ever seen that depicted. It would be a big budget

826
00:41:32,400 --> 00:41:36,919
Speaker 4: Kelly Hopkins Hopkinsville story. It's like scary ET, like ET

827
00:41:37,160 --> 00:41:39,680
Speaker 4: with like T and this it could have been a

828
00:41:39,719 --> 00:41:43,560
Speaker 4: much darker, darker. It was envisioned as a sequel. Ron

829
00:41:43,560 --> 00:41:45,960
Speaker 4: cop was actually originally going to direct Dark Skys and

830
00:41:46,000 --> 00:41:47,759
Speaker 4: Stephen decided he wanted to do it and he wanted

831
00:41:47,760 --> 00:41:51,200
Speaker 4: to make it ET instead, but Ron Cobb still ended

832
00:41:51,239 --> 00:41:56,399
Speaker 4: up getting like a point, you mean, just because they're

833
00:41:56,440 --> 00:41:58,160
Speaker 4: so close nights guys.

834
00:41:58,440 --> 00:42:01,080
Speaker 2: I want to circle back to some thing that you mentioned, Ernie,

835
00:42:01,080 --> 00:42:03,120
Speaker 2: because it's something we've touched a little bit on in

836
00:42:03,160 --> 00:42:06,680
Speaker 2: some previous episodes, but it's also something I fundamentally agree

837
00:42:06,719 --> 00:42:09,759
Speaker 2: with that they're the nature of creativity and where does

838
00:42:09,800 --> 00:42:10,480
Speaker 2: it come from?

839
00:42:11,000 --> 00:42:11,200
Speaker 3: Right?

840
00:42:11,320 --> 00:42:14,080
Speaker 2: And we've seen it before in Hollywood where it's like,

841
00:42:14,200 --> 00:42:16,640
Speaker 2: all of a sudden, no one's made a Western for

842
00:42:16,840 --> 00:42:19,839
Speaker 2: ten years, and now there's three studios making Westerns at

843
00:42:19,840 --> 00:42:22,279
Speaker 2: the same time. It's that idea that something in the

844
00:42:22,320 --> 00:42:26,000
Speaker 2: collective unconscious out there is just percolates up and a

845
00:42:26,040 --> 00:42:29,080
Speaker 2: bunch of people get access to it independently of each other,

846
00:42:29,600 --> 00:42:32,120
Speaker 2: and they all get inspired and they all bring it

847
00:42:32,239 --> 00:42:34,760
Speaker 2: to the market at the same time. But I hadn't

848
00:42:34,960 --> 00:42:38,080
Speaker 2: actually considered what you implied, which is a lot of

849
00:42:38,080 --> 00:42:41,440
Speaker 2: times remote viewing is not just looking at other places

850
00:42:41,520 --> 00:42:44,359
Speaker 2: on the planet, but other places in the future or

851
00:42:44,400 --> 00:42:47,920
Speaker 2: in the past. That there's temporal aspect of remote viewing.

852
00:42:48,000 --> 00:42:50,600
Speaker 2: And so I think you have to at some point

853
00:42:50,640 --> 00:42:53,480
Speaker 2: consider and we've even talked about this in some of

854
00:42:53,520 --> 00:42:57,160
Speaker 2: the episodes as well, this idea that a story that

855
00:42:57,320 --> 00:43:01,840
Speaker 2: comes out presages actual events that are going to happen

856
00:43:01,960 --> 00:43:06,839
Speaker 2: decades later. Right now, Is that because the story came

857
00:43:06,880 --> 00:43:11,080
Speaker 2: out and it influenced people set things in motion, or

858
00:43:11,160 --> 00:43:15,040
Speaker 2: is it because the creator unwittingly got a vision, didn't

859
00:43:15,080 --> 00:43:18,120
Speaker 2: realize it was coming through the collective consciousness in the

860
00:43:18,120 --> 00:43:22,279
Speaker 2: future and actually is writing about things that are yet

861
00:43:22,320 --> 00:43:25,920
Speaker 2: to come. And so I say this because I want

862
00:43:25,960 --> 00:43:29,160
Speaker 2: to bring up just one very specific example that amuses

863
00:43:29,200 --> 00:43:33,360
Speaker 2: me simply because you guys have worked more with Steven.

864
00:43:33,520 --> 00:43:36,000
Speaker 2: I worked a lot with George Lucas when I was

865
00:43:36,080 --> 00:43:39,120
Speaker 2: doing the Clone Wars and got to spend a couple

866
00:43:39,200 --> 00:43:41,839
Speaker 2: weeks each year at the ranch, going to the main

867
00:43:41,920 --> 00:43:44,800
Speaker 2: house and breaking stories with him and Dave Filoni, and

868
00:43:44,840 --> 00:43:47,560
Speaker 2: so I got to know George pretty well. I'm particularly

869
00:43:47,880 --> 00:43:51,520
Speaker 2: interested in the one of the titles on this list

870
00:43:51,560 --> 00:43:54,120
Speaker 2: that you read off Bryce, which is The Crystal Skull

871
00:43:54,200 --> 00:43:56,719
Speaker 2: Indiana Jones and The Crystal Skull, because of course that's

872
00:43:56,760 --> 00:44:00,000
Speaker 2: George and Stephen working together. And I think we can

873
00:44:00,280 --> 00:44:03,319
Speaker 2: all agree that Stephen will never turn down a good

874
00:44:03,360 --> 00:44:07,399
Speaker 2: alien story. How However, he did not want to bring

875
00:44:07,440 --> 00:44:11,000
Speaker 2: aliens into this Indiana Jones story. That was George's idea.

