Film Festival Organizer / Filmmaker (3:07)

I'm in original. So we shot this movie, the Vampire Project, here a few years ago, and that was finally the premiere. We thought we could do just a premiere or we can try to make it bigger. Instead of just advertising one movie, let's advertise a way of making movies. And the general goal of the festival was to have films with meanings. And what's important is that directors have something to say.

Chris (Screenwriter / Filmmaker) (3:40)

Little by little, the couple starts getting suspicious that he's actually murdering people in the camper.

Film Producer / Advisor (3:47)

Okay, but what's the angle? What's the angle?

Chris (Screenwriter / Filmmaker) (3:51)

What do you mean, what's the angle?

Film Producer / Advisor (3:53)

It sounds like a bit dated. It needs to be more inclusive. You know, there are a lot of convicts who are transitioning into women while they're in prison.

Jay (Film Critic / Commentator) (4:07)

Right.

Chris (Screenwriter / Filmmaker) (4:08)

What does that have to do with my story?

Film Producer / Advisor (4:10)

I'm just saying that transgenders are very trendy right now. It would really help with the festivals nowadays.

Film Festival Organizer / Filmmaker (4:18)

When you see all these movies, you can clearly see that they have absolutely nothing to say besides, I want more money.

Film Producer / Advisor (4:23)

What if the couple is a gay couple who move to the countryside? That could work.

Chris (Screenwriter / Filmmaker) (4:28)

This is a horror movie, not a Hallmark rom com.

Film Festival Organizer / Filmmaker (4:35)

We also had Mike Smith, who made that documentary out of Shadows. And I'm sure you've seen out of Shadows, but not the new one, into the Light. It's a very important movie. And then we played it to open the festival because it was kind of covering all bases of everything we wanted to talk about during the festival.

Chris (Screenwriter / Filmmaker) (4:55)

Action.

Film Producer / Advisor (4:57)

Go, go, go.

Jay (Film Critic / Commentator) (4:59)

We touched on psychological operations in out of Shadows, but we've gone deeper. These types of operations didn't just go away. They continued to evolve in step with technology. It's the most insidious type of warfare because it's designed to change a person's entire perspective, short term or long term. That's not to be reversed.

Chris (Screenwriter / Filmmaker) (5:26)

Most people, Mike, only care about what's

Film Festival Organizer / Filmmaker (5:29)

50ft from their door. This festival was important to us to bring people together. And what was fascinating is that we had people actually coming from all sides because we had a good selection of short films as well. And there were some interesting movies, but you could feel like the writers or directors were more like from the liberal side. And we were able to have actually conversations with Mike Smith, who's a, you know, hardcore Christian conservative. No, I shouldn't say that, actually, because it's not. He's way more open minded than that. He's an. He's an amazing guy. So I don't want people to pigeonhole him in, in that. But you talk a lot about the same stuff, so I hope maybe, maybe we can organize like.

Jay (Film Critic / Commentator) (6:15)

I'd love to show

Film Festival Organizer / Filmmaker (6:19)

first time we do a podcast. As I was telling you earlier, I'm not a guy who is usually in front of the camera. I don't necessarily enjoy it, but I love to talk. I love to talk about movies and I love to talk how important they are in the cultural aspect of things, especially in America. And I feel saddened by the fact that it feels like the younger audience are like, not that much interested in movies anymore. They are more like into short form and stuff that's like two, three minutes. And they can watch like YouTube videos for hours. I'd love to hear your take on that. And what could be a way to bring back this younger audience to the. To not only to watch movies, but to come see them in movie theater.

Jay (Film Critic / Commentator) (7:02)

Right. It reminds me of the story where David lynch always tells it when he was on an airplane and he saw somebody watching his movie on a phone and he said, why the hell are

Film Producer / Advisor (7:11)

you watching my movie on a phone?

