June 22, 2024 • 62 mins
With Work ranging from Architecture to Acting, from Fine Art to Feature Screenplays, Creativity has not just been a passion of Robin Chappell, but a Way of Life (even Force of Life, as he believes that Creativity is the First Cause and the Whole of Being for all of Us). In his adult years, his work has spanned eight Creative fields, and his life is not over yet.
With his Art Work to his Writing to his Film Production company, his work seeks to both entertain as well as act as an avenue of furthering Higher Consciousness on the Planet. His scripts and the Novel Adaptations that he is currently bringing into the world, work on the level of entertainment as well as having that Higher content embedded in, but not overpowering them. Mainstream subtly influencing the Mountain.
From ageism/sexism to science fiction/"horror" genres, his Metaphysical Fiction, (aka "Transformational Media") seeks to reach a greater audience, one that values content but also wants to be entertained.
He seeks to embody his brand, "The Leonardo daVinci of the Twenty-First Century."
Become a supporter of this podcast: https://www.spreaker.com/podcast/inspiring-stories--2917948/support.
With his Art Work to his Writing to his Film Production company, his work seeks to both entertain as well as act as an avenue of furthering Higher Consciousness on the Planet. His scripts and the Novel Adaptations that he is currently bringing into the world, work on the level of entertainment as well as having that Higher content embedded in, but not overpowering them. Mainstream subtly influencing the Mountain.
From ageism/sexism to science fiction/"horror" genres, his Metaphysical Fiction, (aka "Transformational Media") seeks to reach a greater audience, one that values content but also wants to be entertained.
He seeks to embody his brand, "The Leonardo daVinci of the Twenty-First Century."
Become a supporter of this podcast: https://www.spreaker.com/podcast/inspiring-stories--2917948/support.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:04):
Thank you for listening to De PicturesMedia Radio. You rat you readything to
(00:31):
me? Oh well, jus wellnot a bad stop. I just see
(01:14):
sow supashion s alongst Welcome back,everybody. Our next guest Robin Chappelle.
(01:42):
He is an artist and creative person. He works with working in a range
from architecture to acting, from fineart to feature screen screenplays. Creativity is
not just a passion of his,but it is how he lives. In
(02:05):
his adult years, he has workeda span of eight creative fields, and
his life isn't over yet, sothere's still more to come from Robin.
With his work, his artwork,and his writing and his film production company,
(02:29):
he works to seek both to entertainas well as act as an avenue
of further higher consciousness on the planet. His scripts and the novel adaptations that
he currently bringing into the world workon the level of entertainment as well as
(02:50):
having a higher content embedded in them, but without overpowering them so that he
can suddenly influence the masses and bringknowledge to the people. So when we
welcome Robin to the show and let'shear how this modern day Da Vinci it
(03:19):
operates. Because he's just an amazingperson something we can so Robin I called
(03:59):
you in and the intro the modernday Da Vinci, but you're one of
one of your your I don't know, you're branding or something like that is
twenty first century Davini, right,yeah, yeah, I call myself the
twenty first century Da Vinci because likeDa Vinci, I have many different directions
(04:25):
and I work to try and takethose directions in ways that other people do
not. Yes so, but unlikeDa Vinci, since we live in the
modern age, you know, Ihave many things that I've done, like
writing in writing video and you know, writing for screenplays, you know,
(04:47):
for a film that he did nothave at the time. But at the
same time, I also call myselfa visionary designer as well. Yeah,
I know. I know that onthe camera end that they had a what
is it they by the fifteenth centurythat discovered a pinhole that you could project
(05:13):
image through a pinhole and then haveit if if it was completely dark,
and they and as as points ofentertainment to the royalty, that you could
have people walk past that pinhole andyou could see their reflection up on the
blackened screen or something like that.I wasn't too sure how well it actually
(05:36):
worked or didn't work, But butthat would be the fifteenth century precursor to
our motion picture right of course.Of course, now it's like on a
(05:58):
personal note, I was able todo something here here on the very computer
that you're appearing to me on.Now that I was able to create something
that was event I've got the opportunityto see on an imax screen, so
we I mean very large format,right, and it's it's become that much
(06:23):
more simpler to take things from imageto entertaining masses. Well, and not
only that, but you know,cameras have advanced. I mean, my
iPhone is basically a four K cameracaptures images that the seventeen megapixels. You
(06:44):
know, there are cameras out therenow the capture images thirty two megapixels.
So those cameras basically capture more lightthan we can actually see. So when
you see images that are created bythese cameras, they look surreal because they
have a definition that we can't evenreally you know, be able to process.
(07:04):
So you know, and DAMENTI wasbasically seeing and creating things back in
the fifteenth century that most people wouldnot have even thought of for another three
centuries, you know, to theeighteenth century. You know, the whole
idea of human flight wasn't really accepteduntil you know, the age of hot
(07:27):
air balloons. Yeah, yeah,I was also thinking of thinking about mystery
Gatlin, right. Well, yeah, Unfortunately, you know, he was
receiving his uh funding from uh I'lldouko you know, the no I'm I'm
(07:53):
blinking, oh de Medici. Youknow, it'll do go to Medici,
you know, and she was basicallyfunding not just the art, but he
was also funding Leonardo creating instruments ofwar. So it's kind of like you
know the modern day people that youknow received funding from, you know,
(08:15):
like the Nobel Prize, which youknow, Alfred Nobel basically created you know,
dynamite and so you know, it'syou know, but it was and
this this is what makes the dynamthe whole dynamite thing. And we still
we still have have this since we'regoing off on this particular tangent, we
(08:41):
still have this mindset that if wecreate the super weapon, they will discover
peace. Yeah. Yeah, butnot to get too far into conservative territory
with the whole Ronald Reagan pace,you know, peace through strings, which
is nonsense. Yeah, it basicallyis. But mister Nobel, that was
(09:07):
that was the reason why he createdthe high explosive, the super weapon.
And we know now that the superweapon does doesn't No, it doesn't work
right. Well, you know,even Oppenheimer and the rest of the crew
at Ala Megordo, we're not surerwhen they lit the first atomic weapon whether
(09:33):
it would create a cascade effect andburn off the entire atmosphere. They were
hoping that it wouldn't. That itwas just merely a contained explosion, but
the idea was that it would setoff a cascade effect that would just basically
incinerate us. So yeah, Imean according to the to the physics,
(09:54):
that was a real possibility, right, you know, especially they ran off
into infinity. It's like by aplanet, right right, I mean it
just the whole process of setting offthe explosion. Yeah, it was not
(10:15):
necessarily considered a finite situation. Yeah, so you know, so they also
built that built the weapon with theidea to the super weapon to bring about
it was it's like, hey,we have this super weapon. Hey Japan,
we have this super weapon. NowI would advise you to call off
(10:37):
your well, what what most peopledo not know is that Japan had already
basically surrendered at that point, butthey had this project that had to go
through fulfillment in order to show Americaas the first superpower. And that's why
Erosia might happened, Yes, becausethey had to show that, you know,
(11:01):
we have the power. Yet therewas a few things that happened with
the three bombs that were actually setoff that that could have been handled differently
by President Truman. Yes, youknow, history is more lives, but
(11:24):
that's yeah, I mean, that'sa whole nother direction we can go into,
is you know, history that wasgiven to us, the actual history
that you know. But that leadsme into some of some of your projects,
your your films, your books andthings like that, taking us to
the higher power. Yes, wherewe can understand that we you know,
(11:48):
we we how we're all connected inhow we don't have to to hate and
fight each other. Right. Well, I mean part of what I'm doing
with both my screenplays, which willhopefully eventually you know, become films feature
films, and the novels that youknow, I'm adapting from them. You
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know, it's it is taking thingsusing the medium of fiction to a higher
level. You know. So mylast book I call a horror metaphysical science
fiction book, and it is avery dark subject matter because it deals with
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the darkest of the dark of whatis, you know, ruling the world.
But then at the end, themain character transforms into that which goes
beyond the physical limitations that she hadbeen previously living, and so it becomes
a tale of transformation and higher consciousness. But I'm taking the original very dark
(13:00):
material, then I'm using it inorder to be able to create this end
product, which is saying that nomatter what we invest in the illusions of
this world, that there is ourlevels far beyond what most people can possibly
comprehend. And so, you know, I'm I take the fiction. My
(13:24):
first novel was basically a romantic drama, but then I also took and put
into it that it was not justa romantic drama, but it was also
basically you know, feminism, womenin politics, and the transition from men
running the country to women, youknow, participating in running the country.
(13:46):
Yeah yeah, and of course youdo. You we have both lived long
enough to see a woman take thevice presidencyat right. Well, yeah,
I mean I I'm sure she lovedhim. But you know, Hillary Clinton
(14:07):
basically married to Bill because she intendedto be the president at some point,
and she figured to basically backdoor herway into the presidency by being married to
someone who had more of a potentialbased on you know, our society to
be able to move into that position. Oh okay, So the interesting Hillary
(14:31):
is a really good good example ofof of I should say both of them.
