Spielberg's Closing Argument

Episode Transcript
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Speaker 1 (00:00):
You know, Steven Spielberg is seventy nine years old, and
he's going to be eighty years old Christmas Week this year.
He started making movies though, when he was seventeen years old,
and he had a film called Firelight, which was about
you probably guessed it already UFOs. Now he's had six
decades of filmmaking since then. He's built probably the most
influential body of alien contact storytelling that's ever been assembled.

(00:24):
That includes more than thirty film and TV projects that
he's either directed, written, or executive produced that touch on
NHI or UFOs or the question of are we alone?
And now, of course the buzz is that he's coming
back to the subject with Disclosure Day, which opens on
June twelfth, and it may well function as his closing

(00:45):
argument on the entire topic. At the recent Cinema con
Spielberg put it this way, and this is a quote.
I believe this movie is going to answer questions, and
this movie is going to cause a lot of people
to ask a lot of questions. All you need to
get from beginning to end and is a seat bill.
That's quite a statement from the director. Let me bring
in my co host Brent Friedman, Brent, what do you

(01:06):
think that's setting the bar kind of high, isn't it?

Speaker 2 (01:09):
It is? And I think that if anyone could set
the bar that high, it's Steven Spielberg. As you said,
his body of work on this topic is incredible. But
it's not just the quantity of stuff he's done, it's
the quality. Some of his work in this area is
acknowledged to be the best in the business, and his
vision for alien contact, for NHI contact is wide ranging.

(01:34):
He has told dark stories, he's told light stories, he's
told funny stories. He's told pretty much every kind of
story you can tell in this genre. And so if
anyone could make a statement like he just did at CinemaCon,
it's Steven Spielberg.

Speaker 3 (01:50):
It's so amazing.

Speaker 1 (01:50):
He starts with Close Encounters and follows it with et
but along the way he's also done taken and wore
the World's and frankly, so many other things the whole spectrum.
In order to talk about what might be coming with
Disclosure Day, though, instead of trying to just analyze his trailers,
which we did already, I thought we should try something
different this time, folks. What we're going to do is

(02:13):
take a look back at those thirty projects, maybe not
each one of them, but at least talk about the
body of work, if you will, and see if there's
some clues embedded in all that about what he may
be getting ready to present to the world on June twelfth.
And the key here is that we're not going to
do it alone. This is an important episode for us
because this is the first time we've had a guest.

Speaker 2 (02:35):
Yes, very exciting. I got my office all cleaned up. Yeah,
we're company, the same thing. I thought, it's like you're
having people come over for dinner. It's see, I got
to clean up.

Speaker 1 (02:45):
So I went over through my desk and went, I
got to get rid of some of this stuff is bad.

Speaker 3 (02:49):
It's the wrong thing.

Speaker 1 (02:50):
As it turns out, I think our guest is going
to make both of our backgrounds look pretty paltry. Anyway,
we're being joined by a special guest tonight, someone who
literally wrote a book that Spielberg likes so much that
he turned it into a movie.

Speaker 3 (03:24):
I'm Bryce Abel.

Speaker 1 (03:25):
Have you ever wondered if there's a secret connection between
Hollywood and UFOs?

Speaker 2 (03:30):
And I'm Brent Friedman. You are listening to sound, light
and frequency.

Speaker 1 (03:34):
Will Steven Spielberg's Disclosure dayby just another movie, or will
it answer a question once and for all?

Speaker 3 (03:41):
Are we alone?

Speaker 2 (03:42):
And if we aren't alone? Do they walk amongst us?

Speaker 1 (03:54):
So let me introduce you, folks, to Ernie Klein, who
is here joining us from Texas. Ernie, welcome. I see
a couple of Deloreans there, not.

Speaker 4 (04:04):
One, but two days Laureans, and my wife calls them, Yes,
I have a pair. This is my first Laurean Act
eighty eight, which is a recreation of the Dolorian in
my book and in the movie is a mashup of
the Ghostbuster's ectamobile, Doc Brown's time machine and with some
night writer and BUCKERU Bondsi thrown in. And then this
one is the Mandalorian. It's my Star Wars DeLorean has

(04:27):
R two unit on the back. And I'm gonna pick
this one out on Star Wars Day here next week.
I'm excited.

Speaker 3 (04:33):
That is so amazing.

Speaker 1 (04:34):
We should probably at least bring everybody up to speed.
Though you are an American science fiction writer. The book
that got turned into a movie was Ready Player one.
You wrote another book as a follow up, Armada, and
I believe you're probably working on another book right now,
which we could break some news and you could tell
us what it's all about, or you could not do that.

Speaker 4 (04:55):
Okay. I tried out to talk about it before I
finish it. You know how that is, You talk about
it before we finish slows you down.

Speaker 3 (05:00):
Now, that can be certainly well. Listen. The thing that
I think.

Speaker 1 (05:04):
Most people who are listening and are watching right now
are going to be thinking, is wait a second, this
dude had Steven Spielberg make a movie from his book,
which means I think that you were on this set
for a Steven Spielberg movie.

Speaker 4 (05:19):
I was. I got a coloded screenwriter credit on a
Steven Spielberg movie. It's pretty yeah, pretty great for my
second film credit. It's pretty amazing. Well was happening? I
would joke, but it was what wasn't really a joke.
It was like Saul downhill from here whatever topt this
and that movie. We had to move our release date
because of the Star Wars. The Last Jedi took our
release dates, so they moved it to March twenty ninth,

(05:40):
which is my birthday. So my stevens Fullber movie came
out of my birthday. Every copy of the post you
see as my birthday at the bottom, I was like,
whoever's running the simulation, You guys are doing an awful job,
but I'm not buying this anymore.

Speaker 1 (05:53):
Yeah, it's funny you say simulation just to wander off
into the weeds here. Some people say, well, I can
explain the whole thing that's going on with UFOs and
aliens and all that, we're all part of the simulation.

Speaker 3 (06:06):
Do you believe that?

Speaker 4 (06:07):
I think that once a simulation becomes indistinguishable from reality,
it no longer matters whether or not it's a simulation.
Whatever reality is that we're in may as well be
a simulation that we're trapped in. We can't get out
of it till we die, and don't find out the
nature of it until we die. If then you're still
not going to step in front of a moving train
regardless of what you think the nature of reality is.

(06:30):
So I think that's like a circular argument. Reality is
whatever it is. And when you start, when you're studying
the Devils Steel experiment and all of that, I feel
like it's if you people were inside a simulation, like
studying the pixels on the or studying the code we
regardless of what the what's happening at the at the
quantum level, we're still We're all still here and we're

(06:51):
sharing this reality. It's a fun argument, but it's not,
i don't know, from my perspective, not always relevant. It's
more exciting to talk about what's going on in the reality.
Whatever it is is pretty wild.

Speaker 3 (07:05):
This wall here, go ahead.