Jay (Film Critic / Commentator) (7:15)

Yeah, it's like it's not made for that. It doesn't make any sense. Right. It would be like, I don't know, you know, I went to the Louvre, but I watched it on YouTube, so I've been to the Lou. It doesn't make any sense. You didn't actually go there. You didn't actually do it. So one problem is that the Internet is creating this idea of abstraction that everything is and can be done not in person or not in reality, but through the screen. And even though movies are a screen, it's still meant to be done in an audience, in a theatrical setting. That's the whole purpose, I think, of film. It needs to be long form. It's always been long form for the most part, except for like the earliest films, but that was just due to limitations of the technology. But even some of the earliest, like long form projects, you know, were very popular. But I think that the reason for this is that people have had their attention spans intentionally destroyed.

Film Festival Organizer / Filmmaker (8:06)

Yes.

Jay (Film Critic / Commentator) (8:07)

My wife did a podcast on one of the top Silicon Valley programmer guys, Jaron Lanier, the dude with the. The dreads. He doesn't look like a Silicon Valley guy, but he wrote a book 10 years ago talking about how the purpose of the Infinite scroll is to just addict you and it's in a dopamine like trap. But they found that the shorter form content was the means to do that. And so when TikTok and things like the reels came out, that's intentionally there to addict you. But I think they also knew that it would have the effect of destroying the attention span so that people couldn't even read a book, much less sit through a two hour film. And now we're at the point where people have to have the constant stimulation. And it's exactly what Orwell said, where you destroy the language, you destroy the attention span. Bertrand Russell, many of these other sort of technocratic minded people say the exact same thing. So it's absolutely by design.

Film Festival Organizer / Filmmaker (9:02)

Yes. And also like we are talking about, about that yesterday, like the fact that we went from a widescreen format aspect ratio where it broadens your views of things and now everything is becoming narrower and narrower to the point where people are watching entire movies, vertical movies to me. And it's so symbolic, the fact that now things look so narrow and then everything is set there. You don't see beyond everything because now you have the main guy or girl

Jay (Film Critic / Commentator) (9:39)

or else the guy, the girl in

Film Festival Organizer / Filmmaker (9:42)

the third position and all the others in the center and then you don't have room for anything else to see what's beyond that, what's behind and all the layers are gone. You have that thing and that's it. I think it's extremely sad to see that they're really pushing for people to get addicted to that format with the, the new, the new micro dramas they call them. And when I heard about that, that is becoming a gigantic market in China right now. You're talking with billions of dollars. It's, it's extremely depressing and everything that can be done to, to, I mean I wouldn't say reverse that because it's, but, but to, to try to, to move away from that trend.

Jay (Film Critic / Commentator) (10:26)

I think it's really only like the art house film theaters, like we have one in Nashville called the Belcourt and they'll often play 35 millimeter and sort of the, the longer frame, wider frame films in the old real style, the way that they're supposed to be played. I saw if they, they live there in that format and it was really cool. Yeah, it was great. But that's being lost with this almost omnipresent takeover of this ridiculous smartphone. I absolutely hate the smartphone. I don't know what we can do to stop it. But if you destroy the attention spans then they're not going to be able to do it. It's actually, I think psychologically it's like brain damage to like, because you can't focus even on. I think I read something like attention spans are down to like eight seconds in the younger people.

Film Festival Organizer / Filmmaker (11:13)

Yeah.

Jay (Film Critic / Commentator) (11:13)

So I mean, that's.

Film Festival Organizer / Filmmaker (11:14)

It is.

Jay (Film Critic / Commentator) (11:15)

It's dystopian. I mean, it's Orwellian explicitly. So I don't know what the healing of it is other than to. I always tell people, like basic principles. I mean, you have the right idea. I think you guys left the big city, you came out to the country. That's a good thing to do. Homesteading is what a lot of people are doing. That's great. This is what you're doing. I recommend people look into bitcoin, look into gold, alternative ways to store value. I keep trying to tell young guys, because we have a lot of young guys in our audience, to start to draw down your Internet time. Get off of TikTok especially and those kinds of things and cut your Internet time down to maybe maximum an hour or two hours a day. If you're going to use the Internet, only do it for productive purposes only. Try to do like audio. So like when we do podcasts, because when we listen to podcasts on the road, it's almost always just audio format and we try to avoid. We don't watch stuff on our phone like movies or anything like that. So I would try to encourage people to continue to do that because everyone else is just sort of stepping into the matrix.