876
00:44:11,440 --> 00:44:14,359
Speaker 2: And George, who I know. I spent enough time with him.

877
00:44:14,719 --> 00:44:18,359
Speaker 2: He so much of what happened in his childhood influenced

878
00:44:18,400 --> 00:44:22,239
Speaker 2: everything about him as an artist, and so he grew

879
00:44:22,320 --> 00:44:25,640
Speaker 2: up right. Star Wars was because he loved Flash Gordon,

880
00:44:26,080 --> 00:44:29,360
Speaker 2: and so he loved all those fifties sci fi movies

881
00:44:29,400 --> 00:44:32,480
Speaker 2: and whatnot, and he really felt like this was another

882
00:44:33,160 --> 00:44:35,759
Speaker 2: area of pop culture that he wanted to bring into

883
00:44:35,800 --> 00:44:39,160
Speaker 2: the Indiana Jones franchise. But Stephen felt like, I've already

884
00:44:39,200 --> 00:44:42,680
Speaker 2: done aliens. I don't want to bring that into this franchise,

885
00:44:42,719 --> 00:44:47,080
Speaker 2: and so they ended up settling on interdimensional beings, were

886
00:44:47,120 --> 00:44:50,880
Speaker 2: not full aliens like Stephen had done before. But I

887
00:44:50,920 --> 00:44:54,279
Speaker 2: think that here's the interesting thing. The actual lore of

888
00:44:54,360 --> 00:44:57,920
Speaker 2: the crystal skull is loosely tied to some kind of

889
00:44:58,000 --> 00:45:02,759
Speaker 2: regional mythology about something in that region in South America,

890
00:45:03,239 --> 00:45:05,759
Speaker 2: going all the way back to again. They tied it

891
00:45:05,800 --> 00:45:09,319
Speaker 2: into the legend of Acator, which is related to the

892
00:45:09,360 --> 00:45:12,520
Speaker 2: lost City of gold El Dorado, all of this stuff,

893
00:45:12,560 --> 00:45:15,200
Speaker 2: and that the idea that this city was built with

894
00:45:15,280 --> 00:45:19,920
Speaker 2: interdimensional beings help and that the crystal skulls represented the

895
00:45:20,320 --> 00:45:24,040
Speaker 2: cumulative knowledge. And anyway, I say all of this because

896
00:45:24,520 --> 00:45:28,960
Speaker 2: the representation of those aliens and the ties to beings

897
00:45:29,000 --> 00:45:33,120
Speaker 2: that helped influence culture in South America is all tied

898
00:45:33,200 --> 00:45:36,960
Speaker 2: to or very related to the Nasca mummies, the whole

899
00:45:37,000 --> 00:45:41,799
Speaker 2: phenomenons that came out in twenty sixteen, seventeen. I think

900
00:45:42,040 --> 00:45:44,840
Speaker 2: not too long ago those kind of broke into pop

901
00:45:44,840 --> 00:45:47,400
Speaker 2: culture and they became a thing and they've been debunked

902
00:45:47,400 --> 00:45:49,560
Speaker 2: and they've been proven, and they've been debunked and they've

903
00:45:49,600 --> 00:45:52,040
Speaker 2: been proven, and now we're at that stalemate where it's

904
00:45:52,040 --> 00:45:54,080
Speaker 2: like there's so much noise, nobody knows what to think

905
00:45:54,080 --> 00:45:55,560
Speaker 2: of it, but I know what to think.

906
00:45:55,600 --> 00:45:59,040
Speaker 4: They're real. You will admit they're real, right, well, hit,

907
00:45:59,080 --> 00:46:02,040
Speaker 4: they're real. All of it's real. The questions that were

908
00:46:02,040 --> 00:46:04,399
Speaker 4: in so they have to not have to not be real.

909
00:46:04,440 --> 00:46:06,239
Speaker 4: But how many doctors need to go down there and

910
00:46:06,239 --> 00:46:09,640
Speaker 4: say it's not constructed and they put the DNA online

911
00:46:09,719 --> 00:46:12,640
Speaker 4: unless they're thinking millions of lines of DNA code. I've

912
00:46:12,640 --> 00:46:15,919
Speaker 4: been saying this to George Knapp and everybody for years.

913
00:46:16,000 --> 00:46:18,000
Speaker 4: Guys need to take a long look at those mummies.

914
00:46:18,440 --> 00:46:20,359
Speaker 4: But yeah, I do. Yeah.

