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Speaker 1: From UFOs to psychic powers and government conspiracies. History is

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Speaker 1: riddled with unexplained events. You can turn back now or

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Speaker 1: learn the stuff they don't want you to know. M

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Speaker 1: welcome back to the show. My name is Matt. Been

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Speaker 1: married nine years, Frederick. Hey, congratulations, Matt been married nine years, Frederick.

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Speaker 1: My name's Noll. Been divorced for a couple of years Brown. Yes, congratulations,

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Speaker 1: Matt been married nine years, Frederick. They call me Ben.

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Speaker 1: Our super producer Paul One take decant is away on adventures,

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Speaker 1: but we are joined with our super producer, Casey Pegram,

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Speaker 1: who you may recognize from several other shows here at

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Speaker 1: How Stuff Works. Hey, guys, thanks for having me in today.

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Speaker 1: Thanks for coming onto show Casey. Most importantly, if you're

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Speaker 1: listening to this, that means you are you, you are here,

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Speaker 1: and that makes this stuff they don't want you to know.

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Speaker 1: And it really is Matt's ninth anniversary. Yeah that's true. Yeah, yeah,

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Speaker 1: you're But while we are listening to ourselves. Unless this

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Speaker 1: episode somehow comes out on the same day we recorded,

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Speaker 1: which usually doesn't happen unless quick peek behind this curtain,

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Speaker 1: we got something wrong. But yes, massive congratulations. A lot

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Speaker 1: of people may not know that. Uh, you and Casey

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Speaker 1: have worked together extensively in the past in the film world, right,

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Speaker 1: that's right. We owned a company together for a while there.

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Speaker 1: He shot my wedding. We made numerous projects together. Yeah,

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Speaker 1: shout out to Brad Elephant. Oh dear, oh no, Now

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Speaker 1: people will know what to search on Google. There might

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Speaker 1: be some stuff on Google. I don't know. I think

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Speaker 1: the website is no no longer. He shot up your wedding,

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Speaker 1: and you, guys are still fair. He did, but it

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Speaker 1: was it was like celebratory style in the air. It

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Speaker 1: was like a wedding. It was I think it was

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Speaker 1: a bank highst thing wedding. Yeah. Those and how cinematic

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Speaker 1: would that be? Speaking of amazing segues, guys, we're finally

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Speaker 1: getting to an episode that a lot of you have

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Speaker 1: asked us about in the past. I mean, I mean

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Speaker 1: for years. Uh, we're all film buffs here at the studio,

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Speaker 1: and like many of you, we spend a lot of

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Speaker 1: time kicking around theories and discussing the implications of various

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Speaker 1: works as well as there are greater influences on later

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Speaker 1: films and filmmakers. Today we are diving into one of

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Speaker 1: the most well known conspiracies in the world of cinema.

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Speaker 1: And to do this justice we have to begin with

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Speaker 1: a single man. His name is Stanley Kubrick, Old stand

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Speaker 1: the Man. Kubrick was born on July twenty of the

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Speaker 1: year nineteen and twenty eight in the Bronx. You guys

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Speaker 1: have been to the Bronx. Yes, I have never been

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Speaker 1: there often. Oh wait, we went to the Bronx once, right, Yeah,

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Speaker 1: we're brief briefly there on that that that one day,

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Speaker 1: the Hidden Buildings ship. That's not such a secret anymore. Yeah.

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Speaker 1: His dad was a physician and his mother a housewife. Um.

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Speaker 1: And he was a bad, bad boy. Yeah he would

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Speaker 1: he was. He was notoriously bad at school. In elementary school, Uh,

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Speaker 1: he had about as many absences as he did attendance days.

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Speaker 1: It was an outcast once he got to high school.

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Speaker 1: He later claimed, I never learned anything at school, and

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Speaker 1: I never read a book for pleasure until I was nineteen.

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Speaker 1: But when he did, he caught the bug. And originally

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Speaker 1: he wanted to either play baseball or be a writer.

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Speaker 1: Imagine how different the world would be if we were

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Speaker 1: talking about Stanley Kubrick. The third baseman the third baseman, right,

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Speaker 1: and he did have one shining aspect or moment in

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Speaker 1: high school. It wasn't all rainy, gray days and sad

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Speaker 1: songs on the radio. He turned out to be a

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Speaker 1: promising photographer, which I think happens with a lot of

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Speaker 1: people who later go on to become directors. Right, They

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Speaker 1: start off with still photography and they have a gift

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Speaker 1: for it. Do we talk about White Case he's on

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Speaker 1: the show today because it was not here? Well, no,

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Speaker 1: but he's also I mean, come on, guys, case he's

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Speaker 1: like a film for Sionado. Oh yeah. We went to

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Speaker 1: film school together at Georgia State University and Casey was

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Speaker 1: in several of my classes and he always knew more

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Speaker 1: than the professors. And he would never admit to that,

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Speaker 1: but he he did. Casey has an encyclopediaic knowledge of

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Speaker 1: film lore. So Casey Kuber He shot a lot of

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Speaker 1: stuff early on for was it Look Magazine? Yeah, Look Magazine,

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Speaker 1: and um yeah he was. He was quite the accomplished,

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Speaker 1: um kind of photojournalist, um, even right from the start,

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Speaker 1: and um yeah, I mean obviously the everything that he

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Speaker 1: learned technically about still photography also tends to apply to filmmaking,

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Speaker 1: so he kind of, um got in early that way.

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Speaker 1: So the point holds, right, is that something we see

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Speaker 1: with other directors as well, Casey, Yeah, certain directors that

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Speaker 1: you know, every director is different. Some have more of

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Speaker 1: like a theater kind of background or a writer background,

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Speaker 1: but definitely the ones that are like more hands on

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Speaker 1: with the camera and tend to think more in terms

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Speaker 1: of images photography is like a great, great way to

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Speaker 1: get into filmmaking. So he he started on this path early,

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Speaker 1: right age sixteen, he's selling photos to Look and the

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Speaker 1: next year, by the time he's seventeen, they hired him

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Speaker 1: full time. Yeah, and I was just gonna say, it's

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Speaker 1: obviously a great way to kind of establish your missan saying,

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Speaker 1: you know, where you kind of figure out how to

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Speaker 1: frame things and what you know, Um, you figure out

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Speaker 1: you know you're framing, and sure you do it with

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Speaker 1: still photography. You can certainly apply that to moving images

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Speaker 1: as well, in the way you place objects in the frame.

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Speaker 1: And we have a little bit of a romanticized picture

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Speaker 1: of his early life because when he wasn't traveling for

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Speaker 1: Look as a photographer, he spent most nights at the

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Speaker 1: Museum of Modern Art, or MoMA. Yeah, or at a parking.

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Speaker 1: He did that a lot, and that that seems really cool.

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Speaker 1: That's way more productive than a lot of things that

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Speaker 1: the average person would do in the evening. Unfortunately, he

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Speaker 1: was rejected from every college he applied to, every single one,

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Speaker 1: full stop. That's because he was a bad boy. He

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Speaker 1: probably didn't have the transcripts needed. Yeah, he probably just

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Speaker 1: didn't have the grades, but it seemed like he wasn't

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Speaker 1: a huge proponent of organized education to begin with. However,

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Speaker 1: he did not waste time. Uh, the time he would

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Speaker 1: have spent in college, he spent working on documentary shorts

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Speaker 1: financed by friends and family. These were some of his

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Speaker 1: early works. Yeah, and and he thought he could make

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Speaker 1: a good deal of money making these types of things

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Speaker 1: because there was another company in Casey. I don't know

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Speaker 1: if you know this, but I don't know if you

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Speaker 1: have the answer to this question, But there was some

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Speaker 1: company that was supposedly selling documentary shorts for fifty dollars

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Speaker 1: something in say, forty dollars at the time, and he thought, well,

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Speaker 1: I can do that. I can sell those and make

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Speaker 1: a ton of money. I'll spend ten thousand dollars make

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Speaker 1: thirty thousand dollars or something like that, only to find out, oh,

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Speaker 1: oh no, you can't sell a documentary short for that

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Speaker 1: much money. That's interesting. Yeah, I don't I don't know

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Speaker 1: the name of that company. But Kubrick, you know, later

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Speaker 1: later on in his filmmaking career, was always kind of

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Speaker 1: a very very active producer on his films, and he

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Speaker 1: controlled the budgets very very meticulously, and it was all

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Speaker 1: with with an eye towards being able to have the

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Speaker 1: time to do the films the way he wanted them

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Speaker 1: and never have that pressure to just have to get

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Speaker 1: the shot and move on. So um. He he learned

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Speaker 1: very very early on that you have to control the

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Speaker 1: money and filmmaking and that's what's going to allow you

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Speaker 1: to like get that perfect shot every time. You know.

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Speaker 1: That's that's a really good point, because that's something a

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Speaker 1: lot of directors when they're first starting out get wrong, right,

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Speaker 1: that you have to do the unfun stuff as well

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Speaker 1: as the creative stuff. Kubrick's first feature was this military

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Speaker 1: drama called Fear and Desire, came out in nineteen fifty three.

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Speaker 1: Oddly enough, he made it without the help of studio.

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Speaker 1: To your point, Casey. He was somewhat of a one

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Speaker 1: man band. He was multitasking, not just with the budget,

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Speaker 1: not directing, but also editing, working sound, doing cinematography, doing

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Speaker 1: things ordinarily would be a group of people's individual jobs.

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Speaker 1: And he would also shoot physically, you know, with the camera.

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Speaker 1: He didn't like have a cinematographer. He was that guy. Yeah,

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Speaker 1: I mean, and in later films he did work with cinematographers,

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Speaker 1: but even then it was kind of understood that the

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Speaker 1: cinematographer was like his backup in a way, like if

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Speaker 1: if the cinematographer was not there for some reason, kuber

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Speaker 1: could obviously step in and and and do it just

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Speaker 1: as well. There's an anecdote when he's making his first

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Speaker 1: semi commercial feature where he was working with a very

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Speaker 1: well respected cinematographer and Kubrick told him the lens he

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Speaker 1: wanted and where he wanted to put the track. He

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Speaker 1: was going to do a dolly shot, and the cinematographer

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Speaker 1: had a different idea about how to do the shot,

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Speaker 1: maybe something a little more conventional, and so he put

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Speaker 1: the tracks somewhere else and he put on, you know,

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Speaker 1: the lens he felt like putting on, and Kubrick you know,

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Speaker 1: caught it right away and said, I didn't tell you

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Speaker 1: to put the dolly there. I didn't tell you to

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Speaker 1: put you know, the track there. I didn't you to

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Speaker 1: put the lens on. So do what I said, or

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Speaker 1: you know you're you're fired off this film. And from

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Speaker 1: then on, I think that cinematographer knew he could not

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Speaker 1: like pull a fast one on Cooper. Yeah, because he's

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Speaker 1: paid meticulous attention to detail, right, and it's something that

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Speaker 1: shows in his filmography. We know from fifty seven nineteen

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Speaker 1: fifty seven, just in case we came on glued. From

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Speaker 1: time there to he made numerous feature films, believe ten,

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Speaker 1: and these include some of the greatest hits, right Spartacus

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Speaker 1: in nineteen sixty Lolita in nineteen sixty two, which I

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Speaker 1: do have to say, despite the premise, is a fantastic

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Speaker 1: book by Nabokov. I'm glad you liked it. Did you

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Speaker 1: read it? I read some of it. I watched the

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Speaker 1: versions the versions of it. Is there only one version

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Speaker 1: of There's a there's like a je iron yea a

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Speaker 1: line version that was like in the nineties or something.

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Speaker 1: It has one of my favorite depictions of a death

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Speaker 1: scene at least the novel. Yeah, in the first page

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Speaker 1: and the little bit of a spoiler, um, the narrator

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Speaker 1: is super unreliable and a terrible person is talking about

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Speaker 1: how his mother passed away, and all you learn is

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Speaker 1: there's this parenthetical where it's just like Picnic Comma lightning,

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Speaker 1: and then it moves on. It's one of my favorite

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Speaker 1: death scenes. He also has one of the best and

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Speaker 1: most redundant names in literature, Humbered, Humbered who I enjoyed

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Speaker 1: one a lot. And this society, like Lolita, is a

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Speaker 1: very controversial story and and it's it's got some hugely

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Speaker 1: problematic things. But Kubrick never uh never hesitated, I guess

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Speaker 1: to address controversial themes like Dr Strange love or how

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Speaker 1: I learned to stop worrying and love the bomb which

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Speaker 1: made ninety four. That's predictably something that we dig right,

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Speaker 1: and I went back as we were research. I'm sure

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Speaker 1: I'm sure you guys did too, to look at some

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Speaker 1: great clips from that one, in particular watching the Nuke.

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Speaker 1: Of course, of course I have dreams about that slim pickens,

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Speaker 1: you know, I mean, if you gotta go, what a way?