Film Festival Organizer / Filmmaker (12:24)

Yeah.

Jay (Film Critic / Commentator) (12:24)

In fact, all the Silicon Valley people themselves don't let their kids live on the Internet, have iPads. They fast from the Internet for like extended periods of time. Also, I would say, you know, like you said, get into alternative information, don't listen to mainstream media. It's a largely psychological operations of propaganda anyway.

Film Festival Organizer / Filmmaker (12:44)

Yeah.

Jay (Film Critic / Commentator) (12:45)

And you know, I believe in finding a good church, or orthodox church in my case, so finding some good spiritual balance in your life as well, all of those things can contribute, I think, to healing. As we go into a really dark

Film Festival Organizer / Filmmaker (12:59)

time, people only, I think, start to react once they really feel the pain. And that's also one of the purpose of these phones, is to ease the pain. So people don't really feel the pain. As long as they have their iPhone and they have their dopamine and stuff, then they don't find a good reason to change.

Chelsea Handler (13:22)

This is Chelsea Handler from Dear Chelsea after the Big Game. Like most people, I kept thinking about the commercials and there was one that stayed with me. It was from the Blue Square Alliance Against Hate. And it wasn't loud or flashy. It showed a Jewish kid being targeted at school and another student who chose not to ignore it. As someone who was Jewish, that moment felt very real to me. Not dramatic, just familiar. And what struck me was how clearly it showed that hate doesn't always announce itself, but the impact is still huge. If you saw the blue square spot during the big game, it's worth thinking about. And if you want to show support, sharing the blue square is one small way to do that.

Ryan Seacrest (13:59)

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Jay (Film Critic / Commentator) (14:31)

I recommend people get back to reading books. Read the classics of Western civilization, read philosophy, read these kinds of texts, get into good literature. Literature is something that people think is like, oh, that's what chicks read or whatever. No, no, like Oprah's book list is not literature. Right? You need to read the classics. You need to, to be familiar with Shakespeare, you need to be familiar with Homer, with Dante. You know, all these things should be part of a well rounded man's education. And all that's been lost. So by design, by the way, Berkshire Russell said that we'll have to get rid of reading the classics because the classics might inspire you to be adventurous. And he says you can't be adventurous in the dystopia and the technocracy.

Film Festival Organizer / Filmmaker (15:12)

So that's why we want to also create this publishing company to publish like, you know, public domain very, very important books like, I don't know, top of my Head, like even read the Karl Marx because, because, you know, the notion of communism, it's interesting that, you know, everybody, you know, in America, communist is the enemy. But, but most people, they don't even know what it means. You talk about communism in France means something completely different. And of course you go to Russia, it means something completely different. And in China it means something completely different. And the only way to understand the subtleties, which are not even subtleties at this point, because some people see something completely different in their mind because they don't know. It's important that people start reading to go to the root of things and try to understand. But the problem that there's so much so where to start? So that's why I think I really like this French thinker, Alain Soral, because he's doing a lot of the educational thing with his publishing company. But in France, the thing is that people read more in general, I think, on culture. Like I was telling my wife the other day, like, culture is part of the culture in France.

Jay (Film Critic / Commentator) (16:23)

Yeah, it's not that way here.

Film Festival Organizer / Filmmaker (16:25)

Here. I mean, we discovered festival that it wasn't really that. When I see a movie now, I don't see the movie anymore. I see why the movie was made. You know, that's what I was saying earlier, like that a film is just the reflection of its financing. And we were playing a very interesting movie about art that was made by a friend. And then it's about an artist. And what the movie says is that the piece of art is the reflection of who the author is. And now for movies, it's not really true anymore because it's the reflection of who financed the movie. Talking about Zionism, for example, when I saw recently Rebel Moon. Have you seen that?