Both of them were a good exampleof two people who were bright eyed
in their young days about changing theworld. And that conversation is what led
to them becoming married, and thatconversation did lead to them being in the
(14:54):
White House. But fortunately some ofthe events that happened in everything didn't They
didn't have the huge impact that theythought they were going to have. Well,
yeah, I mean that's you know, another subject completely. Yeah,
(15:16):
but that's that's again for the historybooks right out right. But I mean
she, I mean, part ofthe reason why we had Donald Trump was
because she assumed the presidency. Sheassumed she was going to be president,
and so she stopped campaigning because sheassumed. And you know, one of
my father's favorite sayings, I'm sureyou've heard of it is assume means you
(15:41):
make an ass out of you andme. Well, so in that case,
you know, she assumed she wasgoing to be the president, and
you can't make that kind of assumption. I mean, that's you know,
getting off track. But you can't. You when you interrace, you got
to keep running until yes, youcross the finish line, right and you
(16:06):
know, you get into the politicsof the whole situation. But we only
have Yeah, so that's it's butI just that mindset change that you're trying
to create, right right right,I'm trying to take people beyond a temporal
limited mindset and pulling them, throughthe use of fiction, into a much
(16:30):
more expanded mindset. Okay, Sothat's basically, you know, my next
book that I've been working on,I really wanted to, you know,
be able to release on Valentine's Dat. This last you know this Year basically
is another romantic drama, dash romanticcomedy, but it deals with agism.
(16:56):
It's an older woman younger man,but the older woman is sixty two and
the younger man is forty two,and so it basically is dealing with not
only his trying to come to termswith having the sex that he's having with
women at his own age is notreally fulfilling. And then the woman basically
(17:23):
is you know, locked into aloveless marriage that she got into for reasons
of security, but she's just reallyyou know, at odds with her life.
And so they come together and it'sthrough their interactions that both of them
move beyond that and both nothing personal. My first romantic drama and Happily Married
(17:47):
my second one basically has the ideathat, you know, we need to
find out who it is that youknow we're going to be truly happy with
ya. I mean, the firststory, you know, she's forty two,
he's twenty eight. Second story,she's sixty two and he's forty two.
But it basically comes down to whatdo you want in your life and
(18:11):
can you accept having it well?I mean, at first, I think
people will probably look at it asoh, sixty two years old woman wanting
to have sex. Well, Dadin it self is age is and right
there because he's like, oh god, oh you can't have anybody whose forty
(18:34):
five is not supposed to have sex. It's like that's you know, people
under thirty years old. It's likeew, mom and dad having sex.
Yeah, yeah, you know,it's like, well, how did you
get here? Mom? And dadhas sex, but advent sex beyond that.
(18:56):
One of the one of the thingsthat I about having a sexual relationship
with with my with my wife andwe're both being over fifty five years old,
is the fact that we get touse our minds to help inspire the
(19:19):
sex. It's not just a physicalact now, it's it becomes a cerebral
and sometimes a spiritual act depending onthe conversation that leads into it, right,
right, I mean you can havejust sex, which is just a
physical manifestation, and then you cantake it, you know higher and have
(19:44):
you know, sex being a divineact, which is basically what it should
be. Right. So, onceagain an elevation of what most people think
of to something that is beyond whatmost people think of. Yes, I
mean we don't we don't go tomovies that have sex and them just to
(20:04):
see the sex, because that's justpornography. Yeah, but we go to
see movies because people fall in loveand also, you know, sexual component
is there, but it's like theyfall in love so they find that which
which is highest in the other person, and that's what drives us into the
story. Yeah, in that alsoleads to other things commitment blah blah blah,
(20:34):
and just you know, to letpeople know that they're watching you.
And I had like, ack,what was two and a half hours and
half our conversation before this. Sothere's always like Rasanne Rasanna Dana said,
you know, it's always something.Yeah. So you know, when you
(20:56):
expand what your arena is and youknow, you never know where it's going
to take you. Yeah, Andthat's part of the that's part of the
enjoy of living is taking things.Okay, maybe this far, I wonder
what's beyond that? Now, Well, hopefully everyone is looking to explore greater
and greater depth. You know alot of people these days, you know
(21:18):
it's like, you know, no, I've been hurt, you know,
I don't want to explore an depth. They just want to have, you
know, whatever I can you know, get or experience, you know,
without getting into all that other stuff. Well, you know, but people
are people are wanting more of thatstuff because people are no longer just wanting
(21:41):
you know, the action movies.They're also wanting, you know, movies
that have greater depth to them.And this is something that has changed in
Hollywood over the last twenty or soyears. You know. Sam Goldwyn of
MGM said, if I want tosend a message, I'll go the Western
Union, you know. But peoplewant to see a message because they want
(22:06):
to have they want to touch somethingdeeper. Yeah, and so that's you
know, basically what I'm working towardsis trying to get people to touch that
something deeper. Mm hmm. Yeah. Well it's the thing. Also in
your work, it seems that there'shope building to it, and that's something
(22:30):
that it seems that more and morepeople are looking for, yeah, in
their lives today that that Yeah,we have a lot of electronic connection.
You know, Hey, we allwalk around with one of these guys.
But uh I saw that the doctorWho's green saber. Yeah, okay,
(22:56):
I another Yeah, I'm a doctorwho geek. Yeah, it's right.
And oh wait and that really isn'ta shout out to Disney either, Sorry,
guys. Oh they bought Doctor Whonow from BBC. Yeah, Disney
(23:21):
wants to own everything, you know. That leads these is to to that
that mainstream corporate message. You knowthat they want us to be using all
the all of their stuff to connectAnd don't get me wrong, it's it's
it's really cool that I can talkto you and I'm with about fifteen hundred
(23:44):
miles north of where you are somethinglike that. Yeah, and I can
talk to you in real time.That is that is pretty cool. But
no, the technology is wonderful.But it also depends on what you put
the technology too. Yeah. Youknow, I'm not a fan of uh,
you know, video games, youknow, but the technology for video
(24:04):
games is like exploded, especially youknow now that they're using AI to h
further integrate the images. Yeah.Well I've I've watched my kids, well,
they while they're playing playing the game. It's it's like he had a
(24:26):
friend who was who was a longdistance uh, and they were and that
was how they would chat with Itwas actually through the game. Right.
Oh, in that respect only Okay, can I really say it's a it's
a bad thing if if there issome social interaction, but using that same
(24:49):
technology to promote the Oh, youhave to have this in order to be
happy. You have to be thisin order to be happy. You have
to have this size in in orderto be beautiful. Is that a good
thing to have? Well, Ithink that the you know, the cutting
(25:10):
point is when technology takes people awayfrom interacting on an interpersonal level. And
you know, yeah, it's greatto have you know, kids, you
know, interacting through a video game, but then they're not interacting through interpersonal
levels. They're interacting through the process. They're interacting through the game, which
is you know, most games areyou know, on the darker side,
(25:36):
because you know, that's what bringspeople in. Yeah, and that's you
know, that's part of what I'mtrying to that's part of what I'm trying
to do, is to take themedium and pull people through to a higher
level of content. Yeah, toto something that's more divine and more loving.
(26:02):
Right, you know, I justmy tagline for run nothing personally,
well, my tagline for dreams,desires and dead ends. My first collection
of short stories is with dreams anddesires. There are no dead ends,
you know. And the one withnothing personal is it's about romance dot dot
(26:26):
dot, it's about sex, dotdot dot, it's about politics, dot
dot dot, it's dot dot dotnothing personal. Right, So taking and
taking those subjects and you know,kind of elevating them and with shadows and
light. My latest one, youknow, it's basically, you know,
(26:48):
part of what I do with myartwork is that, you know, I
do night scenes. So, youknow, my mother and father when they
first came home the first art showthey been to, which was you know,
late in my career, you know, my mother said, you know,
I really like your work, butwhy are they so dark? And
I'm like, they're night scenes,mom, and she was like, I
(27:14):
understand that, but why are theyso dark? You know, but I
was focusing I'm using you know,if you're familiar with Charles Giro, you
know rim Brandt rim Brand isn't focusingon the dark. He's focusing on the
light and how light is popped inthe image by the darkness. We see
(27:36):
light in contrast to darkness. Youknow, we see light when we're not
necessarily seeing darkness all the time.You know, we see light. And
so my work is working to getpeople to see the light of the situation
that is at the heart of eachwork, because that's where the spiritual essence
(28:02):
lies. Yeah. Well, becauseI'm a big big fan of of of
night of the night sky and everything, but that is where our window to
the fourteen billion years of creation canbe seen, right, Yeah, I
(28:33):
mean, for me, the wholeidea that we're you know alone in this
vast vast vast vast vast vast vastfast universe is just you know, people
are like, oh, well,they haven't contacted us. It's like,
well, you know, Star Trekhas been in our lexicon for fifty years,
(28:55):
fifty five plus years now. ThePrime Director states that you do not
interact with species who are not ofsufficient technological advancement to be able to move
beyond their solar system. We arestill using you know, light that candle.