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Speaker 1: What a way to go? Yeah, I'd be pretty cool

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Speaker 1: and would it feel like you probably just get vaporized instantly. Yeah,

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Speaker 1: againly after the high of writing the thing down. I

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Speaker 1: guess eventually you pass out, though first, wouldn't you? I

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Speaker 1: don't know. I guess it depends on the elevation, terminal

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Speaker 1: velocity things. Uh. He also probably wouldn't be able to

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Speaker 1: hold onto the thing with your legs like that. I

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Speaker 1: mean that that guy was definitely usy to thigh master

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Speaker 1: of some sort. He had, you know what he had? Uh,

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Speaker 1: what's a good phrase? He had saddle ride and thighs.

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Speaker 1: This is getting weird, you know. Slim Pickens was was

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Speaker 1: unaware that movie was a comedy, and he was you know,

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Speaker 1: he's he's kind of known for being like a player

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Speaker 1: in westerns and stuff. And uh, he loved the story

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Speaker 1: and I think he had more of like a sincere

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Speaker 1: interpretation of it. And and Kubrick did not disabuse him

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Speaker 1: of that notion. So and yet he rode the nuke

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Speaker 1: Yeah wave has hat around circles going yeah, I didn't

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Speaker 1: think that was he was all about it. He got

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Speaker 1: that was sincere. Uh. In nineteen, Stanley Kubrick releases what

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Speaker 1: remains one of his most popular films two thousand one

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Speaker 1: a Space Odyssey. On a side note here, the first

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Speaker 1: manned moon lending, according to the official story, occurred on

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Speaker 1: July twenty, nineteen sixty eight, which would be importantly a

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Speaker 1: mere hours after the chap a Quitic. Incidentally interesting and

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Speaker 1: in case anyone's interested and wants some spoilers for the

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Speaker 1: relatively unspoilable ending of two thousand one of Space Odyssey,

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Speaker 1: there is an interview that surface recently where Kubrick kind

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Speaker 1: of goes beat by beat about what that ending is

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Speaker 1: supposed to mean, something that he typically did not do.

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Speaker 1: But this was like for I think Japanese television, and

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Speaker 1: it was something that never really made it over here

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Speaker 1: until very recently, but it's worth checking out if you

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Speaker 1: want to go over to Esquire and here Stanley Kubrick

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Speaker 1: explained the two thousand one Space Odyssey ending in a

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Speaker 1: rare unearthed video. That's the name of the article which

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Speaker 1: we should post. And here's where it gets crazy, Yeah, definitely,

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Speaker 1: which is our Facebook community page hang out with us uh.

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Speaker 1: He has other works, of course, a clockwork orange Barry

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Speaker 1: Lyndon the Shining, a personal favorite mind full metal jacket,

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Speaker 1: and while he's making these amazing, iconic works of film.

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Speaker 1: He is also, of course, kind of living a life

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Speaker 1: outside of his job, but only kind of. He's married

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Speaker 1: three times, he has three daughters. In the early nineteen sixties,

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Speaker 1: he moves to the UK and begins to build a

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Speaker 1: reputation as a recluse, almost J. D. Salinger level, but

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Speaker 1: maybe not quite. He avoids interviews. They're barely any photographs

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Speaker 1: of him, none of them are formal, and he spends

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Speaker 1: little time outside of the studio. He looks like you

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Speaker 1: would picture a typical hermit. My look beard, beard, kind

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Speaker 1: that he takes huge breaks in between feature films as

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Speaker 1: the years kind of go by, and his last like

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Speaker 1: war films, I want to say three or fourth Terence Mallock. Yeah,

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Speaker 1: it takes him a long time between projects, and there

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Speaker 1: is more history there of of other films he tried

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Speaker 1: to get off the ground and for one reason or

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Speaker 1: other it didn't end up happening, or he decided he

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Speaker 1: didn't want to make. Probably the biggest one is Napoleon

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Speaker 1: that he was going to do I think after two

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Speaker 1: thousand one, and he spent years and years kind of

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Speaker 1: creating this like day by day account of Napoleon's life.

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Speaker 1: He had this whole like index card catalog system of

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Speaker 1: where Napoleon was on like every single day of his

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Speaker 1: life just about and um he made you know, he

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Speaker 1: put years of his life into it. And uh, ultimately

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Speaker 1: there was other Napoleon movies that came out in the

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Speaker 1: same period that did not perform well at the box office,

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Speaker 1: and he couldn't get it made after that. You know,

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Speaker 1: I've never seen a Napoleon movie. Have you guys seen

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Speaker 1: a Napoleon and Ted? Yeah, but you'd think that, you know,

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Speaker 1: maybe he's just an unsympathetic character. Very but no, but

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Speaker 1: casey to your point. So with this whole methodical card

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Speaker 1: catalog system, probably a bit of a neurotic, a little

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Speaker 1: bit um sick. Yeah, yeah, uh he there was a

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Speaker 1: sweet thing I found in the research. While he was

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Speaker 1: living in the UK and becoming increasingly reclusive, his sister

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Speaker 1: would take football and baseball games for some of his

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Speaker 1: favorite teams, like the New York Giants, and she would

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Speaker 1: send him to She would send these to him in

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Speaker 1: the mail, so he still had that human connection. Stanley

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Speaker 1: Kubrick dies in his sleep on March seven, Merror hours

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Speaker 1: after delivering a print of Eyes Wide Shut, and this

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Speaker 1: would become his last film. But it's where our story

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Speaker 1: really begins, and we'll get to it after a word

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Speaker 1: from our sponsors. We're back. So these are just the

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Speaker 1: brief highlights, very brief highlights, as it were, of Kubrick's

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Speaker 1: life and times, and there's much much more to his

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Speaker 1: story worry off screen. In fact, even in the on

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Speaker 1: screen stuff. Entire volumes of literature have been dedicated to

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Speaker 1: the story behind a single Kubrick film, like Full Metal

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Speaker 1: Jacket or The Shining or Eyes or two thousand oh yeah,

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Speaker 1: especially or Eyes Wide Shut. Yeah. I always felt like

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Speaker 1: that movie was secretly, not so secretly about the Illuminati.

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Speaker 1: You did a kind of a there's a there's a

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Speaker 1: surprising amount of fringe journalists and researchers who believe that, well,

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Speaker 1: they tend to agree with your point, Noel. They believe

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Speaker 1: that his most influential work has little or nothing to

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Speaker 1: do with what the public perceives as his of wool

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Speaker 1: of what what the hell is that? It's your body

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Speaker 1: of work, it's your tight, tight body of work. Well, well,

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Speaker 1: can we really fast just casey, I think one of

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Speaker 1: the reasons, just before we get into all this, one

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Speaker 1: of the reasons that people feel that way is because, uh,

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Speaker 1: he dealt a lot with visual symbols, symbology, things that

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Speaker 1: represented other things that would be in a shot or

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Speaker 1: the shot would be a certain way, um to speak,

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Speaker 1: beyond just what is occurring, what you're seeing on screen

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Speaker 1: or what's what you're hearing. Yeah, yeah, yeah, I think

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Speaker 1: I think Kubrick, again going back to kind of his

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Speaker 1: his origins and and still photography was was all about

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Speaker 1: the image and composition and symbology and um, kind of

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Speaker 1: going into the deeper layers of storytelling, you know, Joseph Campbell,

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Speaker 1: Carl Young, that kind of stuff, the idea of archetypes

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Speaker 1: and um, these kind of like primal tendencies in narratives

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Speaker 1: and and things that recur in stories over and over

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Speaker 1: throughout you know time. So he was kind of tapped

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Speaker 1: into a lot of that. I think I've said it before,

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Speaker 1: I got to say it again. There's an excellent article

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Speaker 1: by Cormac McCarthy that addresses this concept of symbol as

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Speaker 1: communication beyond our articulated language. It's called the cool a problem.

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Speaker 1: Where did language come from? We should totally post that, Casey,

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Speaker 1: you would love this. It sounds great actually, um yeah,

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Speaker 1: and just kind of something that occurred to me. Kubrick

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Speaker 1: once he was living in England and and sort of,

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Speaker 1: you know, being a little bit more perhaps reclusive, he

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Speaker 1: was having like tapes of American football games and baseball

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Speaker 1: games I think sent over to him from the United States. Um.

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Speaker 1: But in one interview, he actually says that the commercials

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Speaker 1: interested him more than the games themselves, because just something

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Speaker 1: that could tell a complete story within the span of

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Speaker 1: thirty or fifteen seconds, the economy of that of means

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Speaker 1: of like communicating that in just a handful of images

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Speaker 1: in the best advertising, um, really fascinated him. I would

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Speaker 1: love to see him review commercials. I've always felt that

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Speaker 1: way about like jingles are like making a little tent

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Speaker 1: fifteen second theme tune for a show. I dabbled in

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Speaker 1: that with some of our podcast. It's really fun to

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Speaker 1: try to communicate a kind of beginning, middle, and end

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Speaker 1: of some thing and a very finite short amount of time.

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Speaker 1: Can you guys imagine the multiverse where Kubrick just was

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Speaker 1: working for Procter earned Gamble or some other huge company

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Speaker 1: and just making commercials. Let's write one. Let's do it.

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Speaker 1: I'm not kidding, Let's let's write uh, Stanley Kubrick add

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Speaker 1: somehow Well, Okay, So these people, these journalists and researchers

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Speaker 1: who do uh read something in the tea leaves or

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Speaker 1: feel that they have divined something beyond the surface story

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Speaker 1: of these films. Uh. They argue that his films are

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Speaker 1: just a message leading to his larger secret great work,

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Speaker 1: which I know is a loaded term. They argue that

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Speaker 1: Stanley Kubrick participated in some of the world's most insidious

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Speaker 1: cover ups, and that this participation later tortured him so

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Speaker 1: much so, in fact, that he hid clues to the

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Speaker 1: truth in his own work. Here's where it gets crazy.

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Speaker 1: First and foremost, then most well known conspiracy involving Stanley

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Speaker 1: Kubrick is what the moon landing that never was was? Was? Yeah,

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Speaker 1: no human beings ever actually landed on the Moon, they say. Instead,

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Speaker 1: the US government secretly contracted with Stanley Kubrick to film

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Speaker 1: a fake moon landing of high enough quality to fool

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Speaker 1: the world, and then swore him and everyone else involved

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Speaker 1: to secrecy on pain of death. Well, that's obviously true.

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Speaker 1: Let's move on now. There's more to parse out here.

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Speaker 1: We can tell you how the story began to circulate,

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Speaker 1: So it began to being taken seriously by people after

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Speaker 1: Stanley Kubrick's death. This was not around when he was alive.

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Speaker 1: And the most prominent mentions we can find someone seriously

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Speaker 1: alleging this come from a writer and director named Jay

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Speaker 1: Widner who began publicizing what he saw his clues supporting

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Speaker 1: this concept. And we can we can die. I've into this.

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Speaker 1: We do want to warn anyone who hasn't seen The

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Speaker 1: Shining for some reason, go watch it now. Uh, this

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Speaker 1: is going to examine in detail aspects of The Shining.

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Speaker 1: It's not major spoiler territory, but there are a couple

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Speaker 1: of spots that are troublesome. But surely both the movie

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Speaker 1: and the book are well beyond the statute of limitations

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Speaker 1: spoilers at this point. But but The Shining is one

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Speaker 1: of those movies that even if you haven't seen it

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Speaker 1: by now, you should see it before anyone spoils. Absolutely,

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Speaker 1: but you probably also know the story already. You know

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Speaker 1: it's so it's almost a trope, it's almost an agglomeration

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Speaker 1: of tropes at this point. But still I guess we

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Speaker 1: should do the countdown for spoilers forty nine. That's that

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Speaker 1: one about the dude that plays piano and and kind

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Speaker 1: of loses his marbles. Yep, that's the one. I know

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Speaker 1: what you're talking about. I can't think of the Actually

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Speaker 1: it's called Shine, Jeffrey Rush's first big pick Chack nice

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Speaker 1: spoilers Jeffrey Rushes and Shine. If that's if that, if

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Speaker 1: that was the question you wanted to answer to. He's

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Speaker 1: the boiler for his father. His father's father breaks his violin,

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Speaker 1: and that dad makes him into a bitter old man,

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Speaker 1: turns him into a penis. It does so the fact

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Speaker 1: of the shinen with an I n g uh in

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Speaker 1: Jay's assessment, Jack and Danny Torrence, the dad and the

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Speaker 1: son represent different aspects of Kubrick himself. So Danny is

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Speaker 1: the gifted, youthful, idealistic director who's in tune with a

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Speaker 1: greater message. Danny and the story is psychic and so

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Speaker 1: some symbolically that's Kubrick being capable of seeing things no

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Speaker 1: one else can see. Danny also has a knack for

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Speaker 1: telling people things that should ordinarily be kept quiet. Jack,

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Speaker 1: on the other hand, the father is the quote practical,

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Speaker 1: pragmatic guy who wants to be a great artist, and

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Speaker 1: he's apparently willing to do anything to accomplish his goal

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Speaker 1: of becoming a writer. So to support this, J site

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Speaker 1: several perceived physical similarities. Jack's practice of smoking Marlborough's the

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Speaker 1: same kind that Kubrick smoked. Uh. To the earlier point

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Speaker 1: about his appearance, he says Jack looks unkempt on his shaven.