Jay (Film Critic / Commentator) (17:14)

No.

Film Festival Organizer / Filmmaker (17:15)

It's a film about Hollywood Jewish power controlling the narrative. It's a movie. Watch it because it's a case study almost. It's so blatantly in your face that you have the bad Nazis, the white people, and then the diversity, the push. All the good people are all the colors of Benetton and they are the good guys.

Jay (Film Critic / Commentator) (17:40)

The rainbow coalition is who overthrows.

Film Festival Organizer / Filmmaker (17:42)

And then you can see all this agenda, and then, you know it's made by entirely that power. And that was like, fascinating. And then very few people actually see that narrative when they watch the movie. They see the work aspect of it, but they don't go beyond that. They say, oh, no, it's work. But the way it works, in my opinion, is that the work aspect is everywhere. So people don't even pay attention to it anymore. I think that the time factor, people don't usually take it into consideration. And everything takes a lot of time to get to where it's going.

Jay (Film Critic / Commentator) (18:21)

Yeah, I wrote in Esoteric Hollywood 3, which is about to come out, I wrote a whole section kind of analyzing Black Mirror in depth, because Black Mirror moved from being a very potent critique of technocracy in the first couple seasons to becoming more and more woke. And then it turned into basically almost like a racial ressentime revenge narrative where black people Oppressed people could then sort of enact their fantasies upon their oppressors, especially in one of the later episodes, which is just totally deviated away from the original's sort of. What was his name? Charlie Brooker's critiques of, like, Tony Blair and David Cameron government that then turned into everything being totally woke. So now the idea, I think, is that, you know, Spengler talked about, if you open the borders and you let everyone come in, what happens is eventually the people that come in take over. And that can be by design.

Film Festival Organizer / Filmmaker (19:25)

So it can be. It is, yeah. Right.

Jay (Film Critic / Commentator) (19:28)

Well, I think what he was writing, he was kind of like. I don't think he knew necessarily how bad it could get, I think. But, I mean, his prediction about the Client of the west was pretty accurate in terms of how it would happen. And what's funny is that that text, which is a kind of a formative historical, geopolitical text, people like Kissinger wrote dissertations on that book. That kind of became a game plan because early on at Tavistock, they studied decline of the west as a way to actually decline the West. It wasn't written as a manual, but then they figured out actually what he's talking about could be a means. And then you get people like Kudenhof, Kalergi, in his book Practical Idealism, he says basically the same pattern of how massive open borders could totally change the entire demographic of all of the West. So that's a big part of it. And the films have to promote that. For example, in America, we've had so many films promoting the idea that all of the immigrants are sort of heroic, noble, savior people. And then everybody who wants to have, like a wall or a border or anything like that, that's the oppressive Nazi, fascist, etc. Which is just crazy because, I mean, China has a giant wall around it, like, they built a wall. Does that make them fascist? I mean, it's just. It doesn't make any sense. Everything's divorced from its actual historical context and meaning. But that's postmodern, right? I mean, I was having a conversation the other day with some people about symbols and memes, and they were pointing out that the meme magic is actually. And the same applies to cinema as iconography. Like you can now, through the postmodern deconstructionist attitude, like you can give it its own meaning. Meaning isn't something that you're studying and getting. You're just importing your own meaning into it. And that means that they can retool the archetypes to Socially engineer. I'm reading Changing Images of Man right now, and there's a whole chapter on retooling archetypes for the culture. So it's like cultural Marxist studies in retooling the culture to make everybody complacent, emasculated, you know, all the stuff that the left wants is actually a social engineering weapon.

Film Festival Organizer / Filmmaker (21:43)

Yeah.

Jay (Film Critic / Commentator) (21:44)

As you know. But I mean, it's just like. It's crazy to see textbooks actually kind of describe the process.

Film Festival Organizer / Filmmaker (21:48)

Yes.