You know, we're still using lowerforms of technological advancement in order to
(29:18):
just even get to the moon oryou know, case of Voyager. We've
gotten to the edge of you know, the Solar system and beyond. But
that wasn't through the thrust capabilities ofa rock. If that was through you
know, that was through gravity andyou know, using that you know,
(29:40):
simple thrust in order to slingshot Voyagerinto the void. Right, but we're
still we're not even a class onecivilization. The Cardasshev scale, the Cardasshev
scale goes up to five or nowthey're you know saying even seven, you
know, based on on the advancementof the species, and so we're not
(30:03):
we're barely advanced, you know,into the age of flight. I wish
to remind you to limit the statementsto know more than three minutes, in
order to enable the Council to carryout his work expeditiously. Please show respect
to all the speakers on the list. Flashing lights on the colors of the
microphones will prompt speakers to bring theremarks after three minutes. You can always
(30:29):
submit your full statement to be placedin writing later, but please limit your
statements to three minutes. Thank you. I now give the floor to his
excellency mister Lewis Ertomaurilloa, minnesot ForeignAffairs of Columbia, Columbia lay so,
(30:59):
Celicia up by, it's I facedthe one of your languages. All right,
there we go. I don't knowthe you and YouTube channel kicked in.
I don't know why. Oh okay, yeah, so I just killed
(31:25):
the window. It's like get ridof it that way, okay, So
yeah, I mean, well,if we're gonna go back to Voyager for
a second rate, there was anepisode of Voyager where the sky ship got
because they were caught in a gravitationalpull Voyager and below the the planet below.
(31:57):
It went from stony to being ableto build a rocket before they even
started understanding that there was an actualspaceship sitting up there in the sky.
Well, we're somewhere. And andby time they actually were able to push
Voyager off away from their planet,they still could not basically go past their
(32:23):
own atmosphere because going to the goingto UH banned space travel for us has
never has never really exceeded going pastthe outer reaches of our own atmosphere,
because the Moon is still within ourwithin the gravitational pull of our planet.
Right, So, how can wesay that we're so technologically advanced that we
(32:51):
can exclude another life form even beingexisting in UH in our universe until we've
we've been able to to travel toa light speed or beyond, right,
Oh, I mean we placed theselimitations on ourselves. I mean, Einstein
(33:12):
said that we cannot travel beyond thespeed of light. But you know,
before quantum mechanics came along, youknow, we lived in a Newtonian mechanical
universe, so everything was you know, gears and mechanical. You know,
we we saw the universe in amechanical way, because that was the height
(33:34):
of our civilization at that point,and then quantum mechanics came along and you
know, basically exploded all of that. But we're still basically living, you
know, in a Newtonian universe whereyou know, our limitations are speaking.
We're not you know, transcending ourlimitations. Except in fiction. Yeah,
(33:57):
you know, in fiction. Youknow, Rodenberry had the idea well,
I mean, faster than light travelwas you know, around before Roddenberry.
But you know, the idea ofwarp travel, you know, I don't
that was theoretical at that point,but it was still you know, everything
was science fiction about it. Butyou know, we're almost to the point
(34:19):
where we are learning how to dowhat I call trans dimensional travel, you
know, which is going beyond thespeed of light because the speed of light
is a physical factor. But ifyou get into higher levels of dimensional space,
you know, we can take andcollapse that space, you know,
(34:44):
into an entry point and an exitpoint, which is based that warp travel
is, you know, except wehaven't found that yet. Yeah. There's
quite a number of science well sciencefact concepts that we did. The average
(35:08):
person still chalks up to science fictionsuch as time dilation multi dimensional time,
because who knows. The trick toto to a warp drive could be changing
(35:30):
changing the dimension of time so thatyou travel at a greater distance along a
different dimensional time. You know.But but to the average person that well,
no time has to go click clickclick. According to the Newtonian idea
of the arrow of time in thermodynamics, right, time flies like narrow
(35:54):
bananas exactly. Just we are aspecies is tied to our limitations, you
know, and fiction, especially sciencefiction, is taking us beyond those limitations
and expanding us, at least theoreticallyinto cardis Show one or Cardashow two,
(36:20):
you know, but we're still It'slike the number one mechanism and humans is
this thing called denial. You know, we deny that there can be UFOs
and higher intelligence because we don't haveit. It's like scientists are looking for
(36:42):
radio waves as a sign of life, but it's like any advanced species radio
waves is to us like we areto ants. You know, the whole
idea that you know, advanced specieswould have radio waves, no, and
radio waves only traveled very slowly,you know, so there could be you
(37:07):
know, a civilization that you know, has radio just outside of our you
know, extrasolar area and we justhaven't picked up on it yet. But
any species that has advanced enough inorder to be able to do multi dimensional
travel radio is not you know,hasn't been on the spectrum for ten million
(37:27):
years, very you know, veryeven a point. So we keep looking
for things that represent us. Well, we're still talking about the Wow signal,
right, and they still you know, they don't know what it is,
but it can't possibly be an advancedcivilization because I don't know. Yeah,
(37:52):
once again, denial is not ariver in Egypt. Denial is you
know, the basic motivation for alot of people. It's like, if
it's not trouble to us, wedeny its existence, Like the whole conservative
idea that you know, climate changedoesn't exist because according to their viewpoint,
evolution doesn't exist. So therefore,you know, there isn't anything that you
(38:14):
know, goes beyond simple Newtonian physics, right, and whether it's Simpletonian physics,
yeah, well yeah, that wouldbe that would be very true.
It is simply based on Newtonia physics. But there's there's a whole another series
of theories out there to be attributedto the idea of climate change, which
(38:40):
is I believe is completely completely true. But well, I'm not denying that
there are in such things as thesolar cycles. I'm just I'm saying that
basically, it's denial that we havenot created the situation, right, you
know, That's what I was.That's exactly it, right, Just briefly,
(39:05):
one of the one of the discussionsI had was with someone about it
was that it's possible because well,human beings have only been existing on this
planet for so many thousands of years, right, Well, what if in
so many thousands of years that arestar or the sun would if it hasn't
(39:30):
completed its orbit yet, and we'rein some place that no other living thing
has ever been in before. Youknow, it's you know, it's it's
that's that is also a possibility,and that also could be affecting what we're
what we're experiencing on our own planet. But that was that's out there kind
(39:52):
of a theory. Well, it'slike, you know, science has basically
come to the idea that there areone point seven billion galaxy and just the
known universe one point seven billion galaxies, and each one of those galaxies might
have ten million solar systems that arein it, and so it gets exponentially
(40:14):
beyond the you know, beyond thepale. To use our limited perspective as
means of showing that you know,this is possible. You know, just
Star Trek, you know show,I mean Star Trek, you know,
in the nineteen sixties, you know, was revelation, you know, the
(40:37):
idea that you know, we juststarted our journey to the Moon and all
of a sudden, this show isshowing us that, you know, we
can go to other star systems andother galaxies, and it's just and showing
it is just a part of everydaylife. Yeah, and you know Star
Trek basically exists on the card showscale of one maybe one zero point five.
(41:01):
Now, you know, Star Trekhas escaped the timeline that Roddenberry in
the nineteen sixties saw, you know, lost in space, you know,
the Robinson's left you know, planetedEarth to get lost in space in the
year nineteen ninety seven. So weare we're moving forward technologically, but you
(41:28):
know, our imaginations have advanced somuch more. And Einstein said, you
know, imagination is more important.That's not the right word. Imagination is
more powerful than you know science,you know, and without imagination, we
(41:49):
do not stretch the boundaries of science. I mean it used to be that,
you know, science believe that weonly had three dimensions. Then they
added time and added you know,a fourth dimension. Now science basically believes
that there are eleven dimensions, andthat's just our current understanding. Yeah,
(42:14):
humans only seen Yeah, yeah,it's based on some crystal crystal theory or
something like that. That right,the eleventh dimensions. Yeah, But going
back to Einstein's idea of of ofimagination and how it should be expanding,
(42:43):
I think I think somewhere along theline that we human beings have been,
especially Western human beings, we stifledthat imagination to a cogni wheel sort of
thing. Well, you know,as a creative. You know, my
parents and you know, hoped eveninto my twenties and thirties that I would,
you know, well grow up andfind a real job and find a
(43:08):
girl to settle down and have youknow, a family with. But I
was already I decided by the timeI was eighteen, the children were not
in my future. You know,my future was expanding even then. I
mean, back then I was anartist and an architect and the beginnings of
(43:29):
being a writer. And that wasbefore I got into everything else that have
gotten into Sins. Yeah, youknow, I one of the books that
I have laid out, but Ineed to go back and do the redo.
The illustrations for is a look bookthat basically traces my evolution from Star
(43:51):
Trek and Lost in Space through theidea of being an architect, through the
idea of being an architect of alternativedesign and using ultra technology that you know,
at the time was you know,very very primitive. It's still you
know, fairly primitive, and thendesigning buildings around that. Ye, And
so you know, I was dealingwith the idea of what are called megastructures
(44:16):
from the visionary ar visionary architect Palacellari, and then I was taking my eleventh
grade high school science fare project wastaking megastructures and putting them completely underground as
a means to be able to bothget the raw materials out without doing you
(44:38):
know, gouging the earth with thesemassive excavation pits and then filling it up
back up with city so that youknow, we could have as close to
one hundred percent usage of the landas possible. It was nineteen seventy three.