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Speaker 1: As the film progresses, he begins looking more and more

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Speaker 1: like the behind the scenes footage of Cooper Cuberic kuber

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Speaker 1: and yeah, it's I mean, it is interesting. Kubrick also

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Speaker 1: was known to carry an ax around set way that

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Speaker 1: wildly at people to get them to do what he says,

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Speaker 1: Shelley Duval get back over here when I say action

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Speaker 1: go true story. He never used a door knup, only

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Speaker 1: axes his whole life. When you have like a metal phobia,

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Speaker 1: like human he uh, you know, maybe he just had

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Speaker 1: a pro ax thing. Yes, yes, uh. The he does

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Speaker 1: look unkempt, and you see this in the behind the

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Speaker 1: scenes footage. He and Jack Nicholson playing Torrents become increasingly

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Speaker 1: I don't want to say decrepit, but wild looking and

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Speaker 1: the Overlook Hotel in this reading represents America. It's Chinese,

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Speaker 1: it's wealthy, but it is built upon blood and terrible,

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Speaker 1: terrible secrets. We talked about the baking powder cans. Calmet

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Speaker 1: comes in a little bit later, but that's something we

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Speaker 1: can touch on now. And I only mentioned because Ben

425
00:24:23,520 --> 00:24:26,560
Speaker 1: talks about how it's built on blood money, and then

426
00:24:27,680 --> 00:24:31,679
Speaker 1: in the film, I believe that's built like an Indian

427
00:24:31,920 --> 00:24:33,879
Speaker 1: when they're when they're doing the tour, he says, we

428
00:24:33,920 --> 00:24:36,560
Speaker 1: had to repel several Indian attacks while we were building

429
00:24:36,600 --> 00:24:39,240
Speaker 1: this place, which is just such a throwaway line in

430
00:24:39,280 --> 00:24:42,760
Speaker 1: there too, it makes it more sinister. But visually, um,

431
00:24:42,800 --> 00:24:47,719
Speaker 1: there's a whole like crazy stockpile of calimet baking soda

432
00:24:47,800 --> 00:24:51,560
Speaker 1: or powder that has the you know, the traditional Indian

433
00:24:52,040 --> 00:24:56,760
Speaker 1: chief headdress very conspicuously turned towards the camera. Isn't that

434
00:24:56,800 --> 00:25:00,680
Speaker 1: right case it's in profile and uh and it's also Halleran,

435
00:25:00,800 --> 00:25:03,719
Speaker 1: who is giving the tour of the of the kitchen

436
00:25:04,240 --> 00:25:07,800
Speaker 1: um is in the same profile as the Indians. So

437
00:25:07,840 --> 00:25:11,000
Speaker 1: there's been some suggestion that Kubrick is drawing a parallel

438
00:25:11,040 --> 00:25:14,560
Speaker 1: visually between you know, what what happened historically to Indians

439
00:25:14,560 --> 00:25:18,320
Speaker 1: and African Americans as well in the United States. But

440
00:25:18,440 --> 00:25:21,359
Speaker 1: to Jay, it's all about faking the moon landing. To

441
00:25:21,520 --> 00:25:25,560
Speaker 1: j yes, in this context, it's like, this is America,

442
00:25:26,040 --> 00:25:30,040
Speaker 1: and here is the most important part, right, the the

443
00:25:30,119 --> 00:25:34,520
Speaker 1: hotel manager, or at least the the first one we meet. Right,

444
00:25:34,840 --> 00:25:38,359
Speaker 1: he apparently represents the face of the American government, whereas red,

445
00:25:38,520 --> 00:25:40,960
Speaker 1: white and blue. He has a U. S flag in

446
00:25:41,000 --> 00:25:43,040
Speaker 1: his office. He sits in front of an eagle, the

447
00:25:43,080 --> 00:25:46,600
Speaker 1: power behind the throne and the lunar lander. The Apollo

448
00:25:46,640 --> 00:25:51,200
Speaker 1: eleven mission, J notes was called the Eagle. The deal

449
00:25:51,280 --> 00:25:53,840
Speaker 1: that Jack makes with this manager he can pursue his

450
00:25:53,920 --> 00:25:58,080
Speaker 1: creative interest so long as he takes care of the Overlook,

451
00:25:58,440 --> 00:26:00,560
Speaker 1: and the manager tells Jack is me job is to

452
00:26:00,600 --> 00:26:05,200
Speaker 1: prevent the Overlook Hotel from looking like it is decaying. Yeah,

453
00:26:05,440 --> 00:26:08,639
Speaker 1: and here we're talking about America again. If we've taken

454
00:26:08,640 --> 00:26:12,080
Speaker 1: in the context that he sees it in that we're

455
00:26:12,080 --> 00:26:14,119
Speaker 1: gonna need you to fake this thing so it doesn't

456
00:26:14,119 --> 00:26:17,159
Speaker 1: look like we are the decaying force within these uh

457
00:26:17,600 --> 00:26:20,680
Speaker 1: Cold War powers, which is another big thing here. Yeah,

458
00:26:20,760 --> 00:26:23,439
Speaker 1: there we go. Okay, So the storm that hits the

459
00:26:23,480 --> 00:26:26,760
Speaker 1: Overlook is again according to j representative of the Cold

460
00:26:26,800 --> 00:26:28,879
Speaker 1: War between the U. S s R. And the US.

461
00:26:29,240 --> 00:26:32,560
Speaker 1: This Cold War and efforts to hide real American technology

462
00:26:32,880 --> 00:26:36,800
Speaker 1: flying saucers, in his opinion, are the primary motivations behind

463
00:26:37,040 --> 00:26:41,000
Speaker 1: the faked moon landing. The Torrents family then in America

464
00:26:41,160 --> 00:26:49,680
Speaker 1: and Kubrick are trapped in the Cold War. Uh, there's yeah,

465
00:26:49,880 --> 00:26:53,760
Speaker 1: there's a there's another thing that goes that ties into

466
00:26:53,800 --> 00:26:57,520
Speaker 1: the Native American artistic motifs, right, that are all throughout

467
00:26:57,560 --> 00:27:01,240
Speaker 1: the Shining Uh. In the room where he where Jack

468
00:27:01,320 --> 00:27:04,240
Speaker 1: is attempting to write and going crazier and crazier and

469
00:27:04,320 --> 00:27:08,680
Speaker 1: throwing that tennis ball, the wall has this Native American

470
00:27:08,920 --> 00:27:11,840
Speaker 1: motif that, according to Jay, looks like a bunch of

471
00:27:11,880 --> 00:27:14,840
Speaker 1: rockets about. Oh yeah, well, you know, there's and there's

472
00:27:14,880 --> 00:27:19,359
Speaker 1: also so much Native American just imagery, and there's so

473
00:27:19,400 --> 00:27:21,840
Speaker 1: many symbols within the hotel. You look at the carpeting

474
00:27:21,840 --> 00:27:24,960
Speaker 1: in certain areas and just really quickly, I'd love to

475
00:27:24,960 --> 00:27:27,680
Speaker 1: ask Casey if do you think there's any as salt

476
00:27:27,880 --> 00:27:31,120
Speaker 1: to that reading of this film that perhaps the overlook

477
00:27:31,280 --> 00:27:34,720
Speaker 1: is in some way the United States. I think there's

478
00:27:34,720 --> 00:27:36,840
Speaker 1: something to it. Yeah, I don't. I don't necessarily buy

479
00:27:36,840 --> 00:27:39,760
Speaker 1: into the whole Kuprick is guilty about the moon landing,

480
00:27:39,760 --> 00:27:42,920
Speaker 1: and he's kind of addressing that in the Shining. But

481
00:27:43,400 --> 00:27:46,600
Speaker 1: I do think there's something to the idea that do

482
00:27:46,640 --> 00:27:49,879
Speaker 1: you the Overlook Hotel standing in for the United States

483
00:27:49,920 --> 00:27:52,719
Speaker 1: and the film in some ways being about the past

484
00:27:53,119 --> 00:27:57,320
Speaker 1: kind of uh continuing into the present and kind of

485
00:27:57,359 --> 00:28:00,640
Speaker 1: never truly being gone. Um. I think the way it's

486
00:28:00,640 --> 00:28:02,960
Speaker 1: depicted in the film, like yeah, spoiler alert, but you

487
00:28:02,960 --> 00:28:06,040
Speaker 1: know Jack's always in there, He's always been the caretaker.

488
00:28:06,560 --> 00:28:08,240
Speaker 1: Um well, you noticed like at the end of the

489
00:28:08,280 --> 00:28:11,040
Speaker 1: film when when you see that picture of Jack Nicholson

490
00:28:11,080 --> 00:28:13,879
Speaker 1: on the wall with all the people in like one

491
00:28:13,880 --> 00:28:16,119
Speaker 1: I think it is it's July four. It's like the

492
00:28:16,119 --> 00:28:19,240
Speaker 1: fourth of July. Ball Dune, Dune, Dune. And my whole

493
00:28:19,240 --> 00:28:22,119
Speaker 1: thing is, why wouldn't Kubrick do this for funzies? You know,

494
00:28:22,280 --> 00:28:24,640
Speaker 1: It's like it seemed like an odd choice for me anyway,

495
00:28:24,720 --> 00:28:26,720
Speaker 1: to make like this horror movie. It's nothing he'd ever

496
00:28:26,760 --> 00:28:29,680
Speaker 1: done before. It just seemed like kind of out of

497
00:28:29,760 --> 00:28:31,720
Speaker 1: left field. It would make sense to me that he

498
00:28:31,720 --> 00:28:34,479
Speaker 1: would have kind of not an agenda, but some twist

499
00:28:34,520 --> 00:28:36,160
Speaker 1: on it that would make it a little more fun

500
00:28:36,280 --> 00:28:39,560
Speaker 1: for him than just doing a traditional, you know, straight

501
00:28:39,600 --> 00:28:42,160
Speaker 1: up horror film, straight up horror film. Yeah, I think

502
00:28:42,200 --> 00:28:46,280
Speaker 1: that's a good point. So j W would agree with you,

503
00:28:46,560 --> 00:28:48,760
Speaker 1: and people who think it's about the Moonland, he would

504
00:28:48,760 --> 00:28:51,920
Speaker 1: agree with you. Back to tennis ball. When those ghost

505
00:28:52,000 --> 00:28:54,880
Speaker 1: twins throw the ball to Danny, he stands and for

506
00:28:54,920 --> 00:28:56,760
Speaker 1: the first time in the film, we can clearly see

507
00:28:56,800 --> 00:29:00,480
Speaker 1: his sweater. It's a rocket with the words Apollo elevens.

508
00:29:00,520 --> 00:29:04,840
Speaker 1: So in crudely beneath that's a smoking gun for the proponents. Yeah,

509
00:29:04,880 --> 00:29:07,520
Speaker 1: and he says, we the viewer gets to see the

510
00:29:07,600 --> 00:29:10,600
Speaker 1: launch of the Apollo eleven rocket as he's you know,

511
00:29:11,120 --> 00:29:14,680
Speaker 1: ascending from sitting down. Yeah, And look, I don't want

512
00:29:14,680 --> 00:29:17,200
Speaker 1: to write this stuff off entirely, but there are some

513
00:29:17,280 --> 00:29:20,600
Speaker 1: inaccuracies with his reading. So in the original version of

514
00:29:20,640 --> 00:29:25,120
Speaker 1: The Shining Danny experiences this horrible psychic event in room

515
00:29:25,160 --> 00:29:29,320
Speaker 1: to seventeen. In the film, this occurs in room two

516
00:29:29,440 --> 00:29:33,200
Speaker 1: thirty seven. Jay argues that the average distance between Earth

517
00:29:33,200 --> 00:29:37,600
Speaker 1: and the Moon is two thirty seven thousand miles, and

518
00:29:37,640 --> 00:29:40,720
Speaker 1: that this change in room numbers is an allusion to

519
00:29:40,840 --> 00:29:45,360
Speaker 1: this idea. However, the actual average distance from Earth to

520
00:29:45,440 --> 00:29:48,720
Speaker 1: the Moon is more like two eight thousand, eight hundred

521
00:29:48,760 --> 00:29:52,200
Speaker 1: fifty five miles. And that's that's per Nassa. Oh but

522
00:29:52,280 --> 00:29:55,240
Speaker 1: you know he's working with right, that was what do

523
00:29:55,320 --> 00:29:58,440
Speaker 1: you for someone to say? Yeah, so it's it's been

524
00:29:58,440 --> 00:30:02,040
Speaker 1: suggested that was more to do with the hotel not

525
00:30:02,160 --> 00:30:04,840
Speaker 1: wanting their real room two three or two one seven

526
00:30:04,880 --> 00:30:06,880
Speaker 1: to be uh, you know, for people to be like

527
00:30:07,000 --> 00:30:10,840
Speaker 1: scared of staying there the hotel, the hotel that they

528
00:30:10,960 --> 00:30:13,440
Speaker 1: used as the the exterior of the hotel on the film.