Jay (Film Critic / Commentator) (21:49)

So it's not just us theorizing about it, like. No. There's an actual textbook that tells

Film Festival Organizer / Filmmaker (21:56)

to go back to the movies. I remember that year when they gave the Oscar for Best Picture to Parasite. And it's like, it shows the total nonsense of Hollywood because it's a Korean movie that has absolutely nothing to do as a Best Picture in an American competition. My theory on that is that I believe that there are most likely deals on the Oscars. Other reflection. There are deals from countries to countries. Like Korea maybe has helped America. America says, okay, we're gonna. Yeah, let's give an Oscar.

Jay (Film Critic / Commentator) (22:29)

So it becomes propaganda for Korea.

Film Festival Organizer / Filmmaker (22:31)

Yeah, exactly. And it helps, you know, because at this point, and we are very close to all the film markets. Hard to understand because it's. It's also part of why film. Films get made or not. And. And it's interesting to see, like, it gave a huge boost to Korean movies because of that. And so that was great for the whole Korean industry.

Jay (Film Critic / Commentator) (22:51)

Interesting.

Film Festival Organizer / Filmmaker (22:52)

And. And. And people don't understand that the Oscars. They are not giving the Oscar to the best actor. It's for the. They're awarding people who are the best soldiers for the establishment system. For the system.

Jay (Film Critic / Commentator) (23:07)

Exactly.

Film Festival Organizer / Filmmaker (23:08)

They're there to promote this and that on actors, some of them. They really believe that they were the best actors. That's always.

Jay (Film Critic / Commentator) (23:18)

What was it last year? I mean, I don't really care for musicals, but I mean, I could recognize that the trans musical was. Was. I mean, I heard some of the singing and it was preposterous. But they gave the. The award to that over wizard of Oz, which had, you know, like actual singers in it, which was, again, it's only done right for like, the oppression Olympics to give awards. Right. Who's the most oppressed? So, yeah, that's all by design. I mean, all of these awards, all of these things, including Nobel. I mean, all that stuff is really given to. Remember they gave the Nobel to Obama when he was like. He was doing like, drone attacks. And they're giving the peace Prize. So, yeah, that's all propaganda, but I didn't even know about. About the whole relationship between, you know, the Korean film market. I remember when Parasite One and then.

Film Festival Organizer / Filmmaker (24:09)

Because why would this movie win? It's a decent movie. I think it was. It was a pretty good movie that year. I don't think it was as good as they were saying, but. But it's like, why would they suddenly out of nowhere give best picture to a film that's from Korea?

Jay (Film Critic / Commentator) (24:25)

You know, it's a kind of globalism already, right? I mean, like.

Film Festival Organizer / Filmmaker (24:29)

But there is a selection for foreign languages international. So why, you know, to me, like. And they did the same with the Artist, I think. No, did. He won the Artist?

Jay (Film Critic / Commentator) (24:38)

I think it did.

Mysterious Property Owner / Investor (24:39)

Yeah.

Film Festival Organizer / Filmmaker (24:39)

Same thing. So there's probably like some deals with. I mean, that's what I suspect.

Chelsea Handler (24:45)

This is Chelsea Handler from Dear Chelsea after the Big Game. Like most people, I kept thinking about the commercials and there was one that stayed with me. It was from the Blue Square Alliance Against Hate. And it wasn't loud or. Or flashy. It showed a Jewish kid being targeted at school and another student who chose not to ignore it. As someone who is Jewish, that moment felt very real to me. Not dramatic, just familiar. And what struck me was how clearly it showed that hate doesn't always announce itself, but the impact is still huge. If you saw the Blue Square Spot during the Big Game, it's worth thinking about. And if you want to show support, sharing the Blue Square is one small way to do that.

Ryan Seacrest (25:22)

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Film Festival Organizer / Filmmaker (25:53)

Have you seen this movie called American Made with Tom Cruise?

Jay (Film Critic / Commentator) (25:55)

Yeah, yeah. We did a podcast on at the time.

Film Festival Organizer / Filmmaker (25:57)

Oh, yeah. The year it was released. I thought that was probably the. One of the best films of the year.

Jay (Film Critic / Commentator) (26:01)

That's great.

