Entertainment Industry & Realms of Narcissism, Girls and the Demon's Deal | Eric Hollerbach - Forbidden Knowledge News

Episode Transcript
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Speaker 1 (00:02):
I think it's just going to get weirder and weirder
and weirder, and finally it's going to be so weird
that people are going to have to talk about how
weird it is. Eventually people are going to say, what
the hell is going on? It's not enough to say
it's nuts. You have to explain why it's so nuts.

(00:23):
The invention of artificial life, the cloning of human beings,
possible contact with extraterrestrials, the systems which are in place
to keep the world saying are in utterly inadequate to
the forces that have been unleashed.

Speaker 2 (00:46):
Welcome back to Forbidden Knowledge News. I'm your host Chris Matthew.
Today my guest is Eric Hollerbach. Be sure and check
out my film's Doors of Perception is on Amazon Prime.
I Call Louisiana is on to be Roku, Apple and
many more booking guests for January. If you have suggestions
or maybe you'd like to be a guest, email me
Forbidden Knowledgenews at gmail dot com. Today, I want to

(01:09):
welcome Eric Hollerbach. He is a comedian, screenwriter, podcaster, and author. Eric. Welcome,
how you.

Speaker 3 (01:16):
Doing, Hey, Thanks Chris, Thanks for having me. What a
beautiful intro you've produced.

Speaker 2 (01:22):
Well, thanks so much for coming on. Looking forward to this.
In my perspective, what you do blending conspiracy and comedy
is essential right now. Unfortunately, much of conspiracy culture seems
to have become a parody of itself. The state of
entertainment is in an odd period of collapse and rebirth.

(01:43):
Is gone from the traditional Hollywood gatekeeping to what appears
to be a slow death of that old system giving
way to more independent artists and creators. It's an exciting time,
but I'm really looking forward to hearing more about your
journey through the murky entertainment waters. You also have a
book out, Girls and the Demon's Deal, which is kind

(02:04):
of a memoir based on some wild experiences. We'll get
into that a bit, but this is your first time
on tell us a little bit more about yourself and
let the audience know how they can find out more.

Speaker 3 (02:18):
Well. I have a really good website which is just
my name, Eric Hollerbach dot com. There I've posted my
stand up specials for free, all my podcast appearances I've done,
I have a lot of web series. I have a
lot of free work on there. But if you'd like
to go over there and buy my book, I'd really

(02:39):
appreciate it. That's what I'm here to talk about today.
But yeah, I've had a very long comedy journey.

Speaker 2 (02:47):
You know.

Speaker 3 (02:47):
When I was sixteen, I started going to New York City.
I'm from New Jersey, and a lot of the places
would let you perform five minutes if you brought like
four people. So I would like fill up my mom's
minivan with my friends from high school and drive over
and maybe like twelve times. I performed at the Comedy

(03:09):
Cellar back in like two thousand and two and three
at their open mic. Then I took a comedy class
at Gotham Comedy Club taught by Dan Vitali, who was
an SNL alumni who did one season in nineteen eighty
five until he snorted every one of his paychecks and
kind of fell out. But he was a really good

(03:33):
teacher and a really honest guy. And then I saw
my first show at the Upright Citizens Brigade around two
thousand and three. And then I went to Temple University
my freshman year in Philadelphia, and I would take the
Chinatown bus once a week to take classes at the
Upright Citizens Brigade because I was a big like look

(03:54):
at me kind of dumb dumb and that was what
I was. Even during my you know, my fourteenth fifteenth birthday,
I would play whose line is it anyway in my
basement and put on shows for my friends. So I
was always like really adept at comedy from a young age.
It was like and I thought that there was gonna

(04:16):
be some kind of like meriti cretic ladder to climb, like, oh,
I could be an electrician plumber, or I could be,
you know, a comedian. And it is a Dana Vipers.
It is a dystopian hellscape anyway. And I've had a
lot of friends die from substance abuse, from suicide, my

(04:40):
friend Nick Roche, my friend John Roe. We're all dropping
like flies thinking that you know, it's actually a career.
You know, it's more of like opportunities that you can
make for yourself and if your house fore closes, like
go fuck your mother. You know, like it's not a
real thing. So I know you you produced a movie

(05:02):
a cult Louisiana that I saw and I bought it
for just the price of a cup of coffee and
enjoyed that. But yeah, you know, it's it's not the same,
you know. I also think it's like very very driven
by technology.