529
00:30:13,480 --> 00:30:15,400
Speaker 1: A lot of the interiors are on a set. Isn't

530
00:30:15,440 --> 00:30:18,280
Speaker 1: that the Isn't that an Oregon? Yeah? I think there's

531
00:30:18,320 --> 00:30:21,160
Speaker 1: something Timberline Lodge. Someone told me that I have a

532
00:30:21,200 --> 00:30:24,440
Speaker 1: hat from there. Um, I've got at the Portland Airport.

533
00:30:24,520 --> 00:30:25,960
Speaker 1: I may have talked about on the show before, but

534
00:30:25,960 --> 00:30:28,680
Speaker 1: someone pointed out that that in fact was the place

535
00:30:28,800 --> 00:30:31,240
Speaker 1: that was used as that as the overlooking them in

536
00:30:31,280 --> 00:30:33,920
Speaker 1: the movie. And in another kind of really weird coincidence,

537
00:30:34,080 --> 00:30:36,880
Speaker 1: the hotel that Stephen King had stayed out that kind

538
00:30:36,880 --> 00:30:38,760
Speaker 1: of gave him the idea in the first place to

539
00:30:38,760 --> 00:30:42,560
Speaker 1: write the book is called the Stanley Hotel. Oh nice,

540
00:30:43,280 --> 00:30:48,840
Speaker 1: coincidence probably, and Stephen King notoriously not a fan right

541
00:30:49,160 --> 00:30:52,760
Speaker 1: Bricks film, It's very different, It was very different, and

542
00:30:52,760 --> 00:30:55,000
Speaker 1: I think that really supports the idea that Kubrick was

543
00:30:55,680 --> 00:30:57,800
Speaker 1: having a little having a bit of fun, was doing

544
00:30:57,920 --> 00:31:00,840
Speaker 1: something in addition, yeah, which I think is important point,

545
00:31:01,360 --> 00:31:04,800
Speaker 1: So did J and people who agree with him. Room

546
00:31:04,880 --> 00:31:08,080
Speaker 1: to thirty seven represents the symbolic set on which the

547
00:31:08,080 --> 00:31:11,640
Speaker 1: Apollo eleven landing was faked, and he believes that, due

548
00:31:11,640 --> 00:31:15,280
Speaker 1: to the nature of shifting perceptions reality in the room,

549
00:31:15,320 --> 00:31:18,480
Speaker 1: that as Dick Hollerand said, uh, nothing in the room

550
00:31:18,800 --> 00:31:21,560
Speaker 1: is real. And the fact that Jack later lies to

551
00:31:21,680 --> 00:31:24,560
Speaker 1: his wife about it, Wendy claiming he saw nothing in

552
00:31:24,560 --> 00:31:27,040
Speaker 1: the room, is interpreted by Jay to mean that Kubrick

553
00:31:27,120 --> 00:31:29,880
Speaker 1: lied about faking the moon landing and then said, Hey,

554
00:31:29,920 --> 00:31:32,120
Speaker 1: what's the best way to tell people about this? I

555
00:31:32,160 --> 00:31:35,720
Speaker 1: should make the shining. You should have a woman in

556
00:31:35,800 --> 00:31:41,800
Speaker 1: a bathtub become very old, very fast, all of a sudden. Yeah,

557
00:31:41,880 --> 00:31:46,720
Speaker 1: that was good, That's what I would do. So so

558
00:31:47,160 --> 00:31:51,840
Speaker 1: that's a really scary I don't find the shining particularly

559
00:31:51,880 --> 00:31:56,080
Speaker 1: scary overall, but that scene sticks with me when I

560
00:31:56,120 --> 00:31:58,880
Speaker 1: do when I do a lot of research. I actually

561
00:31:58,880 --> 00:32:03,120
Speaker 1: play low fi chill wave instrumentals and the Shining on

562
00:32:03,240 --> 00:32:06,080
Speaker 1: mute and it makes it makes it a different film

563
00:32:06,400 --> 00:32:10,360
Speaker 1: and it's actually great. Speaking of that, have you seen

564
00:32:10,440 --> 00:32:14,720
Speaker 1: the funny spoof trailer for The Shining with featuring Peter

565
00:32:14,720 --> 00:32:17,240
Speaker 1: Gabriel Salisbury Hill And it's just like makes it look

566
00:32:17,280 --> 00:32:18,920
Speaker 1: like a total rom com. It just goes. It just

567
00:32:19,000 --> 00:32:21,640
Speaker 1: goes to show that it's so easy to reframe things

568
00:32:21,640 --> 00:32:26,160
Speaker 1: with music and just clever cutting, and it's like Shining. Yes,

569
00:32:27,080 --> 00:32:29,719
Speaker 1: so he has, uh some other things for people who

570
00:32:29,800 --> 00:32:32,040
Speaker 1: believe that the moon landing was fake. Kubrick did it

571
00:32:32,040 --> 00:32:34,520
Speaker 1: and told us about in the Shining point to other

572
00:32:34,640 --> 00:32:38,360
Speaker 1: small details, uh like casey, like you said with July four,

573
00:32:38,480 --> 00:32:41,360
Speaker 1: which I had no idea, and that that's fascinating. I

574
00:32:41,400 --> 00:32:43,360
Speaker 1: have to go back and watch it again. And then

575
00:32:43,800 --> 00:32:46,600
Speaker 1: here's what I thought you guys would find interesting. You know,

576
00:32:46,760 --> 00:32:49,000
Speaker 1: he's typing on the manuscript, is going crazy and he

577
00:32:49,080 --> 00:32:51,760
Speaker 1: just writes over and over again in different formats. All

578
00:32:51,800 --> 00:32:54,720
Speaker 1: work and no play makes Jack a dull boy. According

579
00:32:54,760 --> 00:32:58,920
Speaker 1: to Jay, that should actually be read is not all

580
00:32:59,080 --> 00:33:03,400
Speaker 1: work but a eleven work and no play makes Jack

581
00:33:03,440 --> 00:33:07,120
Speaker 1: a dull boy. Come on a eleven standing for of

582
00:33:07,200 --> 00:33:13,960
Speaker 1: course Apollo eleven. I think we've solved it well. I mean, look,

583
00:33:14,000 --> 00:33:16,800
Speaker 1: I don't want to throw I don't want to throw

584
00:33:16,920 --> 00:33:21,719
Speaker 1: spurs at J j W. But you know that's reading

585
00:33:21,720 --> 00:33:27,840
Speaker 1: into things pretty hard. But there are some recurring Apollo

586
00:33:27,920 --> 00:33:30,720
Speaker 1: eleven themes in the movie. But it was also very

587
00:33:30,800 --> 00:33:33,800
Speaker 1: much in the the consciousness of the time. You know,

588
00:33:33,920 --> 00:33:38,480
Speaker 1: the sweater, the rocket pattern and stuff. You know, um

589
00:33:38,560 --> 00:33:41,440
Speaker 1: he does he does throw out a quick reference and

590
00:33:41,720 --> 00:33:44,720
Speaker 1: a clockwork orange. Also there's a character who's talking about

591
00:33:44,880 --> 00:33:49,400
Speaker 1: man on the moon. It's been around, yeah, but think

592
00:33:49,400 --> 00:33:52,320
Speaker 1: about how again, just what you guys said, how massive

593
00:33:52,360 --> 00:33:55,360
Speaker 1: that is in the zeitgeist from that moment forward, and

594
00:33:55,360 --> 00:33:57,440
Speaker 1: then how to decay rate to the point where we

595
00:33:57,480 --> 00:34:00,800
Speaker 1: still are interested in talking about literally one of the

596
00:34:00,840 --> 00:34:04,320
Speaker 1: top five moments in human history. And I don't know

597
00:34:04,400 --> 00:34:07,000
Speaker 1: which which one it is. I'm just being conservative. I

598
00:34:07,000 --> 00:34:11,520
Speaker 1: don't want to say it's the best one. Because have

599
00:34:11,600 --> 00:34:14,759
Speaker 1: you got I saw an amazing tuba solo video a

600
00:34:14,760 --> 00:34:16,759
Speaker 1: while back. Man, you sent it to me, and I

601
00:34:16,760 --> 00:34:20,000
Speaker 1: have yet to crack it open. I should apologize. I

602
00:34:20,040 --> 00:34:23,000
Speaker 1: get a little fixated, my opic, and I think I

603
00:34:23,160 --> 00:34:29,319
Speaker 1: texted numerous people during the day. Uh, it just said

604
00:34:29,320 --> 00:34:33,120
Speaker 1: all caps Tuba solo and then I think so it was.

605
00:34:33,280 --> 00:34:36,240
Speaker 1: You know, you couldn't really mistake it for anything. It's great, though,

606
00:34:37,160 --> 00:34:40,560
Speaker 1: Can we can we get to the most my favorite

607
00:34:40,560 --> 00:34:44,880
Speaker 1: thing about all of this theory and and it's the

608
00:34:44,920 --> 00:34:48,000
Speaker 1: thing that kind of solidifies it for me because I understand,

609
00:34:48,239 --> 00:34:51,440
Speaker 1: as Casey and we were all saying before the America

610
00:34:51,640 --> 00:34:55,560
Speaker 1: symbol as the overlook, and this deal that's being made

611
00:34:56,000 --> 00:34:59,480
Speaker 1: that with the main character that subsists, it's all. It

612
00:34:59,480 --> 00:35:01,360
Speaker 1: has always been in there and it will always be

613
00:35:01,440 --> 00:35:05,359
Speaker 1: there if you if you look at it again, all

614
00:35:05,440 --> 00:35:09,440
Speaker 1: those things together, this deal that they make, could it

615
00:35:09,560 --> 00:35:12,600
Speaker 1: be that this is Stanley Kubrick making a deal with

616
00:35:12,640 --> 00:35:15,359
Speaker 1: the American government in that hotel office that sets up

617
00:35:15,400 --> 00:35:21,200
Speaker 1: the entire thing, the entire world in which Kubrick then exists.

618
00:35:21,440 --> 00:35:25,719
Speaker 1: I mean to me that I can totally see. I

619
00:35:25,719 --> 00:35:29,640
Speaker 1: can totally see that. Yeah, you know what you're you

620
00:35:29,680 --> 00:35:34,960
Speaker 1: are persuading me here, Matt. It's still something people debate.

621
00:35:35,520 --> 00:35:40,160
Speaker 1: I mean, unsurprisingly not everybody agrees, right, but I don't

622
00:35:40,200 --> 00:35:42,560
Speaker 1: fully agree. But it's the It's this is one of

623
00:35:42,600 --> 00:35:44,919
Speaker 1: those I want to believe things. Oh yeah, yeah, yeah,

624
00:35:44,920 --> 00:35:46,680
Speaker 1: we still have to get those posters. How many did

625
00:35:46,680 --> 00:35:50,759
Speaker 1: you say? It was too many? Okay, so we'll only

626
00:35:50,800 --> 00:35:54,880
Speaker 1: get twelve. There's another piece of intrigue that emerges around

627
00:35:54,880 --> 00:35:59,759
Speaker 1: the shining uh in or so. Clips of someone purporting

628
00:35:59,800 --> 00:36:03,880
Speaker 1: to Stanley Kubrick surfaced, and in these clips the subject

629
00:36:03,880 --> 00:36:06,560
Speaker 1: appears to take credit for faking the moon landing. He

630
00:36:06,640 --> 00:36:11,239
Speaker 1: calls it his masterpiece. Uh, he totally owns it and

631
00:36:11,280 --> 00:36:14,160
Speaker 1: says that he filmed it. However, critics note that several

632
00:36:14,200 --> 00:36:17,040
Speaker 1: parts of the interview strongly call the authenticity of the

633
00:36:17,080 --> 00:36:20,520
Speaker 1: footage into question. Yeah, it doesn't look like Stanley Kubrick.

634
00:36:20,600 --> 00:36:22,920
Speaker 1: It doesn't sound like Stanley kuber Yeah, it's probably not

635
00:36:23,040 --> 00:36:27,439
Speaker 1: Stanley Kubrick. They said the interview occurred in May, after

636
00:36:27,520 --> 00:36:30,239
Speaker 1: he had already died. Yeah, and you can hear the

637
00:36:30,280 --> 00:36:33,480
Speaker 1: guy who's doing the interview refer to the person purporting

638
00:36:33,520 --> 00:36:36,560
Speaker 1: to be Stanley Kubrick as Tom and saying, Okay, Tom,

639
00:36:36,880 --> 00:36:40,040
Speaker 1: let's do it this way, uh so that we I

640
00:36:40,040 --> 00:36:44,360
Speaker 1: think we can dismiss. Additionally, his daughter, Kubrick's daughter, Vivian

641
00:36:44,440 --> 00:36:49,879
Speaker 1: Kubrick uh strongly objects to these claims, and she dismisses

642
00:36:49,920 --> 00:36:53,480
Speaker 1: them outright. We we have a statement that she released

643
00:36:53,520 --> 00:36:57,960
Speaker 1: on Twitter regarding this v KUP one one one what

644
00:37:00,160 --> 00:37:03,439
Speaker 1: v I ku? And then four ones and you can

645
00:37:03,560 --> 00:37:07,040
Speaker 1: you can read that in full. It's it's pretty well written.