Film Festival Organizer / Filmmaker (26:01)

And it was completely under the radar. That movie was not that should have been nominated for an Oscar, in my opinion. Yeah.

Jay (Film Critic / Commentator) (26:07)

Based on real. Real, you know, espionage. Us.

Film Festival Organizer / Filmmaker (26:10)

Oh, it's real and it's completely crazy.

Jay (Film Critic / Commentator) (26:12)

Very. Seal is Real? Yeah.

Film Festival Organizer / Filmmaker (26:13)

When you know, that actually happened, I mean, it's probably not exactly like that, but, you know, the general concept that happened is what's going on. This movie should have been a huge success, and people should be learning from that movie. So we don't do the same over and over again. And yet here we are today, under the radar.

Jay (Film Critic / Commentator) (26:30)

Yeah, no, I thought it was great. I remember we did a podcast at the time, and I actually had the guy that wrote a couple books on Barry Seal. When that movie came out, he mailed me his books on Barry Seal.

Film Festival Organizer / Filmmaker (26:43)

Yeah.

Jay (Film Critic / Commentator) (26:44)

Yeah. I really enjoyed the book, the film. I thought it was a lot of fun. I liked Kevin Sorbo. Never met him, so it was nice to talk to him. Yeah, I enjoyed your approach. It's. It's satire, it's meta. It's. It's playing with, you know, reality, and it's almost surrealist in a way. I enjoy the influences that you have. Have some. You know, your influences are a lot of the directors that I really enjoy. So Jamie and I talked about we're going to do a podcast on your movie and other films like it. So we'll kind of group it together thematically.

Film Festival Organizer / Filmmaker (27:21)

We.

Jay (Film Critic / Commentator) (27:21)

When we do podcasts on film, we usually put them in a thematic framework. So we'll have that in there and, you know, have you guys on if you want to come on and do an interview or something.

Film Festival Organizer / Filmmaker (27:31)

Yeah, yeah, of course. Yeah.

Jay (Film Critic / Commentator) (27:32)

I enjoyed the film. I want to promote it, I think the way Kevin Sorbo, that had that great line, you know, how will they know what's real? You know, they don't know what reality is. How are they going to know? So the film is playing with reality, and that's perfect because we don't know what reality is. Especially through this mainstream media matrix, people are given a false reality, so they don't know what reality is.

Film Festival Organizer / Filmmaker (27:58)

Yeah.

Jay (Film Critic / Commentator) (27:58)

And that character in the film is basically saying, we can give people a fake reality.

Chris (Screenwriter / Filmmaker) (28:03)

Okay. So in the story, the writer named Chris, I thought some of the characters could have real life names like us to keep it a bit more authentic and grounded in reality. We could even say at the beginning of the film that this movie is based on real events.

Film Producer / Advisor (28:17)

But is it?

Jay (Film Critic / Commentator) (28:19)

Is it what, based on reality?

Chris (Screenwriter / Filmmaker) (28:24)

Yeah. Yeah. I mean, kind of.

Mysterious Property Owner / Investor (28:26)

But how will the audience know it's based on reality if they don't know what reality you're talking about?

Chris (Screenwriter / Filmmaker) (28:35)

Well, because the reality of the story is based on our reality, which then becomes the reality of the movie. Sorry, you've Got me a bit mixed up.

Mysterious Property Owner / Investor (28:45)

It's my fault. I'm sorry. Please, please continue.

Film Festival Organizer / Filmmaker (28:48)

And we didn't even have time to touch about the topic of AI but it's too vast. We'll do that next time.

Jay (Film Critic / Commentator) (28:54)

Well, I was going to say on the topic of AI I did read, you know, to and lecture through a couple Jacques Atalie books. Who's, you know, the Kissinger of France. He's a total globalist. But his books are really interesting because they admit so much.

Film Festival Organizer / Filmmaker (29:08)

They tell you everything you need to know everything.