Speaker 2 (05:20):
You know.

Speaker 3 (05:20):
The first films were like Nickelodeon's. You would see in
like carneie, like you would put like a nickel in
like a you can either go to the nudie booth.
You could see and see a sexy burlesque dancer. You
can put the same quarter and see some kind of
mongoloid freak, you know, and the curtain would open and
you would see like a two headed freak, or you

(05:42):
would put a quarter in and you would just see
like a ball bounce over some index cards. And that
was the first movie. And then it you know, they
started making movie theaters, which sort of replaced Shakespearean tradition
of plays, which then you know, iterations thereof. And you know,

(06:03):
once you're able to download things, put them on USB
drives and pirate things. You know, it's a you know,
now everyone's just stealing everyone's content on the torrent network
and this and that, and then you know what what
does cost you know, a million dollars to get a
bunch of actors together, feed them three meals a day.

(06:25):
You know, the camera guys, the director everybody for two
months to actually film something good. You know. Now it
can just be stolen online with a couple of clicks.
So it is a really scary time. And uh, you know,
essential worker who knew that the plumbers and electricians wouldn't

(06:45):
inherit the earth because everyone's a YouTuber, you know. Now
they can charge a million dollars a second. You know,
so nobody has those skills anymore.

Speaker 2 (06:56):
Man, Well, let's talk a little bit about your journey,
starting with your college days. You went to New Orleans University.
I grew up in Louisiana. I'd be interested to hear
a little bit about what your experience there was. Like.

Speaker 3 (07:15):
Yeah, so I went to Eugene Line College. So I
went to Temple for my freshman year of undergrad Then
I transferred to Eugene Line College. I got my degree
in creative writing while I was performing with the Upright
Citizens Brigade all the time. Then I moved to LA
and I worked on reality shows for five years. I
got fired from a reality show. I was totally lost,

(07:36):
and so I applied to the University of New Orleans
because they have a really good MFA and screenwriting track.
So I thought well, if I, you know, while this
shape shifting chimera, you know, jest states into a new
beautiful butterfly. I'm going to incubate myself for three years
in college. And you know, so I went to the

(07:59):
University nor Orleans and I was just basically doing stand
up with black people every night while I was getting
student loans. So that was a fun time. But yeah,
a lot of that's in my book. I had a
roommate from Dubai called Mohammed, and I watched him go
from a little sheltered Arab boy who would only speak

(08:21):
Arabic with our guy Amr, our other roommate a mirror.
He would come over and and but my Mohammed learned
English by watching all seven American pie movies. I didn't
even know there were seven American pie movies. So like
when he kind of came out of a shell, he

(08:42):
was like his whole personality was like, Eric, you don't understand,
We're all going to get lid, you know. So that
was like, so I was very enthralled by his boyish exuberants,
and he always had piles of cash from the Dubai government,
so I was always he was always chasing girls around
and getting into getting into amusing scrapes. So the middle

(09:05):
part of the book is all about him. It's really funny.

Speaker 2 (09:08):
What was it like for you when you first started
Upright Citizens Brigade and then eventually started working on TV shows?
How did you get your foot in the door there? Yeah, so.