646
00:37:07,040 --> 00:37:10,400
Speaker 1: It sounds very reasonable. One line that we all thought

647
00:37:10,400 --> 00:37:13,080
Speaker 1: you would really enjoy is where she says there are

648
00:37:13,120 --> 00:37:16,440
Speaker 1: many very real conspiracies that have happened throughout our history

649
00:37:16,520 --> 00:37:19,239
Speaker 1: and are happening presently. I'm only too aware of the

650
00:37:19,280 --> 00:37:24,280
Speaker 1: dreadful manipulations perpetrated by government secret services, banksters, the military

651
00:37:24,280 --> 00:37:27,919
Speaker 1: industrial complex, etcetera. But claims that the moon landings were

652
00:37:27,960 --> 00:37:30,719
Speaker 1: faked and filmed by my father. I just can't understand it.

653
00:37:30,880 --> 00:37:33,400
Speaker 1: How can anyone believe that one of the greatest defenders

654
00:37:33,400 --> 00:37:35,960
Speaker 1: of mankind would commit such an act of betrayal. I

655
00:37:35,960 --> 00:37:39,239
Speaker 1: think Vivian would really like our show, I hope. So, yeah,

656
00:37:39,280 --> 00:37:42,840
Speaker 1: she'd be into it. Thanks. I follow her on Twitter,

657
00:37:42,920 --> 00:37:45,120
Speaker 1: So she really posts a lot of conspiratorial stuff. Guess

658
00:37:45,120 --> 00:37:49,480
Speaker 1: what boys follow? Oh no, it's official, Matt, that's not

659
00:37:49,600 --> 00:37:51,400
Speaker 1: that's not a it's not a full endorsement because she

660
00:37:51,520 --> 00:37:53,480
Speaker 1: I think she posts some kind of problematic stuff sometimes

661
00:37:53,520 --> 00:37:56,280
Speaker 1: to you, but well, we're gonna follow in anyway because

662
00:37:56,440 --> 00:38:02,160
Speaker 1: she ain't no follow back girl. That's worth it. But

663
00:38:02,280 --> 00:38:08,040
Speaker 1: of course there are alternate interpretations of the Shining. There's

664
00:38:08,080 --> 00:38:11,239
Speaker 1: this great documentary called Room two thirty seven came out

665
00:38:11,239 --> 00:38:13,919
Speaker 1: in I remember we all talked about it at work.

666
00:38:14,200 --> 00:38:18,520
Speaker 1: That examines other analyzes of the work, and here the

667
00:38:18,600 --> 00:38:21,719
Speaker 1: big ones. This is one that we mentioned earlier. The

668
00:38:21,760 --> 00:38:26,160
Speaker 1: Shining is about the genocide of Native Americans, and as

669
00:38:26,400 --> 00:38:31,279
Speaker 1: Casey No pointed out, there is a ton of imagery

670
00:38:31,680 --> 00:38:36,760
Speaker 1: right and purposeful framing of shots to support that idea.

671
00:38:36,840 --> 00:38:39,279
Speaker 1: Other people will say, yes, it's about genocide, but not

672
00:38:39,320 --> 00:38:42,440
Speaker 1: the genocide of Native Americans. It's about the Holocaust. And

673
00:38:42,440 --> 00:38:44,120
Speaker 1: then of course someone will say, no, the Shining is

674
00:38:44,120 --> 00:38:46,520
Speaker 1: about faking the moon landing. Someone will say, no, the

675
00:38:46,560 --> 00:38:49,279
Speaker 1: Shining is a retelling of the minotaur myth okay, is

676
00:38:49,280 --> 00:38:52,160
Speaker 1: there is there amazed in the book? No, No, They're

677
00:38:52,160 --> 00:38:56,360
Speaker 1: they're just hedge creature. That's one of the one of

678
00:38:56,360 --> 00:39:00,080
Speaker 1: the big big changes. And also in the in the book,

679
00:39:00,960 --> 00:39:06,000
Speaker 1: the Overlook Hotel explodes because the kid manages to set

680
00:39:06,000 --> 00:39:09,680
Speaker 1: the boiler off right. And it was the first time

681
00:39:09,719 --> 00:39:13,839
Speaker 1: I learned the word doesn't. It's one of the last

682
00:39:13,840 --> 00:39:18,520
Speaker 1: things that possessed Jack towards is screaming as his ghost

683
00:39:18,600 --> 00:39:21,319
Speaker 1: riddled body dies, some kind of witchy word. It's like,

684
00:39:21,560 --> 00:39:25,480
Speaker 1: it's like you dare not it doesn't interesting. It was

685
00:39:25,600 --> 00:39:32,560
Speaker 1: very interesting. Pezuzo. Have you seen the Exorcist too? The

686
00:39:32,640 --> 00:39:35,399
Speaker 1: name of the demon and the Exorcist too, it's pezuo zoo.

687
00:39:38,080 --> 00:39:40,000
Speaker 1: We are not getting the spoilers out. Hey, you know

688
00:39:40,040 --> 00:39:43,160
Speaker 1: what we didn't mention what's that? Because I don't agree

689
00:39:43,200 --> 00:39:44,839
Speaker 1: with any of this stuff you guys are talking about.

690
00:39:44,880 --> 00:39:48,319
Speaker 1: I think the shining is an allegory for leaving or

691
00:39:48,480 --> 00:39:52,160
Speaker 1: leaving the gold standard, the decline of the gold stick. Yes,

692
00:39:52,280 --> 00:39:56,319
Speaker 1: that's another thing people have argued. The filmmaker of two

693
00:39:56,320 --> 00:39:59,759
Speaker 1: thirty seven, Rodney Ashton, I believe his name is U.

694
00:40:00,120 --> 00:40:03,480
Speaker 1: He personally doubts all of these interpretations. And there are

695
00:40:03,480 --> 00:40:05,759
Speaker 1: a couple of other things that weaken the idea of

696
00:40:05,760 --> 00:40:09,480
Speaker 1: this moon landing concept just based on the film. Prior

697
00:40:09,600 --> 00:40:13,280
Speaker 1: to the writer j W's claims, there were two guys

698
00:40:13,280 --> 00:40:15,760
Speaker 1: who proposed the idea as a joke on the Internet,

699
00:40:16,080 --> 00:40:18,120
Speaker 1: and then there was a mockumentary that I think we've

700
00:40:18,120 --> 00:40:20,759
Speaker 1: all seen in this room Dark Side of the Moon,

701
00:40:21,200 --> 00:40:27,120
Speaker 1: which is almost at Christopher Guest style. Look at the

702
00:40:27,160 --> 00:40:29,560
Speaker 1: fake you know, the moon landing. No, I haven't seen

703
00:40:29,600 --> 00:40:32,840
Speaker 1: I even heard of this. It's pretty funny, it's pretty good. Uh.

704
00:40:33,080 --> 00:40:37,080
Speaker 1: Problem is it was often taken seriously and people will

705
00:40:37,160 --> 00:40:40,879
Speaker 1: cite it as evidence. Yeah, it's like that vampire documentary

706
00:40:40,960 --> 00:40:45,120
Speaker 1: what we do in the Shadows. It's it's real, and

707
00:40:45,160 --> 00:40:47,840
Speaker 1: people think it's just a mocumentary. It's the inverse I

708
00:40:47,880 --> 00:40:53,560
Speaker 1: guess of this. Yeah, that's a good contrast there, Matt. So,

709
00:40:53,719 --> 00:40:55,960
Speaker 1: I'm not sure what you guys are doing here. Okay,

710
00:40:56,800 --> 00:41:05,799
Speaker 1: I think we're going to a commercial break. We're back.

711
00:41:05,840 --> 00:41:09,680
Speaker 1: So there's another conspiracy of play here that we we

712
00:41:09,800 --> 00:41:11,600
Speaker 1: mentioned at the very top of the show, but we

713
00:41:11,640 --> 00:41:15,680
Speaker 1: didn't really dig into. Stanley Kubrick in The Illuminati a

714
00:41:15,800 --> 00:41:19,480
Speaker 1: k a. Eyes Wide Shuts, the last film he made

715
00:41:20,239 --> 00:41:24,879
Speaker 1: or almost finished making, right depending on your interpretation, and

716
00:41:25,560 --> 00:41:28,719
Speaker 1: one that really freaked a lot of people out. Yeah.

717
00:41:28,719 --> 00:41:31,320
Speaker 1: I think largely because it's the only film to feature

718
00:41:31,400 --> 00:41:35,560
Speaker 1: Nicole Kidman wiping her bum. Oh is that? Why? Well

719
00:41:35,640 --> 00:41:38,759
Speaker 1: it Yeah, that was the original title. I think the

720
00:41:38,840 --> 00:41:42,600
Speaker 1: only film Eyes Wiping her Bum, the only film featuring

721
00:41:42,680 --> 00:41:46,640
Speaker 1: Nicole Kidmin wiping her bum. Well, it's a there, yes,

722
00:41:48,040 --> 00:41:50,680
Speaker 1: Nicole wiping her bum. Aside, there are a lot of

723
00:41:51,000 --> 00:41:53,960
Speaker 1: things that have been brought up before that perhaps this

724
00:41:54,000 --> 00:41:55,960
Speaker 1: movie had to do with the first one that I

725
00:41:56,080 --> 00:41:59,200
Speaker 1: read had to do with Scientology and whether or not

726
00:41:59,320 --> 00:42:02,920
Speaker 1: this whole film was kind of a jab at the

727
00:42:03,719 --> 00:42:06,480
Speaker 1: This is not me speaking, This is other people speaking.

728
00:42:06,840 --> 00:42:10,920
Speaker 1: The cult like similarities or the cult like things that

729
00:42:11,239 --> 00:42:16,239
Speaker 1: Scientology has within it. Tom cruises in it. Well, that's

730
00:42:16,239 --> 00:42:20,160
Speaker 1: the well again, Like also, Vivian Kubrick, who we've talked about,

731
00:42:20,520 --> 00:42:24,040
Speaker 1: is now a Scientologist. Yes, and the people online will

732
00:42:24,080 --> 00:42:27,759
Speaker 1: purport that this is Stanley Kubrick fighting against it as

733
00:42:27,800 --> 00:42:31,719
Speaker 1: like you've taken my daughter and I'm very upset. I'm

734
00:42:31,719 --> 00:42:35,120
Speaker 1: making this whole movie exposing you. However, she did not

735
00:42:35,280 --> 00:42:39,319
Speaker 1: join Scientology until after, at least at the very very

736
00:42:39,360 --> 00:42:42,000
Speaker 1: tail end of production on this film, So the timeline

737
00:42:42,040 --> 00:42:43,759
Speaker 1: is a little tough. Yeah, if you if you're talking

738
00:42:43,800 --> 00:42:46,640
Speaker 1: about a man writing a film and then coming up

739
00:42:46,680 --> 00:42:48,160
Speaker 1: with the shots for it and all of this, that

740
00:42:48,360 --> 00:42:52,719
Speaker 1: it doesn't line up. But having Nicole and Tom as

741
00:42:52,719 --> 00:42:58,640
Speaker 1: the lead characters interesting connection there. Perhaps perhaps weren't you

742
00:42:58,719 --> 00:43:02,719
Speaker 1: telling us off air that there's this idea of Kubrick

743
00:43:03,120 --> 00:43:07,320
Speaker 1: making Eyes Wide Shut just to put them through the wringer. Well,

744
00:43:07,480 --> 00:43:10,120
Speaker 1: I mean that's been purported by several articles. I don't

745
00:43:10,120 --> 00:43:11,719
Speaker 1: in case, I don't know if you've heard anything about this,

746
00:43:11,800 --> 00:43:13,799
Speaker 1: but there is there's like there's one scene in Eyes

747
00:43:13,840 --> 00:43:16,320
Speaker 1: Wide Shut that feels a little bit weirdly out of place.

748
00:43:16,400 --> 00:43:19,000
Speaker 1: It's where Tom Cruise is kind of walking the streets

749
00:43:19,000 --> 00:43:21,840
Speaker 1: of you know, the backlot version of New York that

750
00:43:21,840 --> 00:43:25,040
Speaker 1: they built in England at night by himself, and um,

751
00:43:25,080 --> 00:43:28,640
Speaker 1: he passes these kind of like frat guys and they

752
00:43:28,840 --> 00:43:30,360
Speaker 1: don't get out of his way and they kind of

753
00:43:30,400 --> 00:43:33,640
Speaker 1: bumped into him. They kind of like start yelling kind

754
00:43:33,640 --> 00:43:36,400
Speaker 1: of homophobic stuff at him. And there has been some

755
00:43:36,440 --> 00:43:39,280
Speaker 1: suggestion that that scene was in there almost as Kubrick's

756
00:43:39,880 --> 00:43:43,520
Speaker 1: potential commentary on Tom. You know, there's been rumors for

757
00:43:43,600 --> 00:43:47,439
Speaker 1: years about about Tom Cruise, so um, you know, just

758
00:43:47,440 --> 00:43:51,120
Speaker 1: just not even so much Kubrick falling down on one

759
00:43:51,120 --> 00:43:52,640
Speaker 1: side or the other of that whole thing, but just

760
00:43:52,719 --> 00:43:56,080
Speaker 1: kind of I don't know, prodding Tom Cruise and like

761
00:43:56,239 --> 00:43:58,840
Speaker 1: the control of his image and all that kind of stuff.