Speaker 2 (07:06):
I completely agree. I feel like, if this is a simulation,
it's so good that there's no point in talking about
it as a simulation. It's so real to us that
even if someone told us and put up on a
whiteboard a formula that proved it was a simulation, it
really wouldn't change anything. It would just be like, Okay,
that's interesting. Unless someone's going to give me the God

(07:27):
code right where I go in and take control of
the simulation, that's a different situation. But short of that,
then I don't care simulation reality. It's still where I live,
and I have to get up every day and pay
the bills and do the work and record the podcast.

Speaker 3 (07:43):
Yes, this must happen.

Speaker 1 (07:45):
Hey, Ernie, I don't want to put you on the spot,
but I know people are probably thinking this. They're saying, hey,
so he's on the set with Steven Spielberg, and Spielberg's
got his headphones on and he's directing action and all that.
Does Steven Spielberg ever go, hey, Klein, get over here.

Speaker 4 (08:02):
Oh all the time, I need to do this? What
do you think? Did he ever do that all the time?
He is the best. Just picture your dream of how
you would want it to be working with a director,
and even a famous one. He's been freaking out people
with how amazing his art is for so long. It's
the Spielberg effect. You guys. Know, when you meet him,
you're like, oh my god, this is the big day
of my life. I'm Steven Spielberg. It goes beyond cleaning

(08:24):
up your apartment. You just you prepare for it. But
he knows that, and so he has a way of
disarming people. In my experience, he was just so kind
to me and a collaborator right from the beginning. And
that's why he still makes movies. It's not for the money.
He likes making the art and he enjoys the collaborative
process of working with all kinds of different people to
make all different kinds of amazing art. And he's one

(08:45):
of the once your name becomes synonymous with your job,
you've crushed it like xerox s Fielburg, like your name
is the cliche. I've got Spielberg on the line, like
it's he's like the Beatles. But he's just one guy.
I told him that if you're a go, I think
the goal of an artist is to bring as much
experience and joy and entertainment and illumination to your fellow

(09:06):
humans as possible. Who in one lifetime has pull off
that number more than Steven Spielberg and is still doing it.
That's why I'm not sure about this thesis of his
final argument. It never could count this guy out. You
might hate us again in twenty years with another thesis.
Someday somebody's going to tell an amazing the true history
of our country and all the stuff that we had

(09:28):
know that was going on behind the scenes. So I
think can open doors that you know other filmmaker can
open and has and might be doing it again. I
think he's going to do it again with Disclosure Day.
I'm really vibrating with excitement to see it, and I'm
excited to talk with you guys about it.

Speaker 1 (09:46):
When you mentioned that he's become synonymous like Kleenex. And
I was just thinking. When JJ Abrams directed Super Eight,
every single review that came out called it Spielberg in right.

Speaker 4 (09:59):
Yes, yeah, it's an amble movie. See if it comes
up at the beginning, that was a collaboration. And the
thing about it's amazing about Super eight is then the
Duffer Brothers went and did eight seasons of Super eight
stranger things because it was just kids on bikes and reimagining.
It was much more JJ's childhood and Stevens, do you
guys know the story about JJ curating a bunch of

(10:22):
Stevens original Super eight movies when he was a kid.
When J. J Abrams was a kid, he was involved
in some Super eight restoration project and they ended up
giving all of Stevens old original Super eight movies to
JJ and he and so like years later when they
met about his first movies, and I have to tell you,
I was that kid that worked on your Super eight movies,

(10:43):
and Stevens all knew that. Stephen knew the whole meeting
that it was this guy met when it was a kid.
He's just amazing like that, and everybody who works with him,
I think wants to work with him again, and nobody
walks away having a bad experience on the Steven Spilberg movie.

Speaker 1 (10:55):
Brent and I actually met when I had an office
at Universe and in the middle of producing this television series.
We were all asked to pack up our bags and
get out quickly because they were tearing down our offices
to make way for the Jurassic Park ride.

Speaker 4 (11:14):
Man.

Speaker 1 (11:15):
Yeah, and by the way, Brent and I both met Spielberg. Brent,
tell us, you're I met Steven's story.

Speaker 2 (11:21):
So I met him once in person, I worked with
him a couple times in person, and then I met
him years later or re met him again virtually. But
my first experience with him when I was working at
Electronic Arts back in the early two thousands. I would
have been brought on by EA to help them reboot
their Command and Conquer franchise. And it turned out that

(11:44):
right next door on the level that we were working
at in the EA building in La Stephen had sold
an original idea for a game to EA, and so
he had his early development team working right next door
to us. And so I don't know how this happened,
but at the time, the studio encouraged a lot of

(12:05):
kind of cross team collaboration. So I think once a
month our team on Command and Conquer, some of us,
particularly the narrative people, would go over and sit in
on their project and hear what they were up to,
and then they would come over and sit on our project.
And here just getting some objectivity into the meeting. So

(12:26):
a couple of times I got to go in and
hear what was up with this game project. And at
the time it didn't have a name. It was code
named LMNO. And it was, as I said, an original
idea by Stephen about a female alien who was stranded
here on Earth.

Speaker 4 (12:43):
Allah.

Speaker 2 (12:44):
The man who fell to Earth had some sort of
mission that I never quite understood, but she had psychic
powers and she was being hunted by government operatives. What
was cool about it to me was that I could
tell he was a gamer. He wasn't just saying video
games are popular, so I want to go make a
video game. In fact, as it turned out, his oldest son, Max,

(13:07):
was working at EA on our team. I actually became
friends with Max, and Max vouched for his dad and said,
don't know if he plays games all the time. That
was very impressive to me, and he was so excited
about this project, and he had so many ideas. It
was energizing to be in the room with him.

Speaker 1 (13:24):
I have a Spielberg game story, but it's going to
lead us back to the big question.

Speaker 3 (13:28):
About Spielberg that we have for you, Ernie.

Speaker 1 (13:31):
But the first time I met him was while we
were still doing Dark Skies and I got hired to
write a video game for his ambling company because they
were going to have a video game division. The name
of the video game was Ghost in the Machine. It
was about a kind of an AI intelligence that came
from alien contact or whatever. And of course, in the

(13:52):
middle of writing that, they decided never to produce video
games again and they shuttered part of it.

Speaker 3 (13:58):
That was that.

Speaker 1 (13:59):
But when I met him, he came into the meeting.
I was in his office waiting for him. They sat
me down and he shook my hand and said great
to see you again, which I always loved because I thought,
if the guy thinks that he's met me before, how
great is that? Who can And then he said the
thing that blew my mind. He goes, I'm a big
fan of Dark Skies. Now that takes me to the
question for you, dark Skies of course, because we've talked

(14:22):
about it is where Brent and I were approached by
folks that said they were from the Office of Naval Intelligence.
They wanted to make a deal to allow UFO information
access for us to then help provide access for them
into dark skies, that kind of thing, And we know
that we got offered some kind of deal. But even

(14:43):
as we were being offered that and talked to about that,
we were called very clearly that Spielberg over the years
ever since Close Encounters has been rumored to well, you know,
people told him things, they gave him insight. So I'm
just going to ask you straight out. Did you ever
have a conversation about UFOs with Spielberg where he would

(15:04):
imply in any way whatever that people had told them
things I did not.