(44:58):
So you know, in some ways, you know, calling myself to
twenty first century to Vnshi seems likeit is being an egomaniac, being delusional.
But I want the work that I'mdoing to expand people's consciousness, to
(45:24):
expand, you know, the possibilitiesthat exist. My book Shadows and Light
is what I call Book one andwhat I call the secret History of the
World work. As I tagline it, it's the mother of all conspiracy theories.
It takes and pulls in all thedifferent quote unquote conspiracy theories like UFOs
(45:49):
and alternate history and pulls it intoa expanding the what if in people's minds.
So I'm trying to get people tobe much more expansive and how they
think about their world in which ina particular direction, No, in everything,
(46:19):
I mean, I started off withthe screenplays, you know, except
for Shadows of Light, you know, with personal interactions and people questioning what
they were brought up with. Youknow, another one of my screenplays books
is basically two people that she atthe present you know, at the opening
(46:42):
of the book is a police officerand then he who ends up being her
partner is an old hippie. Butthen throughout the course of the book you
find out that she used to bean old she used to be a hippie,
but and then she chose to becomea police officer like her father and
(47:02):
her brother. And he, eventhough he still holds these you know,
beliefs that you know, being anold hippie, is basically an alcoholic who
is you know, having struggling withwhat his life is like and it's not
what he originally thought it was goingto be like. So they come together
and they basically, during the courseof the book come together to meet and
(47:29):
then expand beyond what their original lifewas. So I don't I don't write
books just for entertainment. I don'twant to write movies just for entertainment.
You know, people have said,oh, why don't you just sell one
of your screenplays, and you know, you can say that, you know,
get a thousand dollars for it,say you know, are are a
(47:51):
produced you know, screenwriter, Andit's like, No, everything I write
basically has higher purpose and I donot want to sell a script to someone
who will take and strip out thathigher purpose and just make it just another
you know, Hollywood production. Yeah, I mean it's it's don't get me
(48:14):
wrong. It's cool to see seeyour work appear up on the screen.
But if the story that you wentout there isn't destroyed, that you isn't
destroyed that appears on that screen,it's kind of an empty victory, isn't
it. Well. I met awoman at a networking breakfast who sold her
(48:37):
for a script, not option.She sold her for a script for one
dollar, just so that she couldsay that, you know, she had
a you know, a film thatwas produced for her script. It was
like, well, did they everactually shoot it? Well, I don't
know. It's like, well,and you know, yeah, she sold
(48:59):
a script, but you sold herfor one dollar. So in Hollywood,
you know, that one dollar isnow her quote. So everyone else wants
to buy a script from her forlike a thousand dollars or you know,
ten thousand dollars, when if it'sreally a substance, she should be getting
you know, a lot more thanyou know, a thousand or ten thousand
(49:21):
dollars. But she already set herlimitation. Yes, she already said I'm
willing to work for nothing, Andas a result, everyone in the future
until she actually sold something that youknow would sell for much more. Okay,
but again, it's cold to sellit. That's what that's what you
want to do. But isn't itso much better to see it appear and
(49:49):
see and watch it change the livesand minds of of of the individuals around
you. Well, I'm not gonnaI'm I'm not going to say that my
scripts are going to be you know, one hundred percent you know how I
wrote them. You know, Iwould be one of those kinds of directors
that you know, would basically havepeople on script on book. Yeah,
(50:12):
and you know they might do improvfor part of it. But you know,
when it comes down to it,I'm the writer and they're the actor.
So the actor, basically, youknow, is going to do what
the director tells them to do fromthe script that was originally done. Is
it going to be exactly the samenote? But you know it's okay.
(50:35):
So you created one piece of artthat's the script, right, the director
is now producing his art, whichwould be the interpretation of his interpretation of
your script. Well, that's okay, as long as some of some of
a lot of the same ideas followthrough, right, you know, Well,
(50:58):
I mean I originally wrote my scriptsbased is a writer, producer,
director, and writing them for meto be the talent, be the male
lead, you know, and I'vegone beyond that. There are some of
my scripts that, you know,where I can still play the male lead,
but for the majority of them,you know, I've aged out of
those characters. But I still wantto produce and direct and have the basic
(51:23):
themes still in place or otherwise,you know, why buy my script and
then take it and change it?You know, my mentor when I first
came to Los Angeles thirty five thirtyback in nineteen ninety seven, you know,
they they were writing scripts that thengot optioned and never made. And
(51:45):
the one script that actually got optionedand ended up getting made, you know,
they basically went to the premiere andthey started like slumping further and further
down in their seats, trying tofigure out a way to get out of
the theater before they were acknowledged becausethe film was so not what they had
written that they wanted to disown it. They wanted to disown their part in
(52:08):
it. Yeah. I went tothe La Festival of Books at one point
and listened to a talk by oneof the big producers back in the nineteen
seventies. He had, you know, half a dozen shows on and he
said he went to see his first, you know, the first film created
from a script he'd written, andat the end he said, there was
(52:30):
only one line that you know,he recognized from his original script when that
was you know, I'll have rockswith that scotch. That's so pretty innocuous,
right, That was the only linehe recognized. Was that the case?
You know? Or was that agood you know, talking point.
I don't know. But the thingis is that, you know, producers
(52:52):
can hire someone to write a scriptand then they can craft it as much
as they want for whatever, youknow, however they want. But if
you're going to buy someone's script,you should at least you know, have
it, you know, similar tohow the screenwriter wrote it. Otherwise why
(53:12):
bother right, have someone else writeanother script? Yeah, And I have
heard of in some cases where thescript was bought and it may have been
produced, but they had somebody takethe script terror apart and then rewrite it.
Right. Yeah, it's called thepage one page one rewrite. Yeah,
(53:37):
you know. So they liked theconcept, but when it came down
to it, you know, theywanted to have I also met someone who
at one point who claimed that hewas writer twenty seven out of twenty eight
on the original Batman, you know, and that film was basically torn apart
(53:59):
by the critic because just it didn'thold together. So yeah, I mean
it's this is just part of theHollywood soup that we're in. Yeah.
You know, people will buy ascript and we'll have it rewritten and rewritten
and rewritten until the original script islike the barebone skeleton. At that point,
it's like, you know, whyhaven't why have you even bothered,
(54:22):
you know, buying the script,Just have have someone write, you know,
the script that you want. Youknow, this is uh, this
is part of the limitation of Hollywood. Yeah, and that's why, you
know, I have wanted to sellone of my scripts because I still am
hoping that I can create generate enoughmoney so that I can produce and direct
(54:50):
it and have at least the majorityof the story locked into the script,
not have a watered down you knowfor content, and not have it change
into something completely different and basically trashingthe original attendant content. Yeah, well
(55:12):
that kind of makes sense, youknow, especially since you're trying to produce
the work to create a higher energy, right, And that's why I'm doing
the adaptations. You know, Ifigured out several years ago that if I
can't get the money in order tobe able to script produced, yeah,
do the novel adaptations. You know, then you have chip properties. You
(55:32):
know, you have the novel,you also have the script. And then
if hopefully the novel starts selling,which you know, I haven't done all
the promotion and marketing I should have. When the novel starts selling, then
hopefully that will attract money to theproject. Yeah. So we should have
you back when you when you havethe the the novel ready ready for release
(55:57):
after it's been published, and we'llI mean I've already released two of them,
we will have you come back andwe'll talk. Let's talk specifically about
that particular novel. Yeah, Imean, both The Nothing Personal and Shadows
of the Light were released. Shadowsand the Light was the last one and
it was released on or Halloween lastyear. So yeah, so what what
(56:28):
kind of what kind of universe doyou think we could evolve if human beings
to be in imagination? Is thelimit? Limits? Not the speed of
light. Imagination is the limit.Imagination, if you open up to it,
(56:52):
can take you far, much fartherthan you could ever hope to imagine
your current life. You know,I believe that there are civilizations that are
so advanced that they have it's beencenturies or even tens of centuries since they
(57:12):
were at our level. Life isalways advancing, Life is always evolving.
We don't come into this world,you know, sprung from the head of
a god, you know, fullygrown. We come into this world barely
able to take care of ourselves,and we evolve and grow into hopefully people
(57:36):
that adults that can take care ofthemselves. Yeah, so hopefully humankind,
it is evolving to the point wherewe can take care of ourselves, not
continue trashing the planet, and notcontinue flinging ourselves towards the next ecological catastrophe,
(57:58):
the next stage of evolution where wedon't move beyond that evolution. Yeah,
imagination is the speed limit. Ilike that. Imagination is a speed
climent. Well, somebody wanted towork with you? Is the best way
to get hold of you? Okay, my All three of my books are
(58:22):
on Amazon. You can look themup under my uh my name. I
can also be reached at Robin attwenty first century Davenci dot com. And
I also have one eight hundred numberwhich is one eight three three three one
(58:43):
nine two thousand and three, soany of those can be uh can reach
me? Okay, be happy tofind other people to collaborate with and move
much further into to the dreams thatI've had for a while. Awesome,
(59:05):
Well, great talking to you,Thank you, Thank everybody for listening today.