762
00:43:58,920 --> 00:44:02,960
Speaker 1: But is it Also isn't Kubrick very well known for

763
00:44:03,120 --> 00:44:08,960
Speaker 1: putting all actors through the Wringer Yeah, the Shining? Yes well.

764
00:44:09,000 --> 00:44:11,880
Speaker 1: And also scatt Nan Cruthers, who plays Hallerin in The Shining,

765
00:44:12,239 --> 00:44:14,800
Speaker 1: tells a story about having to do some wine of

766
00:44:14,880 --> 00:44:18,120
Speaker 1: dialogue like hello or something like a hundred times and

767
00:44:18,760 --> 00:44:22,480
Speaker 1: finally kind of crying out and exasperation, Mr Kubrick, what

768
00:44:22,520 --> 00:44:24,960
Speaker 1: do you want? And you know, Kubrick just saying I'm

769
00:44:25,000 --> 00:44:27,280
Speaker 1: just waiting to get it right or you know, just

770
00:44:27,280 --> 00:44:33,160
Speaker 1: just keep trying it. Yes, but it goes, it goes

771
00:44:33,239 --> 00:44:36,960
Speaker 1: much much deeper than that. There's there's a there's an

772
00:44:37,080 --> 00:44:42,640
Speaker 1: article in Vanity Fair that discusses specifically how Kubrick pushed

773
00:44:42,640 --> 00:44:46,280
Speaker 1: the relationship of Nicole Kidman and Tom Cruise on set

774
00:44:46,400 --> 00:44:50,960
Speaker 1: and offset there was this fairly very short sex scene

775
00:44:50,960 --> 00:44:55,800
Speaker 1: between Nicole Kidman's character and some other man, and Kubrick

776
00:44:55,960 --> 00:44:58,440
Speaker 1: barred Tom Cruise and being on set and they shot

777
00:44:58,440 --> 00:45:01,120
Speaker 1: it for like six days and it's the tiny little

778
00:45:01,200 --> 00:45:04,200
Speaker 1: sex scene. Um, Tom Cruise was not allowed to be

779
00:45:04,239 --> 00:45:07,560
Speaker 1: told anything about what was happening. Again, this is his wife,

780
00:45:07,680 --> 00:45:10,400
Speaker 1: and that's That's one of those like things that almost

781
00:45:10,400 --> 00:45:13,080
Speaker 1: I can see him as a director trying to unsettle

782
00:45:13,200 --> 00:45:16,640
Speaker 1: both of them on purpose, right, test their marriage because

783
00:45:16,640 --> 00:45:19,759
Speaker 1: in the movie they're married, and then he's testing their

784
00:45:19,800 --> 00:45:22,359
Speaker 1: actual marriage. And he would have them sit down and

785
00:45:22,400 --> 00:45:26,480
Speaker 1: do essentially therapy with Stanley, with the three of them

786
00:45:26,520 --> 00:45:29,160
Speaker 1: together in a room, and talk about their actual marital

787
00:45:29,200 --> 00:45:32,040
Speaker 1: problems and then work that into the movie. Well, I

788
00:45:32,080 --> 00:45:34,560
Speaker 1: made the joke about the bomb wiping thing earlier, not

789
00:45:34,600 --> 00:45:37,040
Speaker 1: to keep harping on that, but that sort of fed

790
00:45:37,080 --> 00:45:39,040
Speaker 1: into that too. The idea that he made them kind

791
00:45:39,080 --> 00:45:41,840
Speaker 1: of behave in in in the scene as as a

792
00:45:41,840 --> 00:45:45,280
Speaker 1: married couple, would you know, and go about their business

793
00:45:45,320 --> 00:45:48,439
Speaker 1: and kind of having gotten past that honeymoon period where

794
00:45:48,440 --> 00:45:50,239
Speaker 1: you're gonna, you know, take a pee with the door

795
00:45:50,280 --> 00:45:52,839
Speaker 1: open and not worry that your husband's standing right there.

796
00:45:52,880 --> 00:45:54,600
Speaker 1: You know, these are these are two of the most

797
00:45:54,600 --> 00:45:57,560
Speaker 1: powerful and famous actors in all of Hollywood at the

798
00:45:57,640 --> 00:46:00,839
Speaker 1: time that he that he has kind of toying with

799
00:46:01,000 --> 00:46:03,759
Speaker 1: And I wonder how much of that is him, like

800
00:46:03,880 --> 00:46:07,400
Speaker 1: I don't know, just really exercising the power. Yeah, But

801
00:46:07,440 --> 00:46:10,160
Speaker 1: also at this time, you know, he's he's already a

802
00:46:10,280 --> 00:46:16,120
Speaker 1: legendary director, so he's kind of like at the level

803
00:46:16,239 --> 00:46:18,319
Speaker 1: in the terms of directing. He is kind of like

804
00:46:18,320 --> 00:46:20,840
Speaker 1: at the level Prince was in terms of music. People

805
00:46:20,880 --> 00:46:26,240
Speaker 1: just don't say no to him except after his death,

806
00:46:26,880 --> 00:46:31,120
Speaker 1: So he um. The big question about Eyes Wide shutt right,

807
00:46:31,200 --> 00:46:35,719
Speaker 1: is he purposefully torturing the actors like a cat with

808
00:46:35,760 --> 00:46:41,040
Speaker 1: a mouse? Is he fighting against scienceology using the language

809
00:46:41,040 --> 00:46:45,640
Speaker 1: of symbolism. The thing you'll find perhaps most curious if

810
00:46:45,680 --> 00:46:48,560
Speaker 1: if you have seen Eyes Wide Shot before, or if

811
00:46:48,640 --> 00:46:51,400
Speaker 1: you're not too familiar with the story, you want to

812
00:46:51,440 --> 00:46:53,680
Speaker 1: dive into it. The thing you might find most curious

813
00:46:53,880 --> 00:46:58,600
Speaker 1: is that many people argue about the cut of the

814
00:46:58,600 --> 00:47:05,680
Speaker 1: film if right right. Kubrick's contract had some hard lines

815
00:47:06,239 --> 00:47:10,560
Speaker 1: preventing studios from editing his work without his consent. Again,

816
00:47:11,040 --> 00:47:13,799
Speaker 1: he's still the same very hands on director he was

817
00:47:14,080 --> 00:47:19,200
Speaker 1: back in the fifties, the essentially going through the legal ease.

818
00:47:19,640 --> 00:47:22,040
Speaker 1: His position is it's done when I say it's done,

819
00:47:22,200 --> 00:47:25,480
Speaker 1: and then when I say it's done, it's definitely done. No,

820
00:47:25,480 --> 00:47:28,520
Speaker 1: no studios intruding, don't tell me to put in a

821
00:47:28,560 --> 00:47:31,399
Speaker 1: new actor or some dumb scene with a talking dog.

822
00:47:31,960 --> 00:47:34,480
Speaker 1: I run the show. And that that carried through even

823
00:47:34,520 --> 00:47:36,600
Speaker 1: to the marketing of his films. He designed all the

824
00:47:36,600 --> 00:47:39,879
Speaker 1: posters himself, he cut all the trailers himself, and he

825
00:47:39,960 --> 00:47:43,879
Speaker 1: was heavily, heavily involved in selling the movie even after

826
00:47:44,160 --> 00:47:46,959
Speaker 1: he was done working on it. So then he after

827
00:47:47,000 --> 00:47:50,840
Speaker 1: his untimely death, these critics and researchers wonder whether the

828
00:47:50,880 --> 00:47:54,080
Speaker 1: cut that premiered in theaters was the actual final cut

829
00:47:54,400 --> 00:47:56,880
Speaker 1: he wanted. So where there scenes that might have been

830
00:47:56,960 --> 00:47:59,360
Speaker 1: left out without his consent or altered? I mean what

831
00:47:59,480 --> 00:48:03,839
Speaker 1: gives Yeah, so there there is some truth to this

832
00:48:04,000 --> 00:48:06,520
Speaker 1: in a certain sense. Um. I mean maybe it goes

833
00:48:06,520 --> 00:48:08,520
Speaker 1: deeper if you if you buy into that theory, but

834
00:48:09,040 --> 00:48:11,479
Speaker 1: you know, just sticking to like what is definitely known

835
00:48:11,520 --> 00:48:15,480
Speaker 1: to be definitely true. Kubrick was contractually obligated even though

836
00:48:15,480 --> 00:48:18,000
Speaker 1: he had final cut, he was still contractually obligated to

837
00:48:18,040 --> 00:48:21,839
Speaker 1: deliver an R rated film for the US market. And

838
00:48:21,920 --> 00:48:24,080
Speaker 1: since he died, you know, just as he had kind

839
00:48:24,080 --> 00:48:27,400
Speaker 1: of finished his like final cut, Um, he never had

840
00:48:27,440 --> 00:48:29,279
Speaker 1: a chance to kind of go back and forth with

841
00:48:29,320 --> 00:48:32,080
Speaker 1: the n p a A over that rating once they

842
00:48:32,280 --> 00:48:35,160
Speaker 1: did deliver an NC seventeen because of some of the

843
00:48:35,239 --> 00:48:40,279
Speaker 1: nudity and the orgy sequence. Ye are yes, just just

844
00:48:40,400 --> 00:48:46,920
Speaker 1: kind of one big one. Um. But but yes, yeah, yeah,

845
00:48:46,920 --> 00:48:50,759
Speaker 1: it's it's a it's a recurring event. Um. But uh so,

846
00:48:51,200 --> 00:48:52,560
Speaker 1: you know, they were they were kind of in a

847
00:48:52,640 --> 00:48:55,080
Speaker 1: in a real predicament because there's so many people that

848
00:48:55,120 --> 00:48:57,480
Speaker 1: are clamoring to see like the final master work of

849
00:48:57,520 --> 00:49:02,000
Speaker 1: this legendary director, and they an't release it into most

850
00:49:02,080 --> 00:49:05,160
Speaker 1: theaters the way an NC seventeen works in the United States.

851
00:49:05,200 --> 00:49:08,920
Speaker 1: It's it's a real problem commercially. So what they arrived

852
00:49:08,920 --> 00:49:11,000
Speaker 1: at as a compromise was that they use c g

853
00:49:11,160 --> 00:49:15,440
Speaker 1: I to put these kind of ridiculous looking, very static,

854
00:49:15,600 --> 00:49:19,920
Speaker 1: very like Uncanny Valley esque nude figures standing with her

855
00:49:19,960 --> 00:49:22,680
Speaker 1: back to the camera in front of the more explicit action.

856
00:49:23,239 --> 00:49:25,319
Speaker 1: And in this way they didn't have to actually alter

857
00:49:25,480 --> 00:49:28,759
Speaker 1: like the rhythm of the cutting or reshoot anything. Um.

858
00:49:28,800 --> 00:49:32,719
Speaker 1: But it absolutely stands out. I mean, the state of

859
00:49:33,239 --> 00:49:37,600
Speaker 1: creating those kinds of you know, post production humanlike figures

860
00:49:37,719 --> 00:49:42,760
Speaker 1: was was not great. So still not great. Rogue one

861
00:49:43,000 --> 00:49:46,279
Speaker 1: Grand Moth Tarkian or whatever totally took me out of

862
00:49:46,320 --> 00:49:49,840
Speaker 1: that movie. Man, that Uncanny Valley effect is is alive

863
00:49:49,880 --> 00:49:52,880
Speaker 1: and well, and so they but in Europe, they they

864
00:49:52,960 --> 00:49:56,640
Speaker 1: did get the unfiltered unaltered version right away. And now

865
00:49:56,680 --> 00:49:58,080
Speaker 1: if you buy the movie on Blu Ray in the

866
00:49:58,200 --> 00:50:01,239
Speaker 1: U S or DVD or p really streaming, it's it's

867
00:50:01,280 --> 00:50:04,080
Speaker 1: also the unaltered version. It is not like as an

868
00:50:04,080 --> 00:50:05,920
Speaker 1: option like it is. Yeah. Yeah, I think it's just

869
00:50:05,960 --> 00:50:08,120
Speaker 1: a faults to it. It doesn't even I could be

870
00:50:08,120 --> 00:50:09,360
Speaker 1: wrong about that, but I said, I think it is.

871
00:50:09,680 --> 00:50:12,799
Speaker 1: So what was being covered? Is it like penetration? Yeah, yeah,

872
00:50:12,800 --> 00:50:15,000
Speaker 1: it's like people on a table and you can kind

873
00:50:15,000 --> 00:50:17,760
Speaker 1: of see what's going on. So there's there's like people

874
00:50:17,840 --> 00:50:20,400
Speaker 1: kind of standing in front. I mean, there's there's really

875
00:50:20,400 --> 00:50:23,520
Speaker 1: nothing like super graphic about any of it, but you know,

876
00:50:23,560 --> 00:50:25,800
Speaker 1: it doesn't leave a whole lot to the imagination, probably

877
00:50:26,239 --> 00:50:28,279
Speaker 1: nothing that we haven't already seen in like films like

878
00:50:28,360 --> 00:50:31,399
Speaker 1: Calligual Efforts. For sure. Yeah, it wasn't. It wasn't like

879
00:50:31,960 --> 00:50:33,640
Speaker 1: there were all these rumors when he was making the

880
00:50:33,640 --> 00:50:35,320
Speaker 1: film that it was like going to be triple x

881
00:50:35,440 --> 00:50:39,120
Speaker 1: rated and it was like the most explicit thing ever um.