Speaker 4 (15:09):
I never felt comfortable bringing up that subject because we
were together. We were always promoting the movie and always
geeking out about movies, and talked about his movies and
specifically talked about Close Encounters. Michael Kahn, who edited Close Encounters,
also edited Ready Player one, and I got to hang
out with him when Alan Silvestri was scoring the movie

(15:30):
and Michael conn I was starstruck and Michael conn I
guess hasn't met too many people who were struck by him,
but I was like he set up an editing bay
at Stephen's house in Mobile, Alabama, and was editing Close
Encounters each night while they were filming it, and making
like rough cut as they were going. And Stephen considers
him a collaborator on Close Encounters, Michael Kahn, and he's

(15:51):
edited a bunch of Stephen's movies. He's a legend. I've
actually found a quote in a book of interviews by
Stephen where he says something and basically is similar to
what he just said it south By Southwest when he
came to town last last month, which is that I
don't know anything any more than anybody else. He said
this back in nineteen seventy eight or seventy seven, when
Close Encounters came out. It's an enigma. And I don't

(16:14):
always answer all the questions at the end of my movies.
I answer most of the big questions, but I'm okay
with leaving some things a mystery. And I don't know
all the answers about UFOs, but I think it's a
fascinating subject and I love talking about it, and I
think it's fascinating for as a human story, and that
was he's doing press for Close Encounters in seventy seven.
So if he had been approached before that, I think

(16:36):
it would have been hard. It would have put him
in a position to be dishonest in public, which Carl
Sagan was clearly fine with doing. But seven doesn't strike
me as the kind of guy who would be a
good liar because it's such a genuine person. And I
think if they came to him like you guys, if
they came to him with the song and dance about
how they wanted to feed him the truth, I think

(16:57):
he knew enough about them and just a way that
he was depicting the military in Close Encounters, he knew
enough about them to know not to trust them and
that they would be feeding him spin and want him
to pass on there.

Speaker 1 (17:11):
But he's got them shutting down this vast area of Wyoming.

Speaker 4 (17:14):
Yeah. I do remember seeing him talk about the letter
he got from the Air Force asking him and all
their reasons for and he just got excited. He was
gleeful about it. I knew something that was just more
confirmation that there was something up. I was telling you guys,
about that documentary about the making of close Encounters in Mobile,
Alabama called who Are You People? And it's really interesting

(17:36):
to see the making of that film from the locals perspective.
But one of the they talked about a lot of
scenes that got cut, and one of them they had
to film a scene in a passenger airliner, and the
people who film the scene talk about it had got cut,
but it was they all see a UFO during their flight,
and then the plane lands and Air Force officials get
on the plane and walk down the aisle and take
everybody's cameras. And this one woman talks about I was

(17:59):
supposed to be angry at the sky as he yanks
the camera out of my hand. I would love to
see the scene, but it's never been interesting. I never
got that vibe and the Project Sirpo thing. I will
tell you something interesting about Project Sirpo you guys might
not know, is so that comes out in two thousand
and five, right, it's leaked on those message boards, and
it's leaked in the same way, in the same vibe
as like Majestic twelve and other stuff that seems like

(18:22):
a controlled release. And they discuss the way that the
spacecraft of the Zetra Reticulans or work on the planet
Serpo in in this document and they talk about the
layered business magnesium stuff that hal put Off was just
talking about like thirty years later. I actually when I

(18:43):
met with To the Stars Academy, they let me hold
the layered the arts parts layered business magnesium in my hand.
I think it's part of their part of the coding
process when they were trying to get people to work
with them, as they let them hold to the art sparks. Yeah,
I know it works. I was excited, but I asked
how I'll put Off about this. I was like, Hey,

(19:04):
how come this stuff about the layered business magnesium was
leaked into Project Cirpo stuff back in two I asked
Jim Simivan about this too, and they both told me the
same thing. They're like, yeah, sometimes when we want something,
you know, leaked something out, we'll bury it in amount
of misinformation. There'll be a little truth in there. And
then so when the truth comes out and then somebody
says layered business magnesium whatever, you got that from Project Sirpo,

(19:29):
and it discredits it, and it also it's it's crafty.
It's like tradecraft. But they both admitted to me that
Project Serpo, that little bit of it and had resurfaced
in the To the Stars Academy years where they talked
about being a wave guide for terror Hertz energy and
Lily won and how it took this around and had everybody,
all these metaal ares just analyze it, and it was

(19:51):
like layered at the micro level. And Steve Justice gave me,
gave it to me and put it in my hand
and said, we can't make this. He showed me a
brick this big, and he's like, this is what it
looks like if we try to layer business and magnesium.
This is as small as we can get it. And
it was this bick and then they show me and
here it's layered like a thousand times in this little

(20:12):
So to me, that's like evidence they put in my
hand something we can't make and here's the guy who
would know if we could make it, telling you that
we can't make it. I felt, because I had made
a movie with Steven, that they were interested in helping me,
me helping work on secret machines, which the film meditation
of that, but I could tell in my conversations with
them which id that would be the same conversation as

(20:32):
Stephen would have. When you guys are interested in telling
the truth, I am on board. This is the biggest
story of all time. I will help you tell the truth.
Let's tell the truth together. It's not the vibe that
I got. It was like meet the new boss, same
as the old boss. We're gonna We're gonna tell brand
new lies. They kind of modify our earlier lives, and
I get why. It's that's the hardest job ever. I

(20:54):
feel for those guys. You can't tell your friends without
telling your enemies. And they'd love to tell us. All
us red blooded American boys would be trustworthy with the truth,
but they can't tell us about telling everyone else and
all our strategic enemies. So they have to play this
cat and mouse game with their own citizens and with
their enemies. It's three D chess and it's so much

(21:16):
fun to watch. We will drive you crazy trying to
follow it, because you'd never know how you know. Everything's
embedded in this information on purpose, and when you get
the truth, when the truth hits you, it's so hard
to see the forest for the trees. But it's an
endlessly diverting hobby.

Speaker 3 (21:37):
Totally is.

Speaker 1 (21:38):
By the way, who are you guys? Refers to that
scene in Close Encounters for people, which is exactly what
you'd want to say to somebody that has dragged you
into this thing.

Speaker 4 (21:52):
Hey, listen as that question.

Speaker 3 (21:54):
Yes, who are you people?

Speaker 4 (22:00):
Yeah.