And hey, if you want todive into one of Robin's scripts or
one of his books, read hisbooks, look in the in the show
notes and all of his contact andlinks will be right there, all right.
(59:27):
I can also put my LinkedIn orlink tree information and as a QR.
Okay, awesome, So thank everybodyfor listening today, and we'll talk
to you later. I don't know, so I wish you from a match.
(01:00:14):
So w that s this? Hesays, I'm reason said me back,
(01:00:37):
cho SHOs you can't tru wait,so will pass ye go to st
(01:01:30):
st stuff I know ms starts.The show has been produced by Depictions Media.
(01:02:08):
Please contact us at depictions dot mediafor more information.
Thank you for listening to De PicturesMedia Radio. You rat you readything to
(00:31):
me? Oh well, jus wellnot a bad stop. I just see
(01:14):
sow supashion s alongst Welcome back,everybody. Our next guest Robin Chappelle.
(01:42):
He is an artist and creative person. He works with working in a range
from architecture to acting, from fineart to feature screen screenplays. Creativity is
not just a passion of his,but it is how he lives. In
(02:05):
his adult years, he has workeda span of eight creative fields, and
his life isn't over yet, sothere's still more to come from Robin.
With his work, his artwork,and his writing and his film production company,
(02:29):
he works to seek both to entertainas well as act as an avenue
of further higher consciousness on the planet. His scripts and the novel adaptations that
he currently bringing into the world workon the level of entertainment as well as
(02:50):
having a higher content embedded in them, but without overpowering them so that he
can suddenly influence the masses and bringknowledge to the people. So when we
welcome Robin to the show and let'shear how this modern day Da Vinci it
(03:19):
operates. Because he's just an amazingperson something we can so Robin I called
(03:59):
you in and the intro the modernday Da Vinci, but you're one of
one of your your I don't know, you're branding or something like that is
twenty first century Davini, right,yeah, yeah, I call myself the
twenty first century Da Vinci because likeDa Vinci, I have many different directions
(04:25):
and I work to try and takethose directions in ways that other people do
not. Yes so, but unlikeDa Vinci, since we live in the
modern age, you know, Ihave many things that I've done, like
writing in writing video and you know, writing for screenplays, you know,
(04:47):
for a film that he did nothave at the time. But at the
same time, I also call myselfa visionary designer as well. Yeah,
I know. I know that onthe camera end that they had a what
is it they by the fifteenth centurythat discovered a pinhole that you could project
(05:13):
image through a pinhole and then haveit if if it was completely dark,
and they and as as points ofentertainment to the royalty, that you could
have people walk past that pinhole andyou could see their reflection up on the
blackened screen or something like that.I wasn't too sure how well it actually
(05:36):
worked or didn't work, But butthat would be the fifteenth century precursor to
our motion picture right of course.Of course, now it's like on a
(05:58):
personal note, I was able todo something here here on the very computer
that you're appearing to me on.Now that I was able to create something
that was event I've got the opportunityto see on an imax screen, so
we I mean very large format,right, and it's it's become that much
(06:23):
more simpler to take things from imageto entertaining masses. Well, and not
only that, but you know,cameras have advanced. I mean, my
iPhone is basically a four K cameracaptures images that the seventeen megapixels. You
(06:44):
know, there are cameras out therenow the capture images thirty two megapixels.
So those cameras basically capture more lightthan we can actually see. So when
you see images that are created bythese cameras, they look surreal because they
have a definition that we can't evenreally you know, be able to process.
(07:04):
So you know, and DAMENTI wasbasically seeing and creating things back in
the fifteenth century that most people wouldnot have even thought of for another three
centuries, you know, to theeighteenth century. You know, the whole
idea of human flight wasn't really accepteduntil you know, the age of hot
(07:27):
air balloons. Yeah, yeah,I was also thinking of thinking about mystery
Gatlin, right. Well, yeah, Unfortunately, you know, he was
receiving his uh funding from uh I'lldouko you know, the no I'm I'm
(07:53):
blinking, oh de Medici. Youknow, it'll do go to Medici,
you know, and she was basicallyfunding not just the art, but he
was also funding Leonardo creating instruments ofwar. So it's kind of like you
know the modern day people that youknow received funding from, you know,
(08:15):
like the Nobel Prize, which youknow, Alfred Nobel basically created you know,
dynamite and so you know, it'syou know, but it was and
this this is what makes the dynamthe whole dynamite thing. And we still
we still have have this since we'regoing off on this particular tangent, we
(08:41):
still have this mindset that if wecreate the super weapon, they will discover
peace. Yeah. Yeah, butnot to get too far into conservative territory
with the whole Ronald Reagan pace,you know, peace through strings, which
is nonsense. Yeah, it basicallyis. But mister Nobel, that was
(09:07):
that was the reason why he createdthe high explosive, the super weapon.
And we know now that the superweapon does doesn't No, it doesn't work
right. Well, you know,even Oppenheimer and the rest of the crew
at Ala Megordo, we're not surerwhen they lit the first atomic weapon whether
(09:33):
it would create a cascade effect andburn off the entire atmosphere. They were
hoping that it wouldn't. That itwas just merely a contained explosion, but
the idea was that it would setoff a cascade effect that would just basically
incinerate us. So yeah, Imean according to the to the physics,
(09:54):
that was a real possibility, right, you know, especially they ran off
into infinity. It's like by aplanet, right right, I mean it
just the whole process of setting offthe explosion. Yeah, it was not
(10:15):
necessarily considered a finite situation. Yeah, so you know, so they also
built that built the weapon with theidea to the super weapon to bring about
it was it's like, hey,we have this super weapon. Hey Japan,
we have this super weapon. NowI would advise you to call off
(10:37):
your well, what what most peopledo not know is that Japan had already
basically surrendered at that point, butthey had this project that had to go
through fulfillment in order to show Americaas the first superpower. And that's why
Erosia might happened, Yes, becausethey had to show that, you know,
(11:01):
we have the power. Yet therewas a few things that happened with
the three bombs that were actually setoff that that could have been handled differently
by President Truman. Yes, youknow, history is more lives, but
(11:24):
that's yeah, I mean, that'sa whole nother direction we can go into,
is you know, history that wasgiven to us, the actual history
that you know. But that leadsme into some of some of your projects,
your your films, your books andthings like that, taking us to
the higher power. Yes, wherewe can understand that we you know,
(11:48):
we we how we're all connected inhow we don't have to to hate and
fight each other. Right. Well, I mean part of what I'm doing
with both my screenplays, which willhopefully eventually you know, become films feature
films, and the novels that youknow, I'm adapting from them. You
(12:09):
know, it's it is taking thingsusing the medium of fiction to a higher
level. You know. So mylast book I call a horror metaphysical science
fiction book, and it is avery dark subject matter because it deals with
(12:33):
the darkest of the dark of whatis, you know, ruling the world.
But then at the end, themain character transforms into that which goes
beyond the physical limitations that she hadbeen previously living, and so it becomes
a tale of transformation and higher consciousness. But I'm taking the original very dark
(13:00):
material, then I'm using it inorder to be able to create this end
product, which is saying that nomatter what we invest in the illusions of
this world, that there is ourlevels far beyond what most people can possibly
comprehend. And so, you know, I'm I take the fiction. My
(13:24):
first novel was basically a romantic drama, but then I also took and put
into it that it was not justa romantic drama, but it was also
basically you know, feminism, womenin politics, and the transition from men
running the country to women, youknow, participating in running the country.
(13:46):
Yeah yeah, and of course youdo. You we have both lived long
enough to see a woman take thevice presidencyat right. Well, yeah,
I mean I I'm sure she lovedhim. But you know, Hillary Clinton
(14:07):
basically married to Bill because she intendedto be the president at some point,
and she figured to basically backdoor herway into the presidency by being married to
someone who had more of a potentialbased on you know, our society to
be able to move into that position. Oh okay, So the interesting Hillary
(14:31):
is a really good good example ofof of I should say both of them.
Both of them were a good exampleof two people who were bright eyed
in their young days about changing theworld. And that conversation is what led
to them becoming married, and thatconversation did lead to them being in the
(14:54):
White House. But fortunately some ofthe events that happened in everything didn't They
didn't have the huge impact that theythought they were going to have. Well,
yeah, I mean that's you know, another subject completely. Yeah,
(15:16):
but that's that's again for the historybooks right out right. But I mean
she, I mean, part ofthe reason why we had Donald Trump was
because she assumed the presidency. Sheassumed she was going to be president,
and so she stopped campaigning because sheassumed. And you know, one of
my father's favorite sayings, I'm sureyou've heard of it is assume means you
(15:41):
make an ass out of you andme. Well, so in that case,
you know, she assumed she wasgoing to be the president, and
you can't make that kind of assumption. I mean, that's you know,
getting off track. But you can't. You when you interrace, you got
to keep running until yes, youcross the finish line, right and you
(16:06):
know, you get into the politicsof the whole situation. But we only
have Yeah, so that's it's butI just that mindset change that you're trying
to create, right right right,I'm trying to take people beyond a temporal
limited mindset and pulling them, throughthe use of fiction, into a much
(16:30):
more expanded mindset. Okay, Sothat's basically, you know, my next
book that I've been working on,I really wanted to, you know,
be able to release on Valentine's Dat. This last you know this Year basically
is another romantic drama, dash romanticcomedy, but it deals with agism.