882
00:50:39,239 --> 00:50:41,080
Speaker 1: And then when the film actually came out, I think

883
00:50:41,120 --> 00:50:43,080
Speaker 1: most people were kind of like, this is like way

884
00:50:43,080 --> 00:50:46,560
Speaker 1: more tame than we were told to expect. It's because

885
00:50:46,600 --> 00:50:49,759
Speaker 1: they cut out the puppet love making scene. They're going

886
00:50:49,800 --> 00:50:53,360
Speaker 1: to be in there, which was the original second title

887
00:50:53,400 --> 00:50:57,879
Speaker 1: of the film, Puppet love making Scene. Stanley Kubrick. So

888
00:50:58,000 --> 00:51:02,040
Speaker 1: there's one other elephant in the orgy room here, and

889
00:51:02,320 --> 00:51:05,680
Speaker 1: it is the Illuminati, the masks and the robes and

890
00:51:05,719 --> 00:51:10,040
Speaker 1: the rituals the idea. The idea is that Kubrick, by

891
00:51:10,080 --> 00:51:12,880
Speaker 1: way of being in the entertainment industry, got embroiled in

892
00:51:12,920 --> 00:51:18,359
Speaker 1: a massive global freemason Illuminati conspiracy, and he devoted much

893
00:51:18,360 --> 00:51:21,920
Speaker 1: of his career to referencing this through symbols and codes.

894
00:51:22,920 --> 00:51:27,040
Speaker 1: Just like the moon Landing Shining argument, which is that

895
00:51:27,239 --> 00:51:30,839
Speaker 1: Kubrick made the shining as sort of insurance to save

896
00:51:30,920 --> 00:51:34,400
Speaker 1: his life from this coble. The eyes wide shut Illuminati

897
00:51:34,520 --> 00:51:39,400
Speaker 1: argument says that he while he was always pushing the envelope,

898
00:51:39,760 --> 00:51:42,880
Speaker 1: he actually crossed the line for this secret of cabal

899
00:51:43,200 --> 00:51:47,640
Speaker 1: when he depicted specifically trauma based mind control, similar to

900
00:51:47,719 --> 00:51:51,520
Speaker 1: concepts that explored in things like Project Monarch and other

901
00:51:51,719 --> 00:51:56,320
Speaker 1: other related theories, and that instead of uh Kubrick passing

902
00:51:56,360 --> 00:52:00,839
Speaker 1: away after turning in the film, he was assassinated. M hmm.

903
00:52:01,440 --> 00:52:04,120
Speaker 1: So one of the big questions that I think we

904
00:52:04,160 --> 00:52:08,279
Speaker 1: should ask about this concept is if this group is

905
00:52:08,320 --> 00:52:11,359
Speaker 1: so powerful and if they were so worried that they

906
00:52:11,440 --> 00:52:14,640
Speaker 1: killed him after he turned in the final cut, where

907
00:52:14,680 --> 00:52:17,839
Speaker 1: were they when he was filming the thing? Well, it

908
00:52:17,880 --> 00:52:20,040
Speaker 1: took Casey, correct me if I'm wrong. I think it

909
00:52:20,120 --> 00:52:24,040
Speaker 1: took like eighteen It was very very long shoot. And

910
00:52:24,080 --> 00:52:26,320
Speaker 1: when you when you consider that, you know Tom Cruise

911
00:52:26,320 --> 00:52:29,320
Speaker 1: and Nicole Kid then are both like extremely in demand

912
00:52:29,840 --> 00:52:32,520
Speaker 1: actors at that moment, and even now you know for

913
00:52:32,600 --> 00:52:34,800
Speaker 1: that matter, Um, they they really had to kind of

914
00:52:34,800 --> 00:52:37,560
Speaker 1: shut their lives down and just like dedicate everything to

915
00:52:38,480 --> 00:52:41,239
Speaker 1: being on this shoot and um miss out on a

916
00:52:41,280 --> 00:52:45,399
Speaker 1: billion dollars probably right, right, Well, it is interesting though

917
00:52:45,480 --> 00:52:48,120
Speaker 1: when you think about some of the things at least

918
00:52:48,120 --> 00:52:50,360
Speaker 1: that I was reading in that Vanity Fair article about

919
00:52:50,440 --> 00:52:54,439
Speaker 1: the weird ways of shooting, Well, they were they would

920
00:52:54,480 --> 00:52:59,160
Speaker 1: shoot Tom Cruise on a set with essentially green scare

921
00:52:59,200 --> 00:53:02,000
Speaker 1: or projected image just back, yeah, rear rear, like old

922
00:53:02,000 --> 00:53:07,960
Speaker 1: school rear projection for in the UK for weeks, like

923
00:53:08,040 --> 00:53:10,080
Speaker 1: just get that one shot of him walking around and

924
00:53:10,120 --> 00:53:12,360
Speaker 1: just forced Tom Cruise to do that for weeks, And

925
00:53:12,360 --> 00:53:14,799
Speaker 1: it makes me wonder if he's kind of if this

926
00:53:15,200 --> 00:53:18,360
Speaker 1: um theory holds true that he's kind of obviously skating

927
00:53:18,640 --> 00:53:22,279
Speaker 1: what's actually going into the movie and what's actually what

928
00:53:22,520 --> 00:53:25,920
Speaker 1: the symbols that he's showing. Maybe that was a strategy

929
00:53:26,239 --> 00:53:29,799
Speaker 1: like red herring false trails. Yeah, maybe, I don't know.

930
00:53:29,920 --> 00:53:32,360
Speaker 1: There's definitely like a dream like kind of feeling that

931
00:53:32,360 --> 00:53:35,000
Speaker 1: he's trying to convey. And even though he does have

932
00:53:35,080 --> 00:53:38,600
Speaker 1: like second unit photography happening in in actual New York,

933
00:53:39,120 --> 00:53:41,200
Speaker 1: when you look at the movie, it doesn't really feel

934
00:53:41,200 --> 00:53:42,839
Speaker 1: like New York. It kind of feels like a dream

935
00:53:42,880 --> 00:53:46,840
Speaker 1: idea of what New York is. And Yeah, I don't know,

936
00:53:46,120 --> 00:53:49,279
Speaker 1: I'm kind of tempted to think that it was less

937
00:53:49,280 --> 00:53:52,480
Speaker 1: about like putting Tom Cruise through the Ringer for the

938
00:53:52,480 --> 00:53:56,000
Speaker 1: heck of it, and probably more down to just you know,

939
00:53:56,080 --> 00:54:00,320
Speaker 1: technical perfectionism of Kubrick's part to have it not feel

940
00:54:00,400 --> 00:54:06,640
Speaker 1: like just a bogus effect shot or something. So this

941
00:54:06,719 --> 00:54:10,960
Speaker 1: is by and large where the conversation about eyes wide

942
00:54:10,960 --> 00:54:14,600
Speaker 1: Shut lives. We do know that Stanley Koprick was no

943
00:54:14,760 --> 00:54:18,800
Speaker 1: stranger to conspiracy theories on his own. There's a famous

944
00:54:18,800 --> 00:54:22,200
Speaker 1: scene in Doctor Strangelove where he mentions Floride, oh yeah,

945
00:54:22,320 --> 00:54:25,040
Speaker 1: talking about flooride case you don't happen to know a

946
00:54:25,120 --> 00:54:28,399
Speaker 1: quote or anything, do you. I'm trying to think about

947
00:54:28,400 --> 00:54:30,080
Speaker 1: the floor. The one that I'm thinking of is to

948
00:54:30,200 --> 00:54:34,400
Speaker 1: deny women in my essence. But I think in this

949
00:54:34,480 --> 00:54:36,680
Speaker 1: one they're having a discussion about floride in the water,

950
00:54:37,080 --> 00:54:39,759
Speaker 1: I believe. Yeah, yeah, I do remember that. That. Yeah,

951
00:54:39,960 --> 00:54:41,920
Speaker 1: I have a I have a quote here that might

952
00:54:41,920 --> 00:54:45,400
Speaker 1: be helpful. I'm not going to do the voice, but

953
00:54:45,600 --> 00:54:48,760
Speaker 1: it's it's is it a conversation? Yeah? Yeah, yeah, yeah,

954
00:54:48,920 --> 00:54:51,800
Speaker 1: Man Drake, do you realize that, in addition to Florida

955
00:54:51,960 --> 00:54:57,080
Speaker 1: and water, while there are studies underway to floridate salt, flour,

956
00:54:57,160 --> 00:55:01,000
Speaker 1: fruit juice, soup, sugar, milk, ice cream. I scream, Man Drake,

957
00:55:01,120 --> 00:55:06,240
Speaker 1: children's ice cream? Oh Jack, you know when floridation first began?

958
00:55:08,840 --> 00:55:12,920
Speaker 1: And forty six? Nineteen forty six, Man Drake, How does

959
00:55:12,920 --> 00:55:16,600
Speaker 1: that coincide with your post war commy conspiracy? Huh? It's

960
00:55:16,600 --> 00:55:20,239
Speaker 1: incredibly obvious, isn't it. A foreign substance is introduced into

961
00:55:20,320 --> 00:55:23,400
Speaker 1: our precious bodily fluids without the knowledge of the individual,

962
00:55:23,840 --> 00:55:28,320
Speaker 1: certainly without any choice. That's the way your hardcore comy works.

963
00:55:30,080 --> 00:55:34,600
Speaker 1: That's uh, that's a pretty classic scene. From the film.

964
00:55:34,800 --> 00:55:39,520
Speaker 1: We don't know for sure Stanley Kubrick's personal thoughts on

965
00:55:40,440 --> 00:55:43,160
Speaker 1: Floor I, but we do know his personal thoughts on

966
00:55:43,440 --> 00:55:47,879
Speaker 1: the concept of extraterrestrial intelligence. Oh yes, we found an

967
00:55:47,880 --> 00:55:53,680
Speaker 1: excerpt from Playboy magazine Triple excerpt. Oh, actually, I think

968
00:55:53,719 --> 00:55:57,040
Speaker 1: around that time it's probably like Double X. Maybe Playboy

969
00:55:57,120 --> 00:55:59,799
Speaker 1: was never Triple X. They've always God. I'm really dim

970
00:56:00,000 --> 00:56:04,680
Speaker 1: shitting my knowledge. No, would you like to reveal us

971
00:56:04,719 --> 00:56:07,719
Speaker 1: with some of that? Boy? Would I? By the way,

972
00:56:07,719 --> 00:56:11,160
Speaker 1: Playboy Magazine, Stanley Cup two thousand one of Space Odyssey

973
00:56:11,200 --> 00:56:13,000
Speaker 1: has just come out. I'm gonna do my Couberg voice.

974
00:56:13,440 --> 00:56:18,279
Speaker 1: Extraterrestrials may have progressed from biological species, which are fragile

975
00:56:18,320 --> 00:56:23,480
Speaker 1: shells for the mind best, into immortal machine entities, and

976
00:56:23,520 --> 00:56:27,720
Speaker 1: then over innumerable eons, they could emerge from the chrysalists

977
00:56:27,719 --> 00:56:32,960
Speaker 1: of matter, transformed into beings of pure energy and spirit.