Speaker 2 (22:00):
My impression of Steven Spielberg was that he's just a
big kid. He's like a big exuberant kid, and just
like you, he geeks out on things and he gets
super excited, and he did not come across at all
as somebody that's holding secrets to me. However, I would
be remiss if I didn't remind the audience and for

(22:21):
anyone who's a new listener. In our episode two, I
told a story about something that happened to me by
a Texas guy, Toby Hooper, who I was previously very
good friends with and was developing an alien related project
on the side, and so when we needed a director
for Dark Skys, I recommended Toby. I was the one
that got us down that path, and while we were

(22:43):
spending time together in pre production, we were on a
location scout up in New Hall Ranch, up north of
la up in the hills, looking for a place to
shoot our big crop circle sequence from The Dark Sky's pilot.
And at the end of that day, Toby and I
were down in a kind of a oadhouse having dinner.
There was a small production crew and everyone else was

(23:04):
talking business and schedules, and Toby and I were sitting
by ourselves having dinner, and I said, Hey, Toby, so
you're finally going to have one over on Steven because
I knew about their relationship. They're very friendly since going
back to Poltergeist, but they were also very competitive. And
I said, you're going to have a crop circle on
film before he does. And he said, oh, but I'm

(23:24):
never going to be ahead of Steven in this category.
I was like, what do you mean? And he knows
a lot. After Jaws, some people from I think it
was Naval Intelligence or some one of those agencies, they
approached him and they offered him a deal to learn
a bunch of stuff, and I'm pretty sure he took it.
He got all sorts of inside information on a couple
of like a lot of things. Now, obviously people can say, oh,

(23:46):
he was just bullshitting you. That was not Toby Hooper's nature.
If anyone knew him, he was the most down to
earth kind of grounded guy. I think Bryce will vouch
for that. For all of our times working with him.
All I have is that I have to take it
at face value. Is what he told me. Now he
may this is what Stephen told him. That wasn't he
didn't hear this. It wasn't a friend of a friends story.

(24:07):
And so either a Stephen was messing with him, which
could have been because I don't know the nature fully
of their relationship, but I do know that I feel
pretty confident that Toby wasn't messing with me. Brent, we
can say one thing. We can say that Spielberg has
gotten to make his crop circle because in the trailers
for Disclosure Day, there's a major yes and so stead

(24:29):
of the hard crop circle.

Speaker 1 (24:31):
And by the way, he makes a very fine crop
circle from the clip I saw, because we knew how
hard ours was. I just wanted to throw out there
that that, yeah, I worked on Taken and Ernie. I
don't even know if you know this, but I I
was doing the Crow television series and when it got canceled,
they were right next to us in the bungalows that
were across the street, and one of my friends was

(24:52):
one of the executive producers, Les bohem So. I ended
up working six months with the writing team on The
Taken with him, and Manny.

Speaker 3 (24:58):
Coto was the other ag I could a producer cool.

Speaker 1 (25:01):
And then Spielberg sent everybody home after six months of
a writer's room. He had something else he had to do,
and everybody went home. But I didn't get sent home.
I got me and less were told to go write scripts.
I got to write one script. I'm not even going
to get into that. But we did talk to him
on multiple occasions, and I didn't get the big kid

(25:24):
kind of thing as much as he was very business like.
And if the three of us were to have an
unguarded UFO conversation and just kick it around for a
couple of hours, you'd be saying.

Speaker 3 (25:34):
I don't know, did you see this? What about that?

Speaker 1 (25:36):
And Brendan say no, no, I saw that, but what
about this? And we'd all be throwing stuff in. That's
the way he came across to me, clearly, very knowledgeable
and well read. But there's thousands of those guys on
X these days knowing a lot about the UFO topic
could happen to anybody. But I thought he was a
great guy, enjoyed working on taking and I thought that

(25:57):
was great. I just wanted to do something to set
the because we want to get into a couple of things.
I'm going to read you a list of things that
Spielberg either produced, directed, or wrote or all three Close
Encounters E T Gremlins, Amazing Stories, Batteries not included, Gremlins two, Sequest,
Men in Black, Invasion America, AI Taken, Men in Black two,

(26:21):
or the World's Transformers, Kingdom of the Crystal Skull, Transformers,
Revenge of the Fallen, Super Eight, Cowboys and Aliens, Transformers,
Dark of the Moon, Falling Skies, Men in Black Three,
Under the Dome, Extant Transformers, Age of Extinction, Transformers, The
Last Night, Bumblebee, Men in Black, International Transformers, Rise of
the Beast, Encounters, Gremlins, Mogwai, Transformers, One Disclosure Day.

Speaker 4 (26:47):
So it's Pilney the group.

Speaker 1 (26:52):
What is he trying to say with all those because
what Brennan I have always said, if he has a
ser point of view about et contact, those projects are
all over the map.

Speaker 3 (27:05):
They cover the whole spectrum.

Speaker 1 (27:07):
So I just wanted to ask you when you hear
all those and we all I bet you've seen almost
all of them, a lot of them. What do you
think they say about alien contact in his head? What's
his state of mind about what alien contact means? Based
on those projects.

Speaker 4 (27:24):
I don't think he all of them are necessarily trying
to say anything. I think aliens are cool. Science fiction
is cool. He loves science fiction, and I think he
can get he recognizes things that are would be appealing
to a lot of people and have storytelling appeal. I think,
but only some of them seem to be taken and

(27:44):
close encounters and et are ones that he actually is
trying to examine the phenomenon from an artistic standpoint. But
I don't think it's that much different than what you
guys were doing with Dark Skys, and you were even
I'm a big Dark Skys fan. I pulled Bryce, by
the way, But I love that show and more than
The X Files, because there was a lot more real

(28:04):
realness and true history hidden in your show. And my
favorite was Keith Carridy and playing Lonnie Zamora as I
think my favorite episode. He's so good in that. But you,
like you guys, had a little bit of truth and
a little bit of fiction because you have to have
a little bit of fiction to tell us a story

(28:26):
in forty five minutes or however long. You have to
fudge and combine details, and sometimes it's just fun to
Howard Jews is in Vegas, so why not put him
in the story? Not necessarily you're trying to say that
really happened. And I think and that's what you guys
were doing with taking as well, like taking all the
different lore, mixing it up, and I think he might

(28:48):
be doing that a little bit to The screenwriter for
Disclosure Day is David Kep, who was also screenwriter on
a few Drastic Park movies and Kingdom of the Crystal
Skull and King with the Crystal Skull was actually the
movie that establishes that warehouse is Area fifty one. It
was never said that it was Area fifty one in Raiders,
but in Came of the Crystal Skull it's established as

(29:10):
being an Area fifty one. But I don't know. I
thought it was just a government warehouse in Raiders, but
maybe I don't have to go back and look at
the script and see if they My understanding is the
very first public mention of Area fifty one is in
UFO cover Up Live on a map that appears in
nineteen eighty nine, even before eighty eight, before even George
did his Blazar story, like a year before it was.

(29:31):
But anyhow, I.

Speaker 3 (29:33):
Did not know that little factoid.

Speaker 2 (29:35):
That's that's the.