(16:56):
It's an older woman younger man,but the older woman is sixty two and
the younger man is forty two,and so it basically is dealing with not
only his trying to come to termswith having the sex that he's having with
women at his own age is notreally fulfilling. And then the woman basically
(17:23):
is you know, locked into aloveless marriage that she got into for reasons
of security, but she's just reallyyou know, at odds with her life.
And so they come together and it'sthrough their interactions that both of them
move beyond that and both nothing personal. My first romantic drama and Happily Married
(17:47):
my second one basically has the ideathat, you know, we need to
find out who it is that youknow we're going to be truly happy with
ya. I mean, the firststory, you know, she's forty two,
he's twenty eight. Second story,she's sixty two and he's forty two.
But it basically comes down to whatdo you want in your life and
(18:11):
can you accept having it well?I mean, at first, I think
people will probably look at it asoh, sixty two years old woman wanting
to have sex. Well, Dadin it self is age is and right
there because he's like, oh god, oh you can't have anybody whose forty
(18:34):
five is not supposed to have sex. It's like that's you know, people
under thirty years old. It's likeew, mom and dad having sex.
Yeah, yeah, you know,it's like, well, how did you
get here? Mom? And dadhas sex, but advent sex beyond that.
(18:56):
One of the one of the thingsthat I about having a sexual relationship
with with my with my wife andwe're both being over fifty five years old,
is the fact that we get touse our minds to help inspire the
(19:19):
sex. It's not just a physicalact now, it's it becomes a cerebral
and sometimes a spiritual act depending onthe conversation that leads into it, right,
right, I mean you can havejust sex, which is just a
physical manifestation, and then you cantake it, you know higher and have
(19:44):
you know, sex being a divineact, which is basically what it should
be. Right. So, onceagain an elevation of what most people think
of to something that is beyond whatmost people think of. Yes, I
mean we don't we don't go tomovies that have sex and them just to
(20:04):
see the sex, because that's justpornography. Yeah, but we go to
see movies because people fall in loveand also, you know, sexual component
is there, but it's like theyfall in love so they find that which
which is highest in the other person, and that's what drives us into the
story. Yeah, in that alsoleads to other things commitment blah blah blah,
(20:34):
and just you know, to letpeople know that they're watching you.
And I had like, ack,what was two and a half hours and
half our conversation before this. Sothere's always like Rasanne Rasanna Dana said,
you know, it's always something.Yeah. So you know, when you
(20:56):
expand what your arena is and youknow, you never know where it's going
to take you. Yeah, Andthat's part of the that's part of the
enjoy of living is taking things.Okay, maybe this far, I wonder
what's beyond that? Now, Well, hopefully everyone is looking to explore greater
and greater depth. You know alot of people these days, you know
(21:18):
it's like, you know, no, I've been hurt, you know,
I don't want to explore an depth. They just want to have, you
know, whatever I can you know, get or experience, you know,
without getting into all that other stuff. Well, you know, but people
are people are wanting more of thatstuff because people are no longer just wanting
(21:41):
you know, the action movies.They're also wanting, you know, movies
that have greater depth to them.And this is something that has changed in
Hollywood over the last twenty or soyears. You know. Sam Goldwyn of
MGM said, if I want tosend a message, I'll go the Western
Union, you know. But peoplewant to see a message because they want
(22:06):
to have they want to touch somethingdeeper. Yeah, and so that's you
know, basically what I'm working towardsis trying to get people to touch that
something deeper. Mm hmm. Yeah. Well it's the thing. Also in
your work, it seems that there'shope building to it, and that's something
(22:30):
that it seems that more and morepeople are looking for, yeah, in
their lives today that that Yeah,we have a lot of electronic connection.
You know, Hey, we allwalk around with one of these guys.
But uh I saw that the doctorWho's green saber. Yeah, okay,
(22:56):
I another Yeah, I'm a doctorwho geek. Yeah, it's right.
And oh wait and that really isn'ta shout out to Disney either, Sorry,
guys. Oh they bought Doctor Whonow from BBC. Yeah, Disney
(23:21):
wants to own everything, you know. That leads these is to to that
that mainstream corporate message. You knowthat they want us to be using all
the all of their stuff to connectAnd don't get me wrong, it's it's
it's really cool that I can talkto you and I'm with about fifteen hundred
(23:44):
miles north of where you are somethinglike that. Yeah, and I can
talk to you in real time.That is that is pretty cool. But
no, the technology is wonderful.But it also depends on what you put
the technology too. Yeah. Youknow, I'm not a fan of uh,
you know, video games, youknow, but the technology for video
(24:04):
games is like exploded, especially youknow now that they're using AI to h
further integrate the images. Yeah.Well I've I've watched my kids, well,
they while they're playing playing the game. It's it's like he had a
(24:26):
friend who was who was a longdistance uh, and they were and that
was how they would chat with Itwas actually through the game. Right.
Oh, in that respect only Okay, can I really say it's a it's
a bad thing if if there issome social interaction, but using that same
(24:49):
technology to promote the Oh, youhave to have this in order to be
happy. You have to be thisin order to be happy. You have
to have this size in in orderto be beautiful. Is that a good
thing to have? Well, Ithink that the you know, the cutting
(25:10):
point is when technology takes people awayfrom interacting on an interpersonal level. And
you know, yeah, it's greatto have you know, kids, you
know, interacting through a video game, but then they're not interacting through interpersonal
levels. They're interacting through the process. They're interacting through the game, which
is you know, most games areyou know, on the darker side,
(25:36):
because you know, that's what bringspeople in. Yeah, and that's you
know, that's part of what I'mtrying to that's part of what I'm trying
to do, is to take themedium and pull people through to a higher
level of content. Yeah, toto something that's more divine and more loving.
(26:02):
Right, you know, I justmy tagline for run nothing personally,
well, my tagline for dreams,desires and dead ends. My first collection
of short stories is with dreams anddesires. There are no dead ends,
you know. And the one withnothing personal is it's about romance dot dot
(26:26):
dot, it's about sex, dotdot dot, it's about politics, dot
dot dot, it's dot dot dotnothing personal. Right, So taking and
taking those subjects and you know,kind of elevating them and with shadows and
light. My latest one, youknow, it's basically, you know,
(26:48):
part of what I do with myartwork is that, you know, I
do night scenes. So, youknow, my mother and father when they
first came home the first art showthey been to, which was you know,
late in my career, you know, my mother said, you know,
I really like your work, butwhy are they so dark? And
I'm like, they're night scenes,mom, and she was like, I
(27:14):
understand that, but why are theyso dark? You know, but I
was focusing I'm using you know,if you're familiar with Charles Giro, you
know rim Brandt rim Brand isn't focusingon the dark. He's focusing on the
light and how light is popped inthe image by the darkness. We see
(27:36):
light in contrast to darkness. Youknow, we see light when we're not
necessarily seeing darkness all the time.You know, we see light. And
so my work is working to getpeople to see the light of the situation
that is at the heart of eachwork, because that's where the spiritual essence
(28:02):
lies. Yeah. Well, becauseI'm a big big fan of of of
night of the night sky and everything, but that is where our window to
the fourteen billion years of creation canbe seen, right, Yeah, I
(28:33):
mean, for me, the wholeidea that we're you know alone in this
vast vast vast vast vast vast vastfast universe is just you know, people
are like, oh, well,they haven't contacted us. It's like,
well, you know, Star Trekhas been in our lexicon for fifty years,
(28:55):
fifty five plus years now. ThePrime Director states that you do not
interact with species who are not ofsufficient technological advancement to be able to move
beyond their solar system. We arestill using you know, light that candle.
You know, we're still using lowerforms of technological advancement in order to
(29:18):
just even get to the moon oryou know, case of Voyager. We've
gotten to the edge of you know, the Solar system and beyond. But
that wasn't through the thrust capabilities ofa rock. If that was through you
know, that was through gravity andyou know, using that you know,
(29:40):
simple thrust in order to slingshot Voyagerinto the void. Right, but we're
still we're not even a class onecivilization. The Cardasshev scale, the Cardasshev
scale goes up to five or nowthey're you know saying even seven, you
know, based on on the advancementof the species, and so we're not
(30:03):
we're barely advanced, you know,into the age of flight. I wish
to remind you to limit the statementsto know more than three minutes, in
order to enable the Council to carryout his work expeditiously. Please show respect
to all the speakers on the list. Flashing lights on the colors of the
microphones will prompt speakers to bring theremarks after three minutes. You can always
(30:29):
submit your full statement to be placedin writing later, but please limit your
statements to three minutes. Thank you. I now give the floor to his
excellency mister Lewis Ertomaurilloa, minnesot ForeignAffairs of Columbia, Columbia lay so,
(30:59):
Celicia up by, it's I facedthe one of your languages. All right,
there we go. I don't knowthe you and YouTube channel kicked in.