915
00:46:20,400 --> 00:46:22,920
Speaker 2: And here's the last little piece I want to string

916
00:46:23,000 --> 00:46:25,760
Speaker 2: together here because I just again, I'm a big pattern

917
00:46:25,800 --> 00:46:28,280
Speaker 2: recognition person, and I was looking for is there anything

918
00:46:28,320 --> 00:46:30,399
Speaker 2: here or am I just going down another rabbit hole?

919
00:46:30,880 --> 00:46:33,799
Speaker 2: And what I came up with was the fact that

920
00:46:34,280 --> 00:46:37,520
Speaker 2: I remember when they first showed the Nasca mummies the

921
00:46:37,560 --> 00:46:40,799
Speaker 2: first image, and I said, et, this is et. So

922
00:46:40,920 --> 00:46:44,000
Speaker 2: they've what idiots? They fake this by taking the most

923
00:46:44,120 --> 00:46:48,840
Speaker 2: recognizable alien and made it look exactly like et what

924
00:46:48,960 --> 00:46:50,799
Speaker 2: a dumb thing to do if you're trying to fake

925
00:46:50,840 --> 00:46:54,520
Speaker 2: it in terms of credibility. Now here's the interesting thing though,

926
00:46:55,000 --> 00:46:59,520
Speaker 2: those aliens, those Naska mummies have three fingers. Now, if

927
00:46:59,560 --> 00:47:03,520
Speaker 2: you go back and you look at the Close Encounters,

928
00:47:03,560 --> 00:47:07,520
Speaker 2: the aliens in Close Encounters three fingers, the aliens in

929
00:47:07,760 --> 00:47:09,600
Speaker 2: Taken three fingers.

930
00:47:09,600 --> 00:47:14,640
Speaker 1: And aliens in the latest Disclosure Day trailer three fingers,

931
00:47:14,800 --> 00:47:16,400
Speaker 1: Crystal Skull three fingers.

932
00:47:16,680 --> 00:47:20,200
Speaker 2: So now this all could be complete coincidence, right, and

933
00:47:20,200 --> 00:47:23,799
Speaker 2: it's just a stylistic choice. But I come back to

934
00:47:24,440 --> 00:47:27,440
Speaker 2: as we started the episode saying, is there anything to

935
00:47:27,760 --> 00:47:31,799
Speaker 2: Disclosure Day like as actual disclosure? And even if you

936
00:47:31,800 --> 00:47:34,400
Speaker 2: put aside the idea that does Steven know something or

937
00:47:34,400 --> 00:47:38,480
Speaker 2: doesn't he know something, there are certain aspects of Disclosure

938
00:47:38,520 --> 00:47:42,520
Speaker 2: Day that whether it's hybrids, whether it's three fingered aliens,

939
00:47:42,560 --> 00:47:45,720
Speaker 2: whether it's a monitoring center all a men in black,

940
00:47:45,800 --> 00:47:51,200
Speaker 2: whether it's aliens taking the form of animals or other like,

941
00:47:51,280 --> 00:47:56,920
Speaker 2: all of this feels very not real but or true,

942
00:47:57,280 --> 00:48:01,000
Speaker 2: but it's certainly a lot of things that people believe nowadays.

943
00:48:01,480 --> 00:48:04,319
Speaker 2: So there was one part of that interviewed Bryce that

944
00:48:04,360 --> 00:48:07,520
Speaker 2: you mentioned that Stephen gave it cinema Scape or was

945
00:48:07,560 --> 00:48:10,880
Speaker 2: it CinemaScope or Escape or something whatever it was CinemaCon

946
00:48:11,360 --> 00:48:15,440
Speaker 2: in Vegas, where he also said that this movie is

947
00:48:15,480 --> 00:48:18,279
Speaker 2: going to have more truth than fiction. That is a

948
00:48:18,320 --> 00:48:20,920
Speaker 2: ballsy thing to say because that implies you know what

949
00:48:20,960 --> 00:48:24,120
Speaker 2: the truth is. And I still come back to Okay,

950
00:48:24,200 --> 00:48:27,400
Speaker 2: if that's true and we are that movie's coming out

951
00:48:27,680 --> 00:48:30,280
Speaker 2: as a lot of his movies do, where it's representing

952
00:48:30,320 --> 00:48:36,120
Speaker 2: and reflecting the cultural zeitgeist and maybe the unconsciousness. How

953
00:48:36,239 --> 00:48:42,800
Speaker 2: much truth is going to be in that movie.

954
00:48:43,840 --> 00:48:46,080
Speaker 1: I love what you just said, Brent. You can't really

955
00:48:46,120 --> 00:48:48,719
Speaker 1: say it's going to have more truth than a lot

956
00:48:48,760 --> 00:48:51,640
Speaker 1: of truth in it if you don't actually feel like

957
00:48:51,680 --> 00:48:52,719
Speaker 1: you know what the truth is.

958
00:48:52,760 --> 00:48:55,239
Speaker 3: The question is why does he know that? And we

959
00:48:55,360 --> 00:48:56,239
Speaker 3: got to wrap this.