Speaker 1 (29:37):
UFO cover Up Live is a television show, and I
believe it was eighty eight where famously they had a
lot that some interviews that were disguised interviews in the shadow,
and one of them was a guy saying, yeah, we
had an alien and it's dead, jugging it used to
love strawberry ice cream.

Speaker 4 (29:54):
There's also Paul even as a cameo in the movie Paul,
which is have you guys ever seen that? Oh yeah, yeah, yeah,
where he's getting he's talking to Paul the alien that
area if you want to get ideas for et a
flashback phone call. Yeah, I love to see. I think
he likes to have fun with the idea that he's
on the inside. The Men in Black films depict that,

(30:15):
and then Men in Black. Men in Black has the
most succinct thesis on why disclosure will never happen. In
the dialogue of Men in Black is Tommy Lee Jones
is telling Will Smith there's always like a Karellion death
ray or an invading alien force. The only way all
these people go about their lives is if they do
not know about it. That's like the summation and kind

(30:37):
of justification for Men in Black and all the horrible
stuff they've done in all the years of intimidation and
screaming and threatening to big people disappear in the desert.
The Men in Black is almost like propaganda for them,
and it makes them these smooth suit wearing good guys
who are there fighting the good fight. And I'm not
trying to keep us all in the dark.

Speaker 1 (30:57):
Listen, while we were doing the research on this thing,
I just came across a couple of things I thought
were fascinating, which is going back to nineteen eighty five
when he did Amazing Stories. They did one episode called
Fine Tuning that follows high school kids who build an
antenna and discover they can pick up alien television transmissions,

(31:18):
revealing the aliens are fascinated by nineteen fifties American TV
and they're headed to Earth to experience Hollywood directly, which
seems like there's an episode right up sound Light and Frequency.

Speaker 4 (31:30):
Yeah, that's of my favorite episodes. Starring Matthew Laberteaux Yeah
episode Yeah Yeah.

Speaker 1 (31:36):
And then in ninety three on sequest DSV. They started
out with sequests doing more exploration of the oceans, but
they started going deep into usos and they did another
one that was called Such Great Patients and they discover
a million year old alien spacecraft on the ocean floor.
Spielberg and as far as I understand it, in both

(31:58):
these TV series, major involvement from him looking at all
the scripts and putting in his input. It isn't just
I guess what I'm saying is it isn't just his
film agraphy where the man is putting all this stuff in.
He went through a period in the mid twenty tens.
I guess where he does under the Dome and the
dome turns out to be an alien thing that's holding

(32:19):
everybody in. And then he does extent with halle Berry
and that brings in I guess what you would call
is some kind of hybrid. So I just want to
ask you this, Ernie, when you think of all this
stuff and you've seen the trailers yourself for Disclosure Day,
is he saying hybrids?

Speaker 3 (32:37):
Is that?

Speaker 1 (32:37):
Because in Taken, that's what we said, we went deep
into the hybrid so fortaken, But frankly, Brent, you and
I did it in dark Skies before taken, Sure, abductions
and hybrids.

Speaker 3 (32:50):
So is hybrids the truth he's talking about?

Speaker 4 (32:54):
Do you think it seems to the trailer seem to
imply that he's a master of misdirection too. He'll make
you think things going to happen based on the trailer
and then it's something else completely. But just the imagery,
the shots that I keep thinking about again and again.
First is the UFO coming out of the clouds, the
first time seen a flying saucer in a Steven Spielberg
movie since et I guess, I guess you could count

(33:16):
some of those things in War of the Worlds. But
it's a close Encounter's kind of image of coming out
of the cloud Yeah, disguise.

Speaker 2 (33:23):
Feels very ilm.

Speaker 4 (33:25):
Yeah. And the shots that they added in the most
recent trailer of the Roswell footage, which you know, and
that's so tied in with disclosure and the mythos from
the Lore of Disclosure. It seems like he wants to
make like his maybe it's his his thesis. Now Close
Encounters was his thesis then as a twenty seven year
old guy, he's had a whole lot of life experience,

(33:47):
and like you guys, I bet he has had not
just before close encounters. I bet they keep coming at him.
And it's not just the same guys. It's not just
it's not just JC, it's different people show up. Also,
I think there's people embedded in all the different movie studios,
just like there are in all the different news studios.
Could there are probably a whole you could never even tell.

(34:07):
And it's so easy to keep movies from getting made.
You just buy it and then put it in development
forever and they'll never get made. It's the easiest thing ever.
You just give some money and then you could prevent
that story from getting from getting told. So it's so
fascinating to me. But he is above and beyond that.
He can make any movie he wants, regardless of the
subject matter. If he wants to make a movie about
us Olo disclosure, no one can sabotage him or stop

(34:30):
him from making it. He can send whatever message he
wants and the whole world will receive it. And he's
earned that power as an artist to make a statement
and to have everybody everybody's waiting for it, so I
can't wait. June twelve, Hunt in the Days.

Speaker 2 (34:45):
Well, one of my favorite things to do is embrace
the concept of pattern recognition. Look to see is there
any signal in the noise. And as you were pointing
out Bryce, like the spectrum of work that he's done,
at first you'd go, he's just done everything. He's done
all the cool stuff, and it's most of it's all
been incredibly successful. So he's had his finger on the

(35:05):
pulse of pop culture. Right, That's maybe the only defining
thing you can say. However, I just want to point
out a couple things. When you look at his seventies
and eighties films or anything he did back then, there
was a general sense of the more kind of benign
alien story that was more about the curiosity the wonder.
And then as we got moved into the turn of

(35:26):
the century, it was most of his dark stuff came
post nine to eleven, right, Taken came two thousand and two.
Then there was a series and that he wore the
worlds and whatnot. And so if I was trying to
find a pattern to anything that he did, and this
could have been something that was completely unintended at the time.
It's that his stuff is culturally relevant, right. His movies

(35:50):
reflect the consciousness of the era in a way that
either he's aware of that or it's just his his
finger on the pulse so acutely that he knows what
stories the public needs to hear. Now, flash forward all
the way to Disclosure Day, and you think that's the
pattern holding up, because we are in the midst of

(36:13):
a president who has just gotten an argument with a
previous president about who knows more about aliens and who's
broken codes and all of that kind of thing, leading
to now President Trump being harassed by various members of
Congress to release files which he says are going to happen,
files and videos. And so is it a coincidence then

(36:34):
that Steven Spielberg has a movie coming out at this
very culturally impactful time called Disclosure Day.

Speaker 1 (36:41):
The only thing I can say, Brent, by the way,
is that the last thing Donald Trump probably wants to
do is give aid and comfort to a Hollywood liberal.

Speaker 3 (36:49):
I don't know.

Speaker 2 (36:50):
I would be if it'll misdirect everyone away from everything
else that's going on.