978
00:56:34,239 --> 00:56:36,120
Speaker 1: That doesn't really I don't know. I know, I give

979
00:56:36,160 --> 00:56:39,120
Speaker 1: more more and more bronx. Oh yeah, I can't do bronx,

980
00:56:39,160 --> 00:56:43,479
Speaker 1: and I can only do evil evil. These beings would

981
00:56:43,520 --> 00:56:46,920
Speaker 1: be gods to the billions of less advanced races in

982
00:56:46,960 --> 00:56:50,799
Speaker 1: the universe, just as man would appear a god to

983
00:56:50,960 --> 00:56:55,720
Speaker 1: an aunt. So here he's talking specifically about the possibility

984
00:56:56,120 --> 00:56:59,560
Speaker 1: of extraterrestrial intelligence existing. He's not saying they exist here

985
00:56:59,600 --> 00:57:02,960
Speaker 1: we've taken an excerpt, but yeah, he's just postulated on

986
00:57:03,000 --> 00:57:05,640
Speaker 1: what it would be like. And uh he makes a

987
00:57:05,760 --> 00:57:09,200
Speaker 1: point which is actually pretty flattering for us when you

988
00:57:09,239 --> 00:57:11,759
Speaker 1: think about it. He makes the same point that we

989
00:57:11,880 --> 00:57:15,920
Speaker 1: made in previous episodes, which is that the idea of

990
00:57:16,000 --> 00:57:19,960
Speaker 1: inorganic life forms being the successful explorers of the stars

991
00:57:20,480 --> 00:57:23,680
Speaker 1: is a little more likely than organic life forms. Yes,

992
00:57:24,280 --> 00:57:27,680
Speaker 1: and he even gets into that the important point is

993
00:57:27,720 --> 00:57:30,840
Speaker 1: that all the standard attributes assigned to God in our

994
00:57:30,960 --> 00:57:36,520
Speaker 1: history could equally well be the characteristics of biological entities

995
00:57:36,560 --> 00:57:40,320
Speaker 1: who billions of years ago were at a stage of

996
00:57:40,400 --> 00:57:45,320
Speaker 1: development similar to man's own and evolved into something as

997
00:57:45,400 --> 00:57:48,840
Speaker 1: remote from Man as Man is remote from the primordial

998
00:57:49,000 --> 00:57:53,480
Speaker 1: ooze from which he first emerged. That was a great

999
00:57:53,560 --> 00:57:57,280
Speaker 1: I mean, yeah, that's great and just a great job,

1000
00:57:57,480 --> 00:58:00,760
Speaker 1: great thought. I know, I know that's a lameration of

1001
00:58:01,360 --> 00:58:03,720
Speaker 1: other people's thoughts in a way from Stanley Kubrick, but

1002
00:58:03,800 --> 00:58:06,800
Speaker 1: still it's it's well well told, which you say, it's

1003
00:58:07,040 --> 00:58:13,520
Speaker 1: well uh framed. Sorry, guys. Well, in conclusion, first, we

1004
00:58:13,560 --> 00:58:15,880
Speaker 1: know this episode ran a little bit long, but we

1005
00:58:16,000 --> 00:58:20,360
Speaker 1: hope you enjoyed it as much as we have today. Uh.

1006
00:58:20,440 --> 00:58:23,960
Speaker 1: In conclusion, there's no question that Kubrick's work lends itself

1007
00:58:24,000 --> 00:58:26,920
Speaker 1: to a vast array of interpretation. That's the thing about

1008
00:58:26,920 --> 00:58:32,760
Speaker 1: interpretations of works of art. Interpretations are not necessarily mutually exclusive,

1009
00:58:33,920 --> 00:58:37,360
Speaker 1: and ultimately it could be argued that all works of

1010
00:58:37,440 --> 00:58:40,600
Speaker 1: art belonged to the audience perceiving them in terms of

1011
00:58:40,600 --> 00:58:43,760
Speaker 1: the meaning, right, because once the artist is dead then

1012
00:58:43,840 --> 00:58:48,360
Speaker 1: they have no real say, which is you know, a

1013
00:58:48,440 --> 00:58:50,560
Speaker 1: very controversial point. I used to hate it when my

1014
00:58:50,560 --> 00:58:53,840
Speaker 1: professor's pointed that out. Well, especially if you're an artist

1015
00:58:53,840 --> 00:58:55,840
Speaker 1: that just wants to allow your stuff to speak for itself,

1016
00:58:55,920 --> 00:58:57,280
Speaker 1: and you don't want to be talking to press all

1017
00:58:57,320 --> 00:58:58,960
Speaker 1: the time. You don't want to have to go through

1018
00:58:59,000 --> 00:59:01,520
Speaker 1: every little frame and say, this is what this means.

1019
00:59:02,800 --> 00:59:05,640
Speaker 1: I'm teaching you, I'm telling you how to read my films,

1020
00:59:05,800 --> 00:59:07,920
Speaker 1: and you're not doing it. Get out of my sight.

1021
00:59:08,080 --> 00:59:11,560
Speaker 1: I'm going back to the UK and the intensely symbolic

1022
00:59:11,640 --> 00:59:16,120
Speaker 1: nature of the stories kubric specifically tells arguably communicate to

1023
00:59:16,160 --> 00:59:19,720
Speaker 1: the audience on a semi or subconscious level, accessing those

1024
00:59:19,760 --> 00:59:23,480
Speaker 1: primal archetypes cited by people like Carl Younger Fraser, the

1025
00:59:23,480 --> 00:59:27,160
Speaker 1: author of The Golden Bow, or Joseph Campbell, and again

1026
00:59:27,480 --> 00:59:31,000
Speaker 1: that Cormac McCarthy article. I probably already posted it on

1027
00:59:31,080 --> 00:59:33,280
Speaker 1: Here's where it gets crazy, but we're posting it again.

1028
00:59:33,600 --> 00:59:36,360
Speaker 1: By golly by gum, it's worth it. In the case

1029
00:59:36,400 --> 00:59:40,360
Speaker 1: of the shining and the moon landing theory, the interpretations

1030
00:59:40,440 --> 00:59:45,520
Speaker 1: do honestly seem pretty subjective but fascinating and compelling. Problem

1031
00:59:45,560 --> 00:59:48,960
Speaker 1: is some inaccuracies poke holes in the case. As for

1032
00:59:49,080 --> 00:59:51,800
Speaker 1: the idea of a secret cabal functioning behind the scenes,

1033
00:59:51,840 --> 00:59:56,200
Speaker 1: pulling the strings of industries, religions, and governments across the world, well,

1034
00:59:56,640 --> 00:59:59,560
Speaker 1: the entertainment industry certainly does have a version of that.

1035
01:00:00,040 --> 01:00:05,400
Speaker 1: Are called producers. Oh burn all your producers out there,

1036
01:00:06,040 --> 01:00:07,600
Speaker 1: And this is one thing I just wanted to speak

1037
01:00:07,640 --> 01:00:12,360
Speaker 1: to Casey as well about this. In general, there is

1038
01:00:12,400 --> 01:00:16,520
Speaker 1: a frenetic pace that's inherent in the filmmaking process where

1039
01:00:17,320 --> 01:00:18,880
Speaker 1: I don't know if any of you out there have

1040
01:00:19,160 --> 01:00:21,200
Speaker 1: had the experience of being on a set of any

1041
01:00:21,280 --> 01:00:24,680
Speaker 1: kind of either for student film, a school project, maybe

1042
01:00:24,720 --> 01:00:27,080
Speaker 1: maybe you've worked on a big production before, but if so,

1043
01:00:27,160 --> 01:00:30,280
Speaker 1: you know that there are major changes that occur to

1044
01:00:30,840 --> 01:00:33,280
Speaker 1: everything from the script to the set dressing, to the

1045
01:00:33,320 --> 01:00:35,520
Speaker 1: camera angle that that's going to be used in the lens,

1046
01:00:35,920 --> 01:00:38,880
Speaker 1: and everything in between. It happens in real time when

1047
01:00:38,880 --> 01:00:42,000
Speaker 1: you have a director with a with a vision who

1048
01:00:42,240 --> 01:00:47,680
Speaker 1: is seeing something that isn't necessarily written down right. Yeah, yeah,

1049
01:00:47,720 --> 01:00:51,360
Speaker 1: I mean and and again the reason that Kubrick needed

1050
01:00:51,400 --> 01:00:54,240
Speaker 1: eighteen months to shoot Eyes Wide Shut, which if you

1051
01:00:54,240 --> 01:00:57,480
Speaker 1: watch the final film, it's kind of baffling how it

1052
01:00:57,520 --> 01:00:59,200
Speaker 1: could take so long to shoot it because it's a

1053
01:00:59,240 --> 01:01:02,080
Speaker 1: lot of simple interiors and a couple of people in

1054
01:01:02,120 --> 01:01:05,960
Speaker 1: the room talking. But it is because exactly that that

1055
01:01:06,040 --> 01:01:08,800
Speaker 1: he wanted to be able to try things this way.

1056
01:01:08,960 --> 01:01:10,640
Speaker 1: Do a scene here, do a scene there, you know,

1057
01:01:10,760 --> 01:01:14,240
Speaker 1: change the location, change the lighting. Um. There were even

1058
01:01:14,280 --> 01:01:17,560
Speaker 1: actors that dropped out because they couldn't keep doing the movie,

1059
01:01:17,640 --> 01:01:20,120
Speaker 1: so some stuff had to be reshot in that way.

1060
01:01:20,160 --> 01:01:22,600
Speaker 1: So I mean, he he very much like looked at

1061
01:01:22,960 --> 01:01:26,360
Speaker 1: he prepared his films meticulously, but he still they were

1062
01:01:26,400 --> 01:01:30,400
Speaker 1: like very much kind of living documents that he was making. Um,

1063
01:01:30,480 --> 01:01:32,160
Speaker 1: when when it came time to shoot them. And if

1064
01:01:32,160 --> 01:01:34,760
Speaker 1: you want to just to see an example of this,

1065
01:01:34,840 --> 01:01:36,760
Speaker 1: there's a great clip on YouTube where you can see

1066
01:01:36,760 --> 01:01:40,000
Speaker 1: behind the scenes shining footage where you can see kubric

1067
01:01:40,000 --> 01:01:43,520
Speaker 1: actually making these decisions about how to get the shot

1068
01:01:44,000 --> 01:01:48,880
Speaker 1: with um with Jack Nicholson standing at the door talking

1069
01:01:49,000 --> 01:01:52,160
Speaker 1: talking to his wife, and this really low angle shot

1070
01:01:52,200 --> 01:01:54,560
Speaker 1: that he's just kind of messing around. As they're hanging

1071
01:01:54,600 --> 01:01:56,520
Speaker 1: around trying to figure out how to frame the thing.

1072
01:01:56,840 --> 01:02:00,520
Speaker 1: Stanley gets down below and goes, oh, yeah, yeah, let's

1073
01:02:00,520 --> 01:02:03,680
Speaker 1: try this one. Yeah, he's got the director's viewfindary lays down,

1074
01:02:03,760 --> 01:02:05,480
Speaker 1: He's just like, yeah, let's do it from here. Yeah,

1075
01:02:05,600 --> 01:02:08,480
Speaker 1: I mean, And that kind of thing occurs in filmmaking

1076
01:02:08,480 --> 01:02:12,520
Speaker 1: all the time. And sometimes when you think about someone

1077
01:02:12,600 --> 01:02:16,480
Speaker 1: like Stanley Kubrick making these films that every moment is

1078
01:02:16,520 --> 01:02:19,320
Speaker 1: planned out in a notebook somewhere in a grimoire that

1079
01:02:19,400 --> 01:02:24,120
Speaker 1: he's got here on my plans, Um, it probably isn't

1080
01:02:24,280 --> 01:02:27,240
Speaker 1: the way it worked out. And lets it's Alfred Hitchcock.

1081
01:02:27,280 --> 01:02:29,640
Speaker 1: And then maybe because he always said, you know, and

1082
01:02:29,680 --> 01:02:32,600
Speaker 1: make my movies before the camera ever comes on. And

1083
01:02:32,760 --> 01:02:36,080
Speaker 1: we should also, uh, we should also know that Alfred

1084
01:02:36,160 --> 01:02:40,480
Speaker 1: Hitchcock was a monster off screen hmm to his to

1085
01:02:40,640 --> 01:02:46,440
Speaker 1: his talent at least yeah cattle yeah, which I think

1086
01:02:46,560 --> 01:02:49,280
Speaker 1: one time, Casey, when we were shooting some video, I

1087
01:02:49,320 --> 01:02:54,600
Speaker 1: think I heard you say something like that too. All right, well,

1088
01:02:54,840 --> 01:02:58,240
Speaker 1: Casey Pegram, thank you so much for joining us today

1089
01:02:58,400 --> 01:03:02,240
Speaker 1: on this show and in harding some of your Kubrick

1090
01:03:02,440 --> 01:03:06,440
Speaker 1: wisdom to us and the audience, and of course thank you,

1091
01:03:06,480 --> 01:03:09,560
Speaker 1: as we said, for tuning in. This is the end

1092
01:03:09,600 --> 01:03:12,080
Speaker 1: of today's episode, but not our show. You can find

1093
01:03:12,120 --> 01:03:14,240
Speaker 1: us on Instagram. You can find us on Twitter. You

1094
01:03:14,280 --> 01:03:17,160
Speaker 1: can find us on Facebook. If you don't want to

1095
01:03:17,200 --> 01:03:18,840
Speaker 1: do any of that, or you want to maybe just

1096
01:03:19,040 --> 01:03:20,880
Speaker 1: dabble in the Facebook, but do it in the way

1097
01:03:20,880 --> 01:03:22,560
Speaker 1: that you know you'll actually get the updates, you can

1098
01:03:22,640 --> 01:03:24,840
Speaker 1: join our Facebook group which is called Here's where it

1099
01:03:24,880 --> 01:03:27,640
Speaker 1: Gets Crazy UM, where we post all kinds of fun

1100
01:03:27,640 --> 01:03:30,440
Speaker 1: stuff and lurk around and slip into the comments here

1101
01:03:30,480 --> 01:03:32,240
Speaker 1: and there UM. Or if you don't want to do

1102
01:03:32,240 --> 01:03:34,040
Speaker 1: any of the social media stuff you just want to

1103
01:03:34,040 --> 01:03:35,880
Speaker 1: send a good old fashioned email, you can do so

1104
01:03:36,040 --> 01:03:39,160
Speaker 1: by writing to us at Conspiracy at how Stuff Works

1105
01:03:39,200 --> 01:03:59,560
Speaker 1: dot com.