Speaker 3 (09:24):
Interesting story. So the New School had a really good
intern program, so I was through the New School. I
was an intern at Comedy Central. Then I spent a
summer at this documentary house called American Montage. So all
the time every summer I interned for a production company

(09:49):
something like this. And then also the other attack vector
was I was taking Upright Citizens Brigade class and a
lot of MTV producers were in Upright Citizens Brigade class too,
because MTV was paying for them to go and learn
this other skill. And so I met this group, this

(10:13):
MTV promo producer who's still my friend, and we started
like a little film collective. And then I was every
now and then he hired me as an actor. I
was on this thing called a with One Republic, the
band called One Republic. They had this whole documentary kind

(10:34):
of style, and I was just hired as an actor
for it to promote that band on like little promotional spots.
And so when I moved to Los Angeles in February
two thousand and nine, I started working on Shark Tank
and Amazing Race, and just because my resume, I just
blasted it everywhere. And then I kind of had a

(10:54):
five year career working on reality shows. But it, you know,
because so I was. I worked on fifty Cent, The
Money and the Power, making the band with Puff Daddy
No No Baby Oil, and then also Guido Beach which

(11:16):
turned into The Jersey Shore. So I worked on three
things in New York in the like in the summer
in my last my senior year at the New School.
So I had a good amount of production experience. So
when I moved to LA I kind of hit the
ground running. But you know, you're working on a reality
show and then they're like, okay, you know, I was
working on the show called If I Can Dream. I

(11:38):
started in October twenty ten. They said okay, we're going
to go till October twenty eleven, and then March twenty
eleven they're like, everyone's fired immediately, and so it was
always like, wait a minute, what we didn't get two
weeks notice, so you're always like working on a show,
it gains greenlit, there's a new oh you know that

(12:01):
that whole company has bought or their contract. Someone else
comes into TBS and they erase all the previous producers
projects and you know, like what. It was always just
like what? So, yeah, it was very difficult to sustain,
you know, and people don't understand that. When you're a

(12:23):
production company, it's like two producers and a secretary that
will rent an office in New York City or Los Angeles.
You'll rent there's three full time employees. They'll go around
to all the networks pitching a TV show. When you
greenlight a TV show, they'll hire sixty seventy people. So
it was always in that ballooning of hiring that you

(12:44):
try to throw your resume in and get in. So
I was able to like get these four months along
gigs working on different TV shows, but then when the
season would wrap, you're you're out on your butt again.
So you're trying to find these these shows that are
being green light. And my friend that I worked on
Short Tank Season one with, he's been three months on,

(13:05):
three months off, three months on, three months off. Ever
since twenty twelve when I worked on season one, but
season two didn't shoot until eighteen months later, so I
can't wait around for a phone call for eighteen months.
So I was on something else when season two came around.
So you know, a lot of it's luck, a lot
of it's who you know. And you know, I was

(13:27):
telling Charlie Robinson on Macroaggressions that you know, the show
Wings was like a three person production company. They sell
Wings to CBS, they have a great five year run,
they're high on their hog. They don't work again for
twelve years until they put money together for the movie Sideways,
which was a hugely successful movie. But they were like,

(13:48):
we can't make the rent on on our little office
production company unless we sell another show. So they got desperate.
They raised money and they put that together and it
was successful. For that, that's like a rare that's a
success story. You know a lot of times people will
make one movie and ever again.

Speaker 2 (14:09):
So you obviously have deeper levels of understanding of the
corruption and conspiracy in our realm. And as you know,
as your journey goes along, there's more and more layers
to peel through, deeper understandings, more corruption. How did your
journey of awareness go? When did you start to become

(14:30):
aware of just how fucked everything was?

Speaker 3 (14:36):
Well, my dad was almost killed in nine to eleven.
He was working at a company called world Co. A
dystopian I think even the kids in the Hall that
comedy show that Evil Corporation was like world Core. But
world Co was a stock trading, financial hedge fun type

(14:56):
of thing, and they didn't have a human resources guy.
So my dad came in, he made an employee handbook,
he worked for them, and then nine to eleven happened,
and they almost killed him. And I bought the original
you know thing hook line and Sinker, and you know,
it's very traumatic. I didn't know if he was alive
or dead for twenty four hours because the phones all

(15:20):
went dead at the basement of the twin Towers was
like a big communication hub where all like the literal
lines of telephones connect in the basement of the trade center.
So phones didn't work for twenty four hours. And finally
he called us from a payphone next to a hotel

(15:42):
without electricity or running water that he was staying in
that he paid cash for. Yeah. No, And then I'm like, oh,
he's alive and then I'll never forget. I was in
my dorm at Temple University and I saw doctor Steven
Joe on Google Video do a presentation on the collapse

(16:06):
of Building seven, and it was terrifying the implications that
doctor Stephen Jones uh was saying, because he's like, no,
we found military grade thermite in the dust. And it's
even like a known explosive that would blow up a tower.