Speaker 4 (36:55):
Let me think about the somewhere, there's a ministry of
disinformation our country, and somebody sat at a typewriter wrote up
thousands of preages of Project Sirpo and snuck in. It
was somebody's job to insert the truth into this fiction
and then release it. Same with the Majestic twelve documents.
If you know any of those, I think that was

(37:15):
a controlled, controlled releases. That's what's fascinating to me about
JC coming to visit you guys. You got to think
like they send somebody out so that they send somebody
to Chris Carter when he did the X Files, this
book that Bob Balaban, who plays Lacomb in Close Encounters,
he wrote a diary with all the dates of the
date George Lucas came to the set and the date

(37:37):
that Bob zamechis and Bob Gail and he talks about
using the identa Matt hand scanner, the Bibblesar talks about
it puts in Close Encounters. It's real fascinating stuff. But
he talks about jay aalen Heinich coming and visiting the
set and one night they're all up and jalen heinichs
is telling UFO stories and creeping everybody out, and Steven
is like a jukebox. Tll about that one Stephen tells

(37:59):
a story there are if you ever heard the story
about women's women in Texas who saw UFO and on
the side of it were painted the letters UFO NO.
I found an old interview where Steven talks about this
as like an example of the trickster phenomenon. He said
he read everything when he was researching close Encounters, including
all the National Inquirer or tabloid. He read everything and

(38:21):
distilled it all down and put it into close encounters.
So I think, and that's what you guys are doing
with dark Skys. You guys read everything, distilled it all down. Well,
if we put this and pulled in all these threads,
and I think he's doing the same thing. And the
other idea I wanted to throw at you guys is
if we believe remote viewing is a real thing, and
that Project Stargate is real and a lot of regular

(38:42):
people have the ability to remote view, they just don't
know it. I think maybe the only time people in
their lives ever try a remote view without realizing is it.
And when they try to sit down and write a story,
what would happen? And they go into their imagination and
doesn't stand the reason if remote viewing is real, that
some writers would be remote viewers without realizing it. One
Stephen King is a really badass remote viewer, and he's

(39:03):
like pulling in threads from he doesn't nowhere. Sameless songwriters,
some songwriters just people don't always know where creativity comes from.
What if it's coming from some quantum connection that we
all have to collective. It's real, all fascinating, but Stephen
may be one of those people not only like taps
into the zeitgeist and the collective unconscious, but also ends
up changing it. I always thinking about Jaws and how

(39:26):
grown up in the pool you've just done done that's
because of Stephen, Like kids in swimming pools all around
the world like making this sound because he decided to
do that in his movie, and it's a part of
the whole culture of the world all around the world
as a result of And I think Close Encounters had
that effect too. I know when I saw it on television,

(39:46):
I had UFO dreams for like weeks after that because
it was just such a profound The first Shirett movie
just jolts you right when when it's dark and you
hear the music and then wham like the brightest light possible,
just doing that to everybody's pupils all around the world
at the beginning of Close Encounters, like making everybody's pupils dilate,

(40:07):
and then tells you the story. I love that movie
so much. I keep going back to it.

Speaker 1 (40:12):
Hey, Ernie, you have seen many thousands of films. Have
you seen any Transformers films?

Speaker 4 (40:19):
I believe I saw the first or second Transformers movie.
I did not think it started to blur together to me.

Speaker 1 (40:25):
There's been seven of them made, right, and there is
an evolution in the storyline about non human intelligence or
machine intelligence that evolves in these things, and literally seven
of them. I don't know if Spielberg has any association
with those films other than being an executive producer and

(40:46):
passing off on them, or do you think he's been
involved in them?

Speaker 3 (40:50):
What's your take?

Speaker 4 (40:51):
Actually, AI was the last screenplay credit that he had
that he took me before this. It takes story credit
for Fableman's obviously, and this I think he has a
story about credit on. But the last screenplay credit he
had before AI was Close Encounters, And he said in
the interviews that's because he couldn't get anyody else to
write it the way that he wanted. You guys know
about Night Skies.

Speaker 1 (41:11):
Yes, that's the family under attack, right and then right,
and then it becomes.

Speaker 4 (41:20):
The family in Hopkinsville threatened to sue him if he
made their story about their farm getting attacked, and that
would still make a great movie. I don't think I've
ever seen that depicted. It would be a big budget
Kelly Hopkins Hopkinsville story. It's like scary ET, like ET
with like T and this it could have been a
much darker, darker. It was envisioned as a sequel. Ron

(41:43):
cop was actually originally going to direct Dark Skys and
Stephen decided he wanted to do it and he wanted
to make it ET instead, but Ron Cobb still ended
up getting like a point, you mean, just because they're
so close nights guys.

Speaker 2 (41:58):
I want to circle back to some thing that you mentioned, Ernie,
because it's something we've touched a little bit on in
some previous episodes, but it's also something I fundamentally agree
with that they're the nature of creativity and where does
it come from?

Speaker 3 (42:11):
Right?

Speaker 2 (42:11):
And we've seen it before in Hollywood where it's like,
all of a sudden, no one's made a Western for
ten years, and now there's three studios making Westerns at
the same time. It's that idea that something in the
collective unconscious out there is just percolates up and a
bunch of people get access to it independently of each other,
and they all get inspired and they all bring it

(42:32):
to the market at the same time. But I hadn't
actually considered what you implied, which is a lot of
times remote viewing is not just looking at other places
on the planet, but other places in the future or
in the past. That there's temporal aspect of remote viewing.
And so I think you have to at some point
consider and we've even talked about this in some of

(42:53):
the episodes as well, this idea that a story that
comes out presages actual events that are going to happen
decades later. Right now, Is that because the story came
out and it influenced people set things in motion, or
is it because the creator unwittingly got a vision, didn't

(43:15):
realize it was coming through the collective consciousness in the
future and actually is writing about things that are yet
to come. And so I say this because I want
to bring up just one very specific example that amuses
me simply because you guys have worked more with Steven.
I worked a lot with George Lucas when I was

(43:36):
doing the Clone Wars and got to spend a couple
weeks each year at the ranch, going to the main
house and breaking stories with him and Dave Filoni, and
so I got to know George pretty well. I'm particularly
interested in the one of the titles on this list
that you read off Bryce, which is The Crystal Skull
Indiana Jones and The Crystal Skull, because of course that's

(43:56):
George and Stephen working together. And I think we can
all agree that Stephen will never turn down a good
alien story. How However, he did not want to bring
aliens into this Indiana Jones story. That was George's idea.
And George, who I know. I spent enough time with him.
He so much of what happened in his childhood influenced

(44:18):
everything about him as an artist, and so he grew
up right. Star Wars was because he loved Flash Gordon,
and so he loved all those fifties sci fi movies
and whatnot, and he really felt like this was another
area of pop culture that he wanted to bring into
the Indiana Jones franchise. But Stephen felt like, I've already

(44:39):
done aliens. I don't want to bring that into this franchise,
and so they ended up settling on interdimensional beings, were
not full aliens like Stephen had done before. But I
think that here's the interesting thing. The actual lore of
the crystal skull is loosely tied to some kind of
regional mythology about something in that region in South America,

(45:03):
going all the way back to again. They tied it
into the legend of Acator, which is related to the
lost City of gold El Dorado, all of this stuff,
and that the idea that this city was built with
interdimensional beings help and that the crystal skulls represented the
cumulative knowledge. And anyway, I say all of this because

(45:24):
the representation of those aliens and the ties to beings
that helped influence culture in South America is all tied
to or very related to the Nasca mummies, the whole
phenomenons that came out in twenty sixteen, seventeen. I think
not too long ago those kind of broke into pop

(45:44):
culture and they became a thing and they've been debunked
and they've been proven, and they've been debunked and they've
been proven, and now we're at that stalemate where it's
like there's so much noise, nobody knows what to think
of it, but I know what to think.