960
00:48:56,239 --> 00:48:58,479
Speaker 1: Up, and by the way, Ernie, you'll have to become

961
00:48:58,520 --> 00:49:02,319
Speaker 1: a friend of the show because not done obviously. But

962
00:49:02,560 --> 00:49:05,200
Speaker 1: the very beginning I had made the statement that I

963
00:49:05,200 --> 00:49:08,040
Speaker 1: thought this Disclosure Day might be his closing argument, and

964
00:49:08,120 --> 00:49:10,520
Speaker 1: you said, I'm not quite so sure. Why don't you

965
00:49:10,560 --> 00:49:13,040
Speaker 1: expand on that and kind of wrap up your feelings

966
00:49:13,080 --> 00:49:16,200
Speaker 1: about Disclosure Day and what it might represent as we

967
00:49:16,320 --> 00:49:17,920
Speaker 1: lurch for the finish line here.

968
00:49:17,840 --> 00:49:20,080
Speaker 2: And maybe even include what you hope it represents.

969
00:49:20,200 --> 00:49:23,920
Speaker 4: Yeah, Oh, it would be wonderful if if our government

970
00:49:24,440 --> 00:49:28,480
Speaker 4: or the military Industrial Complex, or the Zenith Group or

971
00:49:28,640 --> 00:49:32,680
Speaker 4: whoever's running the UFO reverse engineering program and or the

972
00:49:32,719 --> 00:49:37,480
Speaker 4: disinformation Wing, it would be wonderful if they had like, all, right, time,

973
00:49:37,560 --> 00:49:39,120
Speaker 4: we can't the jig is up, We can't keep this

974
00:49:39,160 --> 00:49:42,280
Speaker 4: a secret anymore. Why don't we go to the world's

975
00:49:42,320 --> 00:49:45,040
Speaker 4: greatest filmmaker and have him help us tell the truth?

976
00:49:45,480 --> 00:49:48,160
Speaker 4: And maybe it's like Jackie Gleeson and Nixon, right, maybe

977
00:49:48,160 --> 00:49:50,480
Speaker 4: they took him in to the Blue Room and showed

978
00:49:50,520 --> 00:49:53,440
Speaker 4: him the bodies and told him about the hybrid breeding

979
00:49:53,520 --> 00:49:56,840
Speaker 4: program and that we've been allowing people to get snatched

980
00:49:56,840 --> 00:50:00,000
Speaker 4: out of their beds and implanted and tagged like animal

981
00:50:00,920 --> 00:50:03,320
Speaker 4: had been helping keep the secret. I don't know that.

982
00:50:03,520 --> 00:50:06,560
Speaker 4: Just I have a hard time believing they would ever

983
00:50:06,640 --> 00:50:09,320
Speaker 4: tell a filmmaker that unless they had a real specific

984
00:50:10,040 --> 00:50:13,360
Speaker 4: mission in mind, or real and I just he's the

985
00:50:13,400 --> 00:50:16,600
Speaker 4: last guy who would play along like he's a real

986
00:50:16,680 --> 00:50:19,040
Speaker 4: artist and he has a vision of what he wants

987
00:50:19,080 --> 00:50:22,440
Speaker 4: to do with each movie, and all different themes he explores,

988
00:50:22,480 --> 00:50:24,239
Speaker 4: and it's always like you said, I don't think he

989
00:50:24,280 --> 00:50:27,000
Speaker 4: always spoon fees the audience. I think he leaves some

990
00:50:27,120 --> 00:50:30,719
Speaker 4: things ambiguous and disclosure. They might be that way as well.

991
00:50:31,080 --> 00:50:33,880
Speaker 4: But he's definitely putting a planning a flag at Roswell,

992
00:50:34,360 --> 00:50:37,360
Speaker 4: and it seems to be planning a flag at humans

993
00:50:37,360 --> 00:50:41,120
Speaker 4: who or people who look human that aren't completely human.

994
00:50:41,320 --> 00:50:47,000
Speaker 4: I keep thinking about Obama, the Obamas and after getting

995
00:50:47,000 --> 00:50:50,520
Speaker 4: out of office and their production company announcing that Betty

996
00:50:50,560 --> 00:50:53,120
Speaker 4: and Barney Hill movie, which I don't think is ever

997
00:50:53,160 --> 00:50:55,279
Speaker 4: going to get made or was ever going to get made.

998
00:50:55,640 --> 00:50:59,560
Speaker 4: I think that's just the sneakiest way possible for Obama

999
00:50:59,600 --> 00:51:01,120
Speaker 4: to say, oh, you might want to take a look

1000
00:51:01,120 --> 00:51:04,680
Speaker 4: at this story over here. I was president for eight

1001
00:51:04,760 --> 00:51:06,759
Speaker 4: years and I think out of all the movies I

1002
00:51:06,760 --> 00:51:08,680
Speaker 4: can make, this would be a good one to make.

1003
00:51:09,000 --> 00:51:10,680
Speaker 4: But he doesn't even have to say that. He just

1004
00:51:10,760 --> 00:51:12,399
Speaker 4: has to like put his name on it and then

1005
00:51:12,400 --> 00:51:14,880
Speaker 4: it goes away and it doesn't it's not a front.