(16:30):
Like if you were like a construction company, a demo company,
what you would get off the shelf. Doctor Jones is like,
we tested this. This is three times more reactive then
known nano thermite. And he's like, I exploded in in
a calorimeter. I'm actually doing the test, and just I

(16:50):
just had these waves of like, what the actual fuck?
So you kill so America killed Americans to go kill
other people in other countries. And they forced me to
read what was that Catch twenty two? They forced me
to read George Orwell in high school to push it

(17:11):
in my face of hey, Dommy, we're going to do
this to you and if you let us, you're it's
good karma for us. So there was a lot of
movies also that woke me up like the movie Sicko
by Michael Moore about how the less healthcare healthcare insurance
companies give you, the more profits they make on Wall Street.

(17:34):
So if you buy stock in Etna, which is an
insurance company, then you'll get profits when they give less
healthcare to their customers. The film Death and Gaza I
saw in Eugene Line College, where this guy James Miller

(17:58):
visits the Israelis villains, visits the Palestinians, and it was
pretty clear that there was an apartheid genocide going on.
And so when the latest genocide happened recently between Israel
and Palestine, you cannot fool me. The Fog of War

(18:19):
where Robert McNamara a two thousand and three documentary The
Fog of War, Robert McNamara emits on camera that he
made up the Gulf of Tonkin. It was all fake.
They also go in in that movie how the Rand
Corporation would hyper focus on like one thing that the
Vietnamese would do to retaliate. So France was in there.

(18:42):
The Rothschilds ordered French soldiers to go beat up the
stupid Vietnamese because they weren't making enough profits on their
business interest there. But you know, French people are a
bunch of pussy's, and you know they one of them
got a hangnail, and so then and then another one
got malaria. So they all quit and they left there.

(19:06):
And so the Illuminati sent in America. They drafted Americans
in there to go beat up the Vietnamese. And the
way they got the impetus to do this as the
Rand Corporation would go through all the provocations of all
the different soldiers going in there to secure their business interests,

(19:28):
and then anytime the Vietnamese would retaliate in self defense,
they would clutch their pearls and go, oh, well they
killed in America. They threw a rocket an American when
they have AK forty sevens and rocket launchers and all
this stuff. So they would hyper they would get pr
agents to go through all of the provocations with never

(19:49):
asking the question why in the fuck are the Americans there?
Why in the fuck are the French there? If the
Vietnam is filled with Vietnamese, I'm not nobody's asking questions,
why are the Americans there? Well, they're shooting people and
beating up people to secure the business interests of the
Rothschild family. So when October seventh happens and it was

(20:14):
a you know, a bb Netanyahu directed false flag, so
then he can clutch his pearls so that he can
commit a genocide. Just watch the movie Death and Gaza.
It's pretty clear they use the same pr firm. Two.
This is also how narcissism works, Chris, I'm sorry I'm
talking too much, but you know, have you ever had

(20:36):
a friend where you do a lot of things for
this friend and then they do a little thing for you,
and then they're so dramatic over the one thing. It
could be a romantic partner, you know, you take this
a romantic partner out to dinner twenty times, and then
like the one time they drive you somewhere, they're like, well,
I drove you to that thing.

Speaker 2 (20:58):
You know.