I don't know why. Oh okay, yeah, so I just killed
(31:25):
the window. It's like get ridof it that way, okay, So
yeah, I mean, well,if we're gonna go back to Voyager for
a second rate, there was anepisode of Voyager where the sky ship got
because they were caught in a gravitationalpull Voyager and below the the planet below.
(31:57):
It went from stony to being ableto build a rocket before they even
started understanding that there was an actualspaceship sitting up there in the sky.
Well, we're somewhere. And andby time they actually were able to push
Voyager off away from their planet,they still could not basically go past their
(32:23):
own atmosphere because going to the goingto UH banned space travel for us has
never has never really exceeded going pastthe outer reaches of our own atmosphere,
because the Moon is still within ourwithin the gravitational pull of our planet.
Right, So, how can wesay that we're so technologically advanced that we
(32:51):
can exclude another life form even beingexisting in UH in our universe until we've
we've been able to to travel toa light speed or beyond, right,
Oh, I mean we placed theselimitations on ourselves. I mean, Einstein
(33:12):
said that we cannot travel beyond thespeed of light. But you know,
before quantum mechanics came along, youknow, we lived in a Newtonian mechanical
universe, so everything was you know, gears and mechanical. You know,
we we saw the universe in amechanical way, because that was the height
(33:34):
of our civilization at that point,and then quantum mechanics came along and you
know, basically exploded all of that. But we're still basically living, you
know, in a Newtonian universe whereyou know, our limitations are speaking.
We're not you know, transcending ourlimitations. Except in fiction. Yeah,
(33:57):
you know, in fiction. Youknow, Rodenberry had the idea well,
I mean, faster than light travelwas you know, around before Roddenberry.
But you know, the idea ofwarp travel, you know, I don't
that was theoretical at that point,but it was still you know, everything
was science fiction about it. Butyou know, we're almost to the point
(34:19):
where we are learning how to dowhat I call trans dimensional travel, you
know, which is going beyond thespeed of light because the speed of light
is a physical factor. But ifyou get into higher levels of dimensional space,
you know, we can take andcollapse that space, you know,
(34:44):
into an entry point and an exitpoint, which is based that warp travel
is, you know, except wehaven't found that yet. Yeah. There's
quite a number of science well sciencefact concepts that we did. The average
(35:08):
person still chalks up to science fictionsuch as time dilation multi dimensional time,
because who knows. The trick toto to a warp drive could be changing
(35:30):
changing the dimension of time so thatyou travel at a greater distance along a
different dimensional time. You know.But but to the average person that well,
no time has to go click clickclick. According to the Newtonian idea
of the arrow of time in thermodynamics, right, time flies like narrow
(35:54):
bananas exactly. Just we are aspecies is tied to our limitations, you
know, and fiction, especially sciencefiction, is taking us beyond those limitations
and expanding us, at least theoreticallyinto cardis Show one or Cardashow two,
(36:20):
you know, but we're still It'slike the number one mechanism and humans is
this thing called denial. You know, we deny that there can be UFOs
and higher intelligence because we don't haveit. It's like scientists are looking for
(36:42):
radio waves as a sign of life, but it's like any advanced species radio
waves is to us like we areto ants. You know, the whole
idea that you know, advanced specieswould have radio waves, no, and
radio waves only traveled very slowly,you know, so there could be you
(37:07):
know, a civilization that you know, has radio just outside of our you
know, extrasolar area and we justhaven't picked up on it yet. But
any species that has advanced enough inorder to be able to do multi dimensional
travel radio is not you know,hasn't been on the spectrum for ten million
(37:27):
years, very you know, veryeven a point. So we keep looking
for things that represent us. Well, we're still talking about the Wow signal,
right, and they still you know, they don't know what it is,
but it can't possibly be an advancedcivilization because I don't know. Yeah,
(37:52):
once again, denial is not ariver in Egypt. Denial is you
know, the basic motivation for alot of people. It's like, if
it's not trouble to us, wedeny its existence, Like the whole conservative
idea that you know, climate changedoesn't exist because according to their viewpoint,
evolution doesn't exist. So therefore,you know, there isn't anything that you
(38:14):
know, goes beyond simple Newtonian physics, right, and whether it's Simpletonian physics,
yeah, well yeah, that wouldbe that would be very true.
It is simply based on Newtonia physics. But there's there's a whole another series
of theories out there to be attributedto the idea of climate change, which
(38:40):
is I believe is completely completely true. But well, I'm not denying that
there are in such things as thesolar cycles. I'm just I'm saying that
basically, it's denial that we havenot created the situation, right, you
know, That's what I was.That's exactly it, right, Just briefly,
(39:05):
one of the one of the discussionsI had was with someone about it
was that it's possible because well,human beings have only been existing on this
planet for so many thousands of years, right, Well, what if in
so many thousands of years that arestar or the sun would if it hasn't
(39:30):
completed its orbit yet, and we'rein some place that no other living thing
has ever been in before. Youknow, it's you know, it's it's
that's that is also a possibility,and that also could be affecting what we're
what we're experiencing on our own planet. But that was that's out there kind
(39:52):
of a theory. Well, it'slike, you know, science has basically
come to the idea that there areone point seven billion galaxy and just the
known universe one point seven billion galaxies, and each one of those galaxies might
have ten million solar systems that arein it, and so it gets exponentially
(40:14):
beyond the you know, beyond thepale. To use our limited perspective as
means of showing that you know,this is possible. You know, just
Star Trek, you know show,I mean Star Trek, you know,
in the nineteen sixties, you know, was revelation, you know, the
(40:37):
idea that you know, we juststarted our journey to the Moon and all
of a sudden, this show isshowing us that, you know, we
can go to other star systems andother galaxies, and it's just and showing
it is just a part of everydaylife. Yeah, and you know Star
Trek basically exists on the card showscale of one maybe one zero point five.
(41:01):
Now, you know, Star Trekhas escaped the timeline that Roddenberry in
the nineteen sixties saw, you know, lost in space, you know,
the Robinson's left you know, planetedEarth to get lost in space in the
year nineteen ninety seven. So weare we're moving forward technologically, but you
(41:28):
know, our imaginations have advanced somuch more. And Einstein said, you
know, imagination is more important.That's not the right word. Imagination is
more powerful than you know science,you know, and without imagination, we
(41:49):
do not stretch the boundaries of science. I mean it used to be that,
you know, science believe that weonly had three dimensions. Then they
added time and added you know,a fourth dimension. Now science basically believes
that there are eleven dimensions, andthat's just our current understanding. Yeah,
(42:14):
humans only seen Yeah, yeah,it's based on some crystal crystal theory or
something like that. That right,the eleventh dimensions. Yeah, But going
back to Einstein's idea of of ofimagination and how it should be expanding,
(42:43):
I think I think somewhere along theline that we human beings have been,
especially Western human beings, we stifledthat imagination to a cogni wheel sort of
thing. Well, you know,as a creative. You know, my
parents and you know, hoped eveninto my twenties and thirties that I would,
you know, well grow up andfind a real job and find a
(43:08):
girl to settle down and have youknow, a family with. But I
was already I decided by the timeI was eighteen, the children were not
in my future. You know,my future was expanding even then. I
mean, back then I was anartist and an architect and the beginnings of
(43:29):
being a writer. And that wasbefore I got into everything else that have
gotten into Sins. Yeah, youknow, I one of the books that
I have laid out, but Ineed to go back and do the redo.
The illustrations for is a look bookthat basically traces my evolution from Star
(43:51):
Trek and Lost in Space through theidea of being an architect, through the
idea of being an architect of alternativedesign and using ultra technology that you know,
at the time was you know,very very primitive. It's still you
know, fairly primitive, and thendesigning buildings around that. Ye, And
so you know, I was dealingwith the idea of what are called megastructures
(44:16):
from the visionary ar visionary architect Palacellari, and then I was taking my eleventh
grade high school science fare project wastaking megastructures and putting them completely underground as
a means to be able to bothget the raw materials out without doing you
(44:38):
know, gouging the earth with thesemassive excavation pits and then filling it up
back up with city so that youknow, we could have as close to
one hundred percent usage of the landas possible. It was nineteen seventy three.
(44:58):
So you know, in some ways, you know, calling myself to
twenty first century to Vnshi seems likeit is being an egomaniac, being delusional.
But I want the work that I'mdoing to expand people's consciousness, to
(45:24):
expand, you know, the possibilitiesthat exist. My book Shadows and Light
is what I call Book one andwhat I call the secret History of the
World work. As I tagline it, it's the mother of all conspiracy theories.
It takes and pulls in all thedifferent quote unquote conspiracy theories like UFOs
(45:49):
and alternate history and pulls it intoa expanding the what if in people's minds.