1006
00:51:15,080 --> 00:51:18,680
Speaker 4: But to me, I think that's one of the ways

1007
00:51:18,719 --> 00:51:21,839
Speaker 4: to say something without saying it or breaking the law

1008
00:51:22,000 --> 00:51:24,759
Speaker 4: or getting in trouble with your security clearance, just show

1009
00:51:24,920 --> 00:51:28,080
Speaker 4: just giving it your attention, and Stephen giving something his attention.

1010
00:51:28,640 --> 00:51:31,040
Speaker 4: Takes years of his life to make a movie. And

1011
00:51:31,320 --> 00:51:34,520
Speaker 4: you must have an artistic reason and a motivation for

1012
00:51:34,560 --> 00:51:37,960
Speaker 4: wanting to revisit this all these years later and tell

1013
00:51:37,960 --> 00:51:40,280
Speaker 4: this kind of story and include all these real elements

1014
00:51:40,719 --> 00:51:44,840
Speaker 4: like Roswell and but it's a pretty creepy moments depicted

1015
00:51:44,880 --> 00:51:47,759
Speaker 4: in that trailer. It depicts that moment that Bryce and

1016
00:51:47,880 --> 00:51:51,839
Speaker 4: Richard Dolan bisected after disclosure. You see it happening on

1017
00:51:51,840 --> 00:51:54,640
Speaker 4: television in the trailer, that moment when the whole world

1018
00:51:54,640 --> 00:51:57,560
Speaker 4: finds out the truth there are aliens among us. I

1019
00:51:57,600 --> 00:52:00,879
Speaker 4: haven't seen any shots of looting or people running through

1020
00:52:00,880 --> 00:52:03,600
Speaker 4: the street with their hair on fire. It'd be interesting

1021
00:52:03,600 --> 00:52:06,000
Speaker 4: to see. How do you depict that moment happening and

1022
00:52:06,400 --> 00:52:09,240
Speaker 4: not being like an independence day, not be people running

1023
00:52:09,360 --> 00:52:12,200
Speaker 4: and streets flooded and people running for the hills to

1024
00:52:12,280 --> 00:52:15,200
Speaker 4: try to get out of the way of the death ray.

1025
00:52:15,719 --> 00:52:20,120
Speaker 4: Or what is to do to society if if that's

1026
00:52:20,160 --> 00:52:22,359
Speaker 4: all true, and there are people who look human living

1027
00:52:22,360 --> 00:52:25,040
Speaker 4: among us who aren't completely human, and our government's known

1028
00:52:25,040 --> 00:52:27,680
Speaker 4: about it for how long all the world's governments have

1029
00:52:27,760 --> 00:52:29,600
Speaker 4: known about it and then to keep agin the secret

1030
00:52:29,920 --> 00:52:33,520
Speaker 4: like it's just a bombshell that just keeps detonating. And

1031
00:52:33,560 --> 00:52:36,920
Speaker 4: you can see why fiction starting back in the forties

1032
00:52:37,080 --> 00:52:39,600
Speaker 4: or the nineteen fifties, like using fiction and movies to

1033
00:52:40,400 --> 00:52:43,800
Speaker 4: prepare people. If that's been going on in Hollywood since.

1034
00:52:44,040 --> 00:52:47,920
Speaker 4: So that's seventy years of movies about UFOs.

1035
00:52:47,440 --> 00:52:50,560
Speaker 1: And you just said in your last statement about forty

1036
00:52:50,640 --> 00:52:52,880
Speaker 1: things that I want to talk for five minutes about it.

1037
00:52:53,680 --> 00:52:55,120
Speaker 1: I don't know what I'm going to do about that

1038
00:52:55,200 --> 00:52:58,040
Speaker 1: in particular, Brent, you and I will have to talk

1039
00:52:58,040 --> 00:52:59,839
Speaker 1: to Betty and Barney Hill at some point because I've

1040
00:53:00,040 --> 00:53:02,520
Speaker 1: written that screenplay at myself so good.

1041
00:53:02,600 --> 00:53:02,960
Speaker 4: I love that.

1042
00:53:04,400 --> 00:53:05,799
Speaker 3: But anyway, here's the one thing.

1043
00:53:05,960 --> 00:53:07,960
Speaker 1: I just want to go back to Disclosure Day for

1044
00:53:08,000 --> 00:53:10,040
Speaker 1: a moment, because you've each sort of laid out a

1045
00:53:10,160 --> 00:53:12,880
Speaker 1: vision for this thing. I'm going to take a different

1046
00:53:13,239 --> 00:53:16,160
Speaker 1: point of view on it, which is in twenty seventeen,

1047
00:53:16,280 --> 00:53:18,160
Speaker 1: we had The New York Times come out and we

1048
00:53:18,200 --> 00:53:19,640
Speaker 1: thought there's a game changer.

1049
00:53:20,480 --> 00:53:21,400
Speaker 3: No, not really.

1050
00:53:21,600 --> 00:53:23,760
Speaker 1: It set us on a new track, but it didn't

1051
00:53:24,280 --> 00:53:27,920
Speaker 1: change everything overnight. Then David Grush came out in twenty

1052
00:53:27,960 --> 00:53:30,640
Speaker 1: three and we thought that'll be a game changer, and

1053
00:53:30,840 --> 00:53:34,000
Speaker 1: he even testified before Congress and he's a pretty good

1054
00:53:34,280 --> 00:53:38,800
Speaker 1: quality witness, and that didn't exactly get the game changed.