Speaker 4 (45:55):
They're real. You will admit they're real, right, well, hit,
they're real. All of it's real. The questions that were
in so they have to not have to not be real.
But how many doctors need to go down there and
say it's not constructed and they put the DNA online
unless they're thinking millions of lines of DNA code. I've
been saying this to George Knapp and everybody for years.

(46:16):
Guys need to take a long look at those mummies.
But yeah, I do. Yeah.

Speaker 2 (46:20):
And here's the last little piece I want to string
together here because I just again, I'm a big pattern
recognition person, and I was looking for is there anything
here or am I just going down another rabbit hole?
And what I came up with was the fact that
I remember when they first showed the Nasca mummies the
first image, and I said, et, this is et. So

(46:40):
they've what idiots? They fake this by taking the most
recognizable alien and made it look exactly like et what
a dumb thing to do if you're trying to fake
it in terms of credibility. Now here's the interesting thing though,
those aliens, those Naska mummies have three fingers. Now, if
you go back and you look at the Close Encounters,

(47:03):
the aliens in Close Encounters three fingers, the aliens in
Taken three fingers.

Speaker 1 (47:09):
And aliens in the latest Disclosure Day trailer three fingers,
Crystal Skull three fingers.

Speaker 2 (47:16):
So now this all could be complete coincidence, right, and
it's just a stylistic choice. But I come back to
as we started the episode saying, is there anything to
Disclosure Day like as actual disclosure? And even if you
put aside the idea that does Steven know something or
doesn't he know something, there are certain aspects of Disclosure

(47:38):
Day that whether it's hybrids, whether it's three fingered aliens,
whether it's a monitoring center all a men in black,
whether it's aliens taking the form of animals or other like,
all of this feels very not real but or true,
but it's certainly a lot of things that people believe nowadays.

(48:01):
So there was one part of that interviewed Bryce that
you mentioned that Stephen gave it cinema Scape or was
it CinemaScope or Escape or something whatever it was CinemaCon
in Vegas, where he also said that this movie is
going to have more truth than fiction. That is a
ballsy thing to say because that implies you know what
the truth is. And I still come back to Okay,

(48:24):
if that's true and we are that movie's coming out
as a lot of his movies do, where it's representing
and reflecting the cultural zeitgeist and maybe the unconsciousness. How
much truth is going to be in that movie.

Speaker 1 (48:43):
I love what you just said, Brent. You can't really
say it's going to have more truth than a lot
of truth in it if you don't actually feel like
you know what the truth is.

Speaker 3 (48:52):
The question is why does he know that? And we
got to wrap this.

Speaker 1 (48:56):
Up, and by the way, Ernie, you'll have to become
a friend of the show because not done obviously. But
the very beginning I had made the statement that I
thought this Disclosure Day might be his closing argument, and
you said, I'm not quite so sure. Why don't you
expand on that and kind of wrap up your feelings
about Disclosure Day and what it might represent as we

(49:16):
lurch for the finish line here.

Speaker 2 (49:17):
And maybe even include what you hope it represents.

Speaker 4 (49:20):
Yeah, Oh, it would be wonderful if if our government
or the military Industrial Complex, or the Zenith Group or
whoever's running the UFO reverse engineering program and or the
disinformation Wing, it would be wonderful if they had like, all, right, time,
we can't the jig is up, We can't keep this
a secret anymore. Why don't we go to the world's

(49:42):
greatest filmmaker and have him help us tell the truth?
And maybe it's like Jackie Gleeson and Nixon, right, maybe
they took him in to the Blue Room and showed
him the bodies and told him about the hybrid breeding
program and that we've been allowing people to get snatched
out of their beds and implanted and tagged like animal
had been helping keep the secret. I don't know that.

(50:03):
Just I have a hard time believing they would ever
tell a filmmaker that unless they had a real specific
mission in mind, or real and I just he's the
last guy who would play along like he's a real
artist and he has a vision of what he wants
to do with each movie, and all different themes he explores,
and it's always like you said, I don't think he

(50:24):
always spoon fees the audience. I think he leaves some
things ambiguous and disclosure. They might be that way as well.
But he's definitely putting a planning a flag at Roswell,
and it seems to be planning a flag at humans
who or people who look human that aren't completely human.
I keep thinking about Obama, the Obamas and after getting

(50:47):
out of office and their production company announcing that Betty
and Barney Hill movie, which I don't think is ever
going to get made or was ever going to get made.
I think that's just the sneakiest way possible for Obama
to say, oh, you might want to take a look
at this story over here. I was president for eight
years and I think out of all the movies I
can make, this would be a good one to make.

(51:09):
But he doesn't even have to say that. He just
has to like put his name on it and then
it goes away and it doesn't it's not a front.
But to me, I think that's one of the ways
to say something without saying it or breaking the law
or getting in trouble with your security clearance, just show
just giving it your attention, and Stephen giving something his attention.
Takes years of his life to make a movie. And

(51:31):
you must have an artistic reason and a motivation for
wanting to revisit this all these years later and tell
this kind of story and include all these real elements
like Roswell and but it's a pretty creepy moments depicted
in that trailer. It depicts that moment that Bryce and
Richard Dolan bisected after disclosure. You see it happening on

(51:51):
television in the trailer, that moment when the whole world
finds out the truth there are aliens among us. I
haven't seen any shots of looting or people running through
the street with their hair on fire. It'd be interesting
to see. How do you depict that moment happening and
not being like an independence day, not be people running
and streets flooded and people running for the hills to

(52:12):
try to get out of the way of the death ray.
Or what is to do to society if if that's
all true, and there are people who look human living
among us who aren't completely human, and our government's known
about it for how long all the world's governments have
known about it and then to keep agin the secret
like it's just a bombshell that just keeps detonating. And

(52:33):
you can see why fiction starting back in the forties
or the nineteen fifties, like using fiction and movies to
prepare people. If that's been going on in Hollywood since.
So that's seventy years of movies about UFOs.

Speaker 1 (52:47):
And you just said in your last statement about forty
things that I want to talk for five minutes about it.
I don't know what I'm going to do about that
in particular, Brent, you and I will have to talk
to Betty and Barney Hill at some point because I've
written that screenplay at myself so good.