So I'm trying to get people tobe much more expansive and how they
think about their world in which ina particular direction, No, in everything,
(46:19):
I mean, I started off withthe screenplays, you know, except
for Shadows of Light, you know, with personal interactions and people questioning what
they were brought up with. Youknow, another one of my screenplays books
is basically two people that she atthe present you know, at the opening
(46:42):
of the book is a police officerand then he who ends up being her
partner is an old hippie. Butthen throughout the course of the book you
find out that she used to bean old she used to be a hippie,
but and then she chose to becomea police officer like her father and
(47:02):
her brother. And he, eventhough he still holds these you know,
beliefs that you know, being anold hippie, is basically an alcoholic who
is you know, having struggling withwhat his life is like and it's not
what he originally thought it was goingto be like. So they come together
and they basically, during the courseof the book come together to meet and
(47:29):
then expand beyond what their original lifewas. So I don't I don't write
books just for entertainment. I don'twant to write movies just for entertainment.
You know, people have said,oh, why don't you just sell one
of your screenplays, and you know, you can say that, you know,
get a thousand dollars for it,say you know, are are a
(47:51):
produced you know, screenwriter, Andit's like, No, everything I write
basically has higher purpose and I donot want to sell a script to someone
who will take and strip out thathigher purpose and just make it just another
you know, Hollywood production. Yeah, I mean it's it's don't get me
(48:14):
wrong. It's cool to see seeyour work appear up on the screen.
But if the story that you wentout there isn't destroyed, that you isn't
destroyed that appears on that screen,it's kind of an empty victory, isn't
it. Well. I met awoman at a networking breakfast who sold her
(48:37):
for a script, not option.She sold her for a script for one
dollar, just so that she couldsay that, you know, she had
a you know, a film thatwas produced for her script. It was
like, well, did they everactually shoot it? Well, I don't
know. It's like, well,and you know, yeah, she sold
(48:59):
a script, but you sold herfor one dollar. So in Hollywood,
you know, that one dollar isnow her quote. So everyone else wants
to buy a script from her forlike a thousand dollars or you know,
ten thousand dollars, when if it'sreally a substance, she should be getting
you know, a lot more thanyou know, a thousand or ten thousand
(49:21):
dollars. But she already set herlimitation. Yes, she already said I'm
willing to work for nothing, Andas a result, everyone in the future
until she actually sold something that youknow would sell for much more. Okay,
but again, it's cold to sellit. That's what that's what you
want to do. But isn't itso much better to see it appear and
(49:49):
see and watch it change the livesand minds of of of the individuals around
you. Well, I'm not gonnaI'm I'm not going to say that my
scripts are going to be you know, one hundred percent you know how I
wrote them. You know, Iwould be one of those kinds of directors
that you know, would basically havepeople on script on book. Yeah,
(50:12):
and you know they might do improvfor part of it. But you know,
when it comes down to it,I'm the writer and they're the actor.
So the actor, basically, youknow, is going to do what
the director tells them to do fromthe script that was originally done. Is
it going to be exactly the samenote? But you know it's okay.
(50:35):
So you created one piece of artthat's the script, right, the director
is now producing his art, whichwould be the interpretation of his interpretation of
your script. Well, that's okay, as long as some of some of
a lot of the same ideas followthrough, right, you know, Well,
(50:58):
I mean I originally wrote my scriptsbased is a writer, producer,
director, and writing them for meto be the talent, be the male
lead, you know, and I'vegone beyond that. There are some of
my scripts that, you know,where I can still play the male lead,
but for the majority of them,you know, I've aged out of
those characters. But I still wantto produce and direct and have the basic
(51:23):
themes still in place or otherwise,you know, why buy my script and
then take it and change it?You know, my mentor when I first
came to Los Angeles thirty five thirtyback in nineteen ninety seven, you know,
they they were writing scripts that thengot optioned and never made. And
(51:45):
the one script that actually got optionedand ended up getting made, you know,
they basically went to the premiere andthey started like slumping further and further
down in their seats, trying tofigure out a way to get out of
the theater before they were acknowledged becausethe film was so not what they had
written that they wanted to disown it. They wanted to disown their part in
(52:08):
it. Yeah. I went tothe La Festival of Books at one point
and listened to a talk by oneof the big producers back in the nineteen
seventies. He had, you know, half a dozen shows on and he
said he went to see his first, you know, the first film created
from a script he'd written, andat the end he said, there was
(52:30):
only one line that you know,he recognized from his original script when that
was you know, I'll have rockswith that scotch. That's so pretty innocuous,
right, That was the only linehe recognized. Was that the case?
You know? Or was that agood you know, talking point.
I don't know. But the thingis is that, you know, producers
(52:52):
can hire someone to write a scriptand then they can craft it as much
as they want for whatever, youknow, however they want. But if
you're going to buy someone's script,you should at least you know, have
it, you know, similar tohow the screenwriter wrote it. Otherwise why
(53:12):
bother right, have someone else writeanother script? Yeah, And I have
heard of in some cases where thescript was bought and it may have been
produced, but they had somebody takethe script terror apart and then rewrite it.
Right. Yeah, it's called thepage one page one rewrite. Yeah,
(53:37):
you know. So they liked theconcept, but when it came down
to it, you know, theywanted to have I also met someone who
at one point who claimed that hewas writer twenty seven out of twenty eight
on the original Batman, you know, and that film was basically torn apart
(53:59):
by the critic because just it didn'thold together. So yeah, I mean
it's this is just part of theHollywood soup that we're in. Yeah.
You know, people will buy ascript and we'll have it rewritten and rewritten
and rewritten until the original script islike the barebone skeleton. At that point,
it's like, you know, whyhaven't why have you even bothered,
(54:22):
you know, buying the script,Just have have someone write, you know,
the script that you want. Youknow, this is uh, this
is part of the limitation of Hollywood. Yeah, and that's why, you
know, I have wanted to sellone of my scripts because I still am
hoping that I can create generate enoughmoney so that I can produce and direct
(54:50):
it and have at least the majorityof the story locked into the script,
not have a watered down you knowfor content, and not have it change
into something completely different and basically trashingthe original attendant content. Yeah, well
(55:12):
that kind of makes sense, youknow, especially since you're trying to produce
the work to create a higher energy, right, And that's why I'm doing
the adaptations. You know, Ifigured out several years ago that if I
can't get the money in order tobe able to script produced, yeah,
do the novel adaptations. You know, then you have chip properties. You
(55:32):
know, you have the novel,you also have the script. And then
if hopefully the novel starts selling,which you know, I haven't done all
the promotion and marketing I should have. When the novel starts selling, then
hopefully that will attract money to theproject. Yeah. So we should have
you back when you when you havethe the the novel ready ready for release
(55:57):
after it's been published, and we'llI mean I've already released two of them,
we will have you come back andwe'll talk. Let's talk specifically about
that particular novel. Yeah, Imean, both The Nothing Personal and Shadows
of the Light were released. Shadowsand the Light was the last one and
it was released on or Halloween lastyear. So yeah, so what what
(56:28):
kind of what kind of universe doyou think we could evolve if human beings
to be in imagination? Is thelimit? Limits? Not the speed of
light. Imagination is the limit.Imagination, if you open up to it,
(56:52):
can take you far, much fartherthan you could ever hope to imagine
your current life. You know,I believe that there are civilizations that are
so advanced that they have it's beencenturies or even tens of centuries since they
(57:12):
were at our level. Life isalways advancing, Life is always evolving.
We don't come into this world,you know, sprung from the head of
a god, you know, fullygrown. We come into this world barely
able to take care of ourselves,and we evolve and grow into hopefully people
(57:36):
that adults that can take care ofthemselves. Yeah, so hopefully humankind,
it is evolving to the point wherewe can take care of ourselves, not
continue trashing the planet, and notcontinue flinging ourselves towards the next ecological catastrophe,
(57:58):
the next stage of evolution where wedon't move beyond that evolution. Yeah,
imagination is the speed limit. Ilike that. Imagination is a speed
climent. Well, somebody wanted towork with you? Is the best way
to get hold of you? Okay, my All three of my books are
(58:22):
on Amazon. You can look themup under my uh my name. I
can also be reached at Robin attwenty first century Davenci dot com. And
I also have one eight hundred numberwhich is one eight three three three one
(58:43):
nine two thousand and three, soany of those can be uh can reach
me? Okay, be happy tofind other people to collaborate with and move
much further into to the dreams thatI've had for a while. Awesome,
(59:05):
Well, great talking to you,Thank you, Thank everybody for listening today.
And hey, if you want todive into one of Robin's scripts or
one of his books, read hisbooks, look in the in the show
notes and all of his contact andlinks will be right there, all right.
(59:27):
I can also put my LinkedIn orlink tree information and as a QR.
Okay, awesome, So thank everybodyfor listening today, and we'll talk
to you later. I don't know, so I wish you from a match.
(01:00:14):
So w that s this? Hesays, I'm reason said me back,
(01:00:37):
cho SHOs you can't tru wait,so will pass ye go to st
(01:01:30):
st stuff I know ms starts.The show has been produced by Depictions Media.
(01:02:08):
Please contact us at depictions dot mediafor more information.
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