1055
00:53:39,080 --> 00:53:41,480
Speaker 1: And then we had Age of Disclosure just last year,

1056
00:53:41,560 --> 00:53:44,080
Speaker 1: where everybody said, oh my gosh, this is such an

1057
00:53:44,080 --> 00:53:47,640
Speaker 1: incredible film and all these people talking, that'll certainly get

1058
00:53:47,640 --> 00:53:50,600
Speaker 1: everybody's I said it myself, I went, this has got

1059
00:53:50,600 --> 00:53:52,399
Speaker 1: to be a game changer for people to see.

1060
00:53:52,440 --> 00:53:55,280
Speaker 3: It wasn't. Really. Here's what I am going to say.

1061
00:53:55,520 --> 00:53:58,640
Speaker 1: The commonality of all three of those is they were

1062
00:53:59,200 --> 00:54:02,799
Speaker 1: more or less truth delivered as truth. They were in

1063
00:54:02,840 --> 00:54:06,560
Speaker 1: the real world of news and so forth. I think

1064
00:54:06,560 --> 00:54:09,719
Speaker 1: the game changer is going to be Disclosure Day, and

1065
00:54:09,760 --> 00:54:13,960
Speaker 1: it's not even truth, it's Hollywood truth, just like Dark

1066
00:54:14,000 --> 00:54:17,080
Speaker 1: Skies was Hollywood truth for us, and other people have

1067
00:54:17,160 --> 00:54:19,840
Speaker 1: done it put out portions of it. I don't know

1068
00:54:19,880 --> 00:54:23,120
Speaker 1: that everything in Disclosure Day is going to be true.

1069
00:54:23,880 --> 00:54:25,600
Speaker 1: I guess there's different ways to look at what the

1070
00:54:25,680 --> 00:54:28,839
Speaker 1: truth is. But I think that Steven Spielberg is such

1071
00:54:28,840 --> 00:54:31,640
Speaker 1: a powerful social force that the one thing that he

1072
00:54:31,760 --> 00:54:35,680
Speaker 1: said as CinemaCon that is going to be true is

1073
00:54:35,880 --> 00:54:38,640
Speaker 1: people are going to have a lot of questions and

1074
00:54:39,440 --> 00:54:43,160
Speaker 1: what moves the needle? What does change a game? And

1075
00:54:43,280 --> 00:54:45,480
Speaker 1: we're all game players, so we're talking about a game

1076
00:54:45,520 --> 00:54:48,680
Speaker 1: being changed. What does change a game is when people

1077
00:54:48,760 --> 00:54:52,560
Speaker 1: start to question what's really going on here? What does

1078
00:54:52,680 --> 00:54:56,920
Speaker 1: all this really mean? So my take on Disclosure Day is,

1079
00:54:57,440 --> 00:55:00,520
Speaker 1: first of all, I'll stipulate everything to a view just said,

1080
00:55:00,640 --> 00:55:03,360
Speaker 1: But I also think it's going to be a powerful

1081
00:55:03,440 --> 00:55:08,360
Speaker 1: and important social moment, probably more important than if Donald

1082
00:55:08,360 --> 00:55:13,840
Speaker 1: Trump were to declassify an HD quality gun camera photo

1083
00:55:13,960 --> 00:55:16,399
Speaker 1: of a craft right now, I don't think it would

1084
00:55:16,520 --> 00:55:19,120
Speaker 1: change the game as much as Spielberg's movie is going to.

1085
00:55:19,320 --> 00:55:20,359
Speaker 3: That's my point of view.

1086
00:55:20,640 --> 00:55:22,880
Speaker 2: I agree with everything you just said. Well, actually I

1087
00:55:22,960 --> 00:55:25,279
Speaker 2: agree with both of you. I do want to just

1088
00:55:25,320 --> 00:55:29,000
Speaker 2: throw out one other possibility, though, playing on something that

1089
00:55:29,040 --> 00:55:31,839
Speaker 2: you mentioned, Ernie, which is that this idea that if

1090
00:55:31,880 --> 00:55:34,319
Speaker 2: Stephen came, if somebody came to Stephen and said, hey,

1091
00:55:34,320 --> 00:55:37,080
Speaker 2: we want you to do this, that as an artist,

1092
00:55:37,120 --> 00:55:38,879
Speaker 2: he'd be like, no, I have a vision. I want

1093
00:55:38,880 --> 00:55:41,160
Speaker 2: to make my own story. And also that idea that well,

1094
00:55:41,160 --> 00:55:43,240
Speaker 2: why would they, after all these years, go to Steven

1095
00:55:43,280 --> 00:55:46,920
Speaker 2: Spielberg and have him have a movie that actually discloses anything.