Speaker 4 (53:02):
I love that.

Speaker 3 (53:04):
But anyway, here's the one thing.

Speaker 1 (53:05):
I just want to go back to Disclosure Day for
a moment, because you've each sort of laid out a
vision for this thing. I'm going to take a different
point of view on it, which is in twenty seventeen,
we had The New York Times come out and we
thought there's a game changer.

Speaker 3 (53:20):
No, not really.

Speaker 1 (53:21):
It set us on a new track, but it didn't
change everything overnight. Then David Grush came out in twenty
three and we thought that'll be a game changer, and
he even testified before Congress and he's a pretty good
quality witness, and that didn't exactly get the game changed.
And then we had Age of Disclosure just last year,
where everybody said, oh my gosh, this is such an

(53:44):
incredible film and all these people talking, that'll certainly get
everybody's I said it myself, I went, this has got
to be a game changer for people to see.

Speaker 3 (53:52):
It wasn't. Really. Here's what I am going to say.

Speaker 1 (53:55):
The commonality of all three of those is they were
more or less truth delivered as truth. They were in
the real world of news and so forth. I think
the game changer is going to be Disclosure Day, and
it's not even truth, it's Hollywood truth, just like Dark
Skies was Hollywood truth for us, and other people have

(54:17):
done it put out portions of it. I don't know
that everything in Disclosure Day is going to be true.
I guess there's different ways to look at what the
truth is. But I think that Steven Spielberg is such
a powerful social force that the one thing that he
said as CinemaCon that is going to be true is
people are going to have a lot of questions and

(54:39):
what moves the needle? What does change a game? And
we're all game players, so we're talking about a game
being changed. What does change a game is when people
start to question what's really going on here? What does
all this really mean? So my take on Disclosure Day is,
first of all, I'll stipulate everything to a view just said,

(55:00):
But I also think it's going to be a powerful
and important social moment, probably more important than if Donald
Trump were to declassify an HD quality gun camera photo
of a craft right now, I don't think it would
change the game as much as Spielberg's movie is going to.

Speaker 3 (55:19):
That's my point of view.

Speaker 2 (55:20):
I agree with everything you just said. Well, actually I
agree with both of you. I do want to just
throw out one other possibility, though, playing on something that
you mentioned, Ernie, which is that this idea that if
Stephen came, if somebody came to Stephen and said, hey,
we want you to do this, that as an artist,
he'd be like, no, I have a vision. I want
to make my own story. And also that idea that well,

(55:41):
why would they, after all these years, go to Steven
Spielberg and have him have a movie that actually discloses anything.
I think we're at a very unique period in history
where everything's happening all at once, and with the Internet
and AI, you never know. I wake up every morning
and I have no idea what to expect, and there's
no certainty anymore at all. And what Spielberg represents to

(56:04):
me as certainty. He is the most trusted voice in Hollywood,
right he has. You can maybe not like everything he's done,
but his body of work is like no other. And
so if the government the military was ever involved in Hollywood,
whether he was given a deal back in before Close

(56:25):
Encounters or at any time along, it's right now at
this point in history that if you wanted to use
Hollywood to condition people to some hard truths, that they
were going to have to get used to hybrids living
among us, the government having been complicit in all sorts
of stuff going on behind the scenes, people being monitored,

(56:47):
just a lot of these ideas. I would, if I
was in the government, say there's only one person I'm
going to go to. It's going to be Steven Spielberg,
because if he comes out with this, it's going to
be taken seriously. And the fact that it's converging with
a president who was about to disclose or threatening to disclose,

(57:08):
feels like it's all Obviously. I know from my experiences
talking to John Harrington, who was the person that disclosed
to me, that the president is more of a figurehead.
There are people well above the president that are pulling
the strings. So if Trump is actually out there bull
in a china shop threatening to disclose stuff, it's because

(57:30):
somebody's allowing this to happen wherever that's going to go,
in the same way that somebody could be allowing this
movie to come out at this very important inflection point
in history. And if I was Steven Spielberg, yes, I'd
want to tell my story. I'd want to have my
vision and whatnot. But I would also want to be
one of the people that was trusted enough to usher

(57:51):
in a new age of humanity. Right to be the
person that, finally, after all of these years, brings truth
to the people because he feels they should know. That
is more than almost anything he's done as an entertainer.
When history gets written as the person that brought disclosure
to humanity and changed to the nature of reality, that's

(58:15):
how you become immortalized.

Speaker 3 (58:17):
It's a great point.

Speaker 1 (58:18):
And Ernie, you are our guest and we have to
wrap up, so I'm going to give you the last.

Speaker 3 (58:22):
Word, my friend, what do you think about all this?

Speaker 4 (58:25):
That would be the crowning. It would be the cherry
on the top crowning achievement for him, better than a
wall of oscars. Then, to be the one filmmaker trusted
with telling the story that needs to be told in
the most gentle and engaging way and convey a message. Yeah,
he would be the guy. He would be the guy
that I would pick. But even if it's just a

(58:46):
good story and he's just playing with the lore and
the tropes and riffing on it, there might be truth
hidden in it, just like there was in Close Encounters.
And I don't know. I just don't expect a clear
cut story, but it could be. It could be people
being interviewed in tears as they leave the theater, which is
how it was with ET, but for different reasons. Hopefully. Yeah,

(59:08):
but I don't know. I'm excited to talk with you
guys about it after we all get to see it.

Speaker 1 (59:12):
Well, listen, Ernie, we thank you for First of all,
we thank you for a lot of things thank you
for coming in, but thank you for having that incredible background,
which obviously has raised the game a little bit around
here saying yeah, it was great having you. We thank
you for that and your good thoughts. And for everyone
who's watching or listening, just know that our plan is

(59:36):
to follow and track this film. We have episodes coming
up that we'll be talking about Men in Black, as
we said, but even a little more Spielberg, and we
intend to on the day that Disclosure Day comes out,
we hope to have an episode that comes out as
well where we will be not really reviewing the film,
that would be reviewing it as a film. Bred I

(59:58):
would put it differently, We're going to be looking at
it as a historical moment.

Speaker 2 (01:00:01):
I think, Yeah, I'm excited. I think, more than anything, truth, fiction, whatever,
this film is going to start conversations.

Speaker 1 (01:00:09):
I think we should end by saying something Brent and
I have said at the end before. It is the
original title of Close Encounters of the Third Kind, and
it is watch.

Speaker 2 (01:00:21):
The Guys, Watch the Guys.

Speaker 1 (01:00:29):
Sound Light and Frequency is an iHeart podcast produced by
Stellar Productions. It's executive produced by Nick Johnson and for Stellar,
Jackie's Abel Our show's music was written by Anna Stumf
and Hamilton Lighthauser, and your hosts and executive producers are
Bryce Abel That's Me and Brent Friedman Watch the Guys

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