Jay (Film Critic / Commentator) (29:10)

Right? So in Brief History of the Future, he actually says, we will create the global brain. Everybody will be sort of integrated with AI It'll be a giant. He calls it a golem. Yeah, he says it's a golem. So he's telling you quite a bit.

Film Festival Organizer / Filmmaker (29:23)

We have a line about that even in Vampire Project when at some point he said, if you listen carefully, people tell you everything you need to know.

Jay (Film Critic / Commentator) (29:31)

I am just messing with you.

Mysterious Property Owner / Investor (29:33)

My mom is not alive. It's just my wife and I who live here.

Chris (Screenwriter / Filmmaker) (29:38)

See, if you listen carefully, sometimes people will tell you everything you want to know.

Jay (Film Critic / Commentator) (29:45)

Exactly.

Film Festival Organizer / Filmmaker (29:45)

And we have so many lines. One was recorded here, actually, when he brings the dress. And he says, when you think about

Chris (Screenwriter / Filmmaker) (29:52)

it, how else could this have happened? Somebody snuck in and hid it in our bed.

Assistant / Friend (29:58)

Are you telling me it happened that way because it happened that way, or because he told you it happened that way? Because you can explain away just about anything like that.

Film Festival Organizer / Filmmaker (30:05)

And there's a lot of lines in the movie that talk about, like, a lot of different things that should resonate. And I think we're still going to add on the movie that it happens in 2020 or 2021 to. Because there are lines that resonated much better about the whole natural causes when people die. You know, the decapitation. And so it was said it was natural causes.

Mysterious Property Owner / Investor (30:33)

She was found dead on this bed.

Chris (Screenwriter / Filmmaker) (30:41)

Okay, that's pretty typical though, right? Old folks die in their sleep all the time. It's actually not a bad way to go. Go to sleep alive, you wake up dead.

Mysterious Property Owner / Investor (30:51)

Terry. The only difference is they never found her head when she d. Oh, my battery's dead.

Chris (Screenwriter / Filmmaker) (31:23)

What do you mean they never found her head?

Mysterious Property Owner / Investor (31:29)

She was found dead on his bed. Police found the body, but no head. She had no family, so no one knew she had died.

Chris (Screenwriter / Filmmaker) (31:38)

That qualifies as murder then, doesn't it? I mean, people naturally die in their sleep all the time, but nobody gets naturally decapitated in their sleep all I

Mysterious Property Owner / Investor (31:45)

know is that no autopsy was performed because she had no family and the death certificate says that she just died. Unnatural causes. Officially it's not a murder.

Chris (Screenwriter / Filmmaker) (31:57)

Natural causes.

Jay (Film Critic / Commentator) (31:58)

Yeah.

Film Festival Organizer / Filmmaker (32:00)

At the time, the. The. The world's natural causes at the time of COVID they had a. You know, the different meaning. And now the movie a few years later, we kind of lose that a little bit.

Jay (Film Critic / Commentator) (32:11)

I think people can still like. I still got it.

Film Festival Organizer / Filmmaker (32:13)

Yeah, you got it.

Jay (Film Critic / Commentator) (32:16)

But yeah, it's very timely and I really enjoyed it and it was great to be here.

Film Festival Organizer / Filmmaker (32:21)

Great.

Jay (Film Critic / Commentator) (32:21)

And yeah, we should talk about more of the. More of what Jacques at the Lee talks about his text and all that. I think it was a French Canadian watcher, viewer of my stuff that actually said, hey, this is maybe five or six years ago. Said you should read Brief history of the future because Atali wrote this in 2006 and it basically predicts everything in terms of where we are now.

Film Festival Organizer / Filmmaker (32:41)

Or if you read the great Reset by Claus on the French guy. Actually there are two. And if you read that, they tell you everything you need to know and then that's time to do something about it. That's why we're here, I think.

Jay (Film Critic / Commentator) (32:54)

Absolutely. Thank you so much.

Film Festival Organizer / Filmmaker (32:55)

Great. Thank you so much, Jay. We appreciate it. Anytime. And let's continue that next time. Thank you.