1096
00:55:47,200 --> 00:55:50,040
Speaker 2: I think we're at a very unique period in history

1097
00:55:50,280 --> 00:55:54,200
Speaker 2: where everything's happening all at once, and with the Internet

1098
00:55:54,320 --> 00:55:57,760
Speaker 2: and AI, you never know. I wake up every morning

1099
00:55:57,760 --> 00:56:00,399
Speaker 2: and I have no idea what to expect, and there's

1100
00:56:00,400 --> 00:56:04,600
Speaker 2: no certainty anymore at all. And what Spielberg represents to

1101
00:56:04,640 --> 00:56:09,400
Speaker 2: me as certainty. He is the most trusted voice in Hollywood,

1102
00:56:09,560 --> 00:56:12,680
Speaker 2: right he has. You can maybe not like everything he's done,

1103
00:56:12,719 --> 00:56:15,719
Speaker 2: but his body of work is like no other. And

1104
00:56:15,760 --> 00:56:21,320
Speaker 2: so if the government the military was ever involved in Hollywood,

1105
00:56:21,680 --> 00:56:25,799
Speaker 2: whether he was given a deal back in before Close

1106
00:56:25,880 --> 00:56:29,719
Speaker 2: Encounters or at any time along, it's right now at

1107
00:56:29,719 --> 00:56:32,719
Speaker 2: this point in history that if you wanted to use

1108
00:56:32,760 --> 00:56:37,160
Speaker 2: Hollywood to condition people to some hard truths, that they

1109
00:56:37,160 --> 00:56:40,200
Speaker 2: were going to have to get used to hybrids living

1110
00:56:40,200 --> 00:56:44,479
Speaker 2: among us, the government having been complicit in all sorts

1111
00:56:44,480 --> 00:56:47,759
Speaker 2: of stuff going on behind the scenes, people being monitored,

1112
00:56:47,960 --> 00:56:51,600
Speaker 2: just a lot of these ideas. I would, if I

1113
00:56:51,680 --> 00:56:54,520
Speaker 2: was in the government, say there's only one person I'm

1114
00:56:54,560 --> 00:56:56,880
Speaker 2: going to go to. It's going to be Steven Spielberg,

1115
00:56:57,160 --> 00:57:00,080
Speaker 2: because if he comes out with this, it's going to

1116
00:57:00,120 --> 00:57:03,759
Speaker 2: be taken seriously. And the fact that it's converging with

1117
00:57:03,880 --> 00:57:07,719
Speaker 2: a president who was about to disclose or threatening to disclose,

1118
00:57:08,160 --> 00:57:14,080
Speaker 2: feels like it's all Obviously. I know from my experiences

1119
00:57:14,120 --> 00:57:17,240
Speaker 2: talking to John Harrington, who was the person that disclosed

1120
00:57:17,280 --> 00:57:20,400
Speaker 2: to me, that the president is more of a figurehead.

1121
00:57:20,400 --> 00:57:22,640
Speaker 2: There are people well above the president that are pulling

1122
00:57:22,720 --> 00:57:27,040
Speaker 2: the strings. So if Trump is actually out there bull

1123
00:57:27,080 --> 00:57:30,440
Speaker 2: in a china shop threatening to disclose stuff, it's because

1124
00:57:30,800 --> 00:57:34,160
Speaker 2: somebody's allowing this to happen wherever that's going to go,

1125
00:57:34,800 --> 00:57:37,200
Speaker 2: in the same way that somebody could be allowing this

1126
00:57:37,320 --> 00:57:40,360
Speaker 2: movie to come out at this very important inflection point

1127
00:57:40,400 --> 00:57:43,760
Speaker 2: in history. And if I was Steven Spielberg, yes, I'd

1128
00:57:43,760 --> 00:57:45,600
Speaker 2: want to tell my story. I'd want to have my

1129
00:57:45,760 --> 00:57:48,520
Speaker 2: vision and whatnot. But I would also want to be

1130
00:57:48,600 --> 00:57:51,400
Speaker 2: one of the people that was trusted enough to usher

1131
00:57:51,480 --> 00:57:54,920
Speaker 2: in a new age of humanity. Right to be the

1132
00:57:54,960 --> 00:57:59,000
Speaker 2: person that, finally, after all of these years, brings truth

1133
00:57:59,080 --> 00:58:02,320
Speaker 2: to the people because he feels they should know. That

1134
00:58:02,520 --> 00:58:06,840
Speaker 2: is more than almost anything he's done as an entertainer.

1135
00:58:07,280 --> 00:58:10,760
Speaker 2: When history gets written as the person that brought disclosure

1136
00:58:11,440 --> 00:58:15,720
Speaker 2: to humanity and changed to the nature of reality, that's

1137
00:58:15,720 --> 00:58:17,160
Speaker 2: how you become immortalized.

1138
00:58:17,240 --> 00:58:18,120
Speaker 3: It's a great point.

1139
00:58:18,560 --> 00:58:20,720
Speaker 1: And Ernie, you are our guest and we have to

1140
00:58:20,720 --> 00:58:22,680
Speaker 1: wrap up, so I'm going to give you the last.

1141
00:58:22,440 --> 00:58:24,919
Speaker 3: Word, my friend, what do you think about all this?

1142
00:58:25,560 --> 00:58:28,080
Speaker 4: That would be the crowning. It would be the cherry

1143
00:58:28,120 --> 00:58:31,240
Speaker 4: on the top crowning achievement for him, better than a

1144
00:58:31,240 --> 00:58:34,440
Speaker 4: wall of oscars. Then, to be the one filmmaker trusted

1145
00:58:34,480 --> 00:58:38,000
Speaker 4: with telling the story that needs to be told in

1146
00:58:38,080 --> 00:58:42,680
Speaker 4: the most gentle and engaging way and convey a message. Yeah,

1147
00:58:42,720 --> 00:58:43,960
Speaker 4: he would be the guy. He would be the guy

1148
00:58:44,000 --> 00:58:46,160
Speaker 4: that I would pick. But even if it's just a

1149
00:58:46,160 --> 00:58:50,480
Speaker 4: good story and he's just playing with the lore and

1150
00:58:50,520 --> 00:58:53,720
Speaker 4: the tropes and riffing on it, there might be truth

1151
00:58:53,760 --> 00:58:56,320
Speaker 4: hidden in it, just like there was in Close Encounters.

1152
00:58:56,880 --> 00:58:59,040
Speaker 4: And I don't know. I just don't expect a clear

1153
00:58:59,080 --> 00:59:02,120
Speaker 4: cut story, but it could be. It could be people

1154
00:59:02,160 --> 00:59:06,000
Speaker 4: being interviewed in tears as they leave the theater, which is

1155
00:59:06,040 --> 00:59:08,680
Speaker 4: how it was with ET, but for different reasons. Hopefully. Yeah,

1156
00:59:08,760 --> 00:59:10,680
Speaker 4: but I don't know. I'm excited to talk with you

1157
00:59:10,720 --> 00:59:12,400
Speaker 4: guys about it after we all get to see it.

1158
00:59:12,440 --> 00:59:16,040
Speaker 1: Well, listen, Ernie, we thank you for First of all,

1159
00:59:16,080 --> 00:59:17,360
Speaker 1: we thank you for a lot of things thank you

1160
00:59:17,360 --> 00:59:20,840
Speaker 1: for coming in, but thank you for having that incredible background,

1161
00:59:20,880 --> 00:59:25,240
Speaker 1: which obviously has raised the game a little bit around

1162
00:59:25,240 --> 00:59:29,160
Speaker 1: here saying yeah, it was great having you. We thank

1163
00:59:29,200 --> 00:59:32,040
Speaker 1: you for that and your good thoughts. And for everyone

1164
00:59:32,080 --> 00:59:36,640
Speaker 1: who's watching or listening, just know that our plan is

1165
00:59:36,680 --> 00:59:40,280
Speaker 1: to follow and track this film. We have episodes coming

1166
00:59:40,360 --> 00:59:42,920
Speaker 1: up that we'll be talking about Men in Black, as

1167
00:59:42,920 --> 00:59:45,360
Speaker 1: we said, but even a little more Spielberg, and we

1168
00:59:45,400 --> 00:59:48,720
Speaker 1: intend to on the day that Disclosure Day comes out,

1169
00:59:48,960 --> 00:59:51,440
Speaker 1: we hope to have an episode that comes out as

1170
00:59:51,480 --> 00:59:55,240
Speaker 1: well where we will be not really reviewing the film,

1171
00:59:55,400 --> 00:59:58,120
Speaker 1: that would be reviewing it as a film. Bred I

1172
00:59:58,120 --> 01:00:00,160
Speaker 1: would put it differently, We're going to be looking at

1173
01:00:00,200 --> 01:00:01,560
Speaker 1: it as a historical moment.

1174
01:00:01,600 --> 01:00:06,320
Speaker 2: I think, Yeah, I'm excited. I think, more than anything, truth, fiction, whatever,

1175
01:00:06,520 --> 01:00:08,920
Speaker 2: this film is going to start conversations.

1176
01:00:09,240 --> 01:00:12,920
Speaker 1: I think we should end by saying something Brent and

1177
01:00:12,960 --> 01:00:15,960
Speaker 1: I have said at the end before. It is the

1178
01:00:16,000 --> 01:00:19,680
Speaker 1: original title of Close Encounters of the Third Kind, and

1179
01:00:19,800 --> 01:00:21,280
Speaker 1: it is watch.

1180
01:00:21,160 --> 01:00:23,720
Speaker 2: The Guys, Watch the Guys.

1181
01:00:29,240 --> 01:00:32,360
Speaker 1: Sound Light and Frequency is an iHeart podcast produced by

1182
01:00:32,400 --> 01:00:36,640
Speaker 1: Stellar Productions. It's executive produced by Nick Johnson and for Stellar,

1183
01:00:36,880 --> 01:00:40,080
Speaker 1: Jackie's Abel Our show's music was written by Anna Stumf

1184
01:00:40,120 --> 01:00:43,600
Speaker 1: and Hamilton Lighthauser, and your hosts and executive producers are

1185
01:00:43,720 --> 01:00:51,680
Speaker 1: Bryce Abel That's Me and Brent Friedman Watch the Guys