Chris (Screenwriter / Filmmaker) (33:11)

Done.

Assistant / Friend (33:12)

So what's next?

Chris (Screenwriter / Filmmaker) (33:13)

We go get some money and make a movie.

Assistant / Friend (33:15)

I wish it was that easy. Could be best friend's calling.

Jay (Film Critic / Commentator) (33:19)

Uh huh.

Assistant / Friend (33:19)

At least he has good timing.

Film Producer / Advisor (33:22)

How's everything going in Mississippi? Still happy you moved out of la?

Chris (Screenwriter / Filmmaker) (33:27)

Couldn't be happier.

Film Producer / Advisor (33:27)

I received a call yesterday from this gentleman. He used to live in LA but recently moved not too far from you. I believe he wants to finance a horrible.

Chris (Screenwriter / Filmmaker) (33:41)

This is where they shot the film the Vampire project.

Jay (Film Critic / Commentator) (33:43)

The plot thickens.

Mysterious Property Owner / Investor (33:48)

You must be Chris.

Chris (Screenwriter / Filmmaker) (33:50)

I am.

Mysterious Property Owner / Investor (33:51)

I recently bought some property in the area.

Film Festival Organizer / Filmmaker (33:54)

There will be a perfect place to

Mysterious Property Owner / Investor (33:55)

shoot a horror film in.

Chris (Screenwriter / Filmmaker) (33:57)

Oh, like what they did here?

Mysterious Property Owner / Investor (33:58)

It's more complicated.

Chris (Screenwriter / Filmmaker) (34:00)

This place looks like it needs an exorcism.

Jay (Film Critic / Commentator) (34:02)

Like for this house.

Mysterious Property Owner / Investor (34:03)

These two properties were scenes of violent murders.

Chris (Screenwriter / Filmmaker) (34:08)

I'm not seeing anything about a murder that happened in that house. I feel like this guy is just

Assistant / Friend (34:12)

full of most likely. But is our best bet at getting some money short term.

Mysterious Property Owner / Investor (34:16)

Oh, Craig, why don't you bring your wife?

Chris (Screenwriter / Filmmaker) (34:19)

How does he know that I'm married? Where is he taking us?

Jay (Film Critic / Commentator) (34:23)

Is this a castle?

Mysterious Property Owner / Investor (34:24)

Such a pleasure to meet you, Janie.

Chris (Screenwriter / Filmmaker) (34:27)

Did you say somebody was killed in this?

Mysterious Property Owner / Investor (34:28)

Not fair.

Chris (Screenwriter / Filmmaker) (34:31)

Why don't we Write a script based on some of the stories you told me.

Mysterious Property Owner / Investor (34:33)

Those thinking more of a vampire movie.

Assistant / Friend (34:36)

Write a good story.

Chris (Screenwriter / Filmmaker) (34:37)

He wears a mask during the day, takes it off at night. He's told me about a million times how much he likes vampires.

Assistant / Friend (34:44)

Do not tell me you actually believe he's a vampire.

Chris (Screenwriter / Filmmaker) (34:46)

Doesn't it seem a little strange? Hey, what's going on, man?

Jay (Film Critic / Commentator) (34:51)

How's the pitch?

Chris (Screenwriter / Filmmaker) (34:52)

You'll see.

Jay (Film Critic / Commentator) (34:53)

It's a vampire story, right?

Chris (Screenwriter / Filmmaker) (34:55)

I had a different idea to go in a different direction. It's based in reality.

Mysterious Property Owner / Investor (35:04)

How can the audience know it's based on reality if they know what reality you talking about?

Film Festival Organizer / Filmmaker (35:12)

Please make me a vampire.

Mysterious Property Owner / Investor (35:14)

I have no idea where this is going.

Film Festival Organizer / Filmmaker (35:24)

What was that?

Mysterious Property Owner / Investor (35:25)

And how does it end?

Chris (Screenwriter / Filmmaker) (35:28)

Not 100% sure yet.

Film Producer / Advisor (35:33)

Sounds kind of complicated.

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