Speaker 3 (20:58):
It's like I don't want to go tit for tat here.
But it's not even close the balance in this, you know.
And so just like any narcissists, the aggrievements against them
in a war situation, they hype up and they pitched
to the American people with the all the greatest psychiatrists
in the world to do's propaganda, war propaganda to get

(21:22):
the fake thing I didn't know in two thousand and
five when I watched doctor Stephen Jones explain nine to
eleven the lengths that they would go to, they would
kill twenty seven hundred Americans and pitch it to on
Osama bin Land when he was a CIAS set best
friends with Donald Rumsfell. I didn't know they would go

(21:45):
that far. And then I met you know, and so
then I got obsessed with this topic. So then I
read Kathy O'Brien's book Transformation of America. I read it
in two thousand and six. After that, I read WILLIAMS.
Neblin's book Masonry Behind the Light. Then I became obsessed
with Bill Cooper and I read Behold a Pale Horse.

(22:08):
And then I listened to Mystery Babylon and The Hour
of the Time when I found out that he exposed
nine to eleven back the day after it happened. So
I became obsessed with Bill Cooper because that guy's onto something.
So then I went back on the internet archives and
he had a radio show that's all archive there. Thank god,

(22:28):
he had some good people around him that the early
adopters of the Internet that put Mystery Babylon in the
Hour of time out there, and then you know, when
I rise to this vibration, you know, I meet Brett Smith,
who made this documentary hypothesis about doctor Steven Jones getting

(22:48):
fired from BYU. I put that on Facebook recently, but
I know Brett Smith personally. He was in Utah a
film student, a freshman film student, and the Immunity College
next to BUYU, and he starts making this thing right
as doctor Stephen Jones is getting fired for putting particles

(23:10):
in an electronic microscope and then coming to conclusions that
are obvious that only now it's safe to you know,
twenty years after everyone in nine to eleven is dead.
Then they're like, okay, yeah we did do that whatever.
You know, they're always rolling around, well kay, you caught us. No, no, no,
we caught you back then, and we had trials. But

(23:30):
the judicial system is run by the Rachaw family. So
you know, when when you race to this vibration, you know,
I met Sam Tripley back in twenty thirteen, basically because
he was a comedian Rick Shapiro's recovery sponsor, and so
I kind of always saw what Sam Tripley was up to,
and I think he was you know, a big look

(23:53):
at me, dumb, dumb, Like I was trying to fill
a hole in his soul with the getting at relation
from comedy. But when he stumbled onto the same things
I'm talking about nine to eleven and this and that,
then it's like, okay, okay, this is too important not
to try to make this topic digestible, because you know,

(24:17):
in two thousand and five, I was traveling on a
bus two and a half hours to New York City
to train improv and there were some bus rides after
I learned about nine to eleven where I was like
crying because I'm like, nothing, what the fuck is the
point of this? We have to go kill Larry Silverson.
We have to go kill these There's no point to

(24:40):
comedy to pacify the laziness of the sheep if we're
not doing a call to action that they're killing us
to kill more people to steal their oil, like and
they're just We're just their beast of burden.

Speaker 2 (24:55):
You know, how did you navigate Hollywood and the entertainment
business while becoming aware of some of this stuff. I
heard you tell the story on macroaggressions. I don't remember
the producer's name that had little twelve year old boys
as ornaments in the pool. But hearing things like that,

(25:15):
how often did that come out? And you hear things
like that, and how did you navigate?

Speaker 3 (25:23):
So I was working on If I Can Dream, which
is in the penthouse of nine thousand Sunset nineteen Entertainment,
and the head producer there said he heard that Brian Singer.
Brian Singer directed x Men. Look at Brian Singer's IMDb

(25:48):
he directed x Men.

Speaker 2 (25:50):
You know.

Speaker 3 (25:53):
X Men is like you can make a superperson if
you just traumatize them enough. You know, I have a
diddle kid party. So yeah, and it was a crazy
production there, and I was so sleep deprived that I

(26:13):
was like, what, it didn't make sense. So I just
said so he said, yeah, I heard about Brian Singer's party.
You know he had little twelve year old naked boys
for an ornament. Anyway, let's work on this seed. And
so then I said, so, you know the cops are
going to go in and swat the house and shoot
all the kiddie fiddlers. And he was like, I don't

(26:34):
think that's how it works. And then we kept working
and then my next paycheck was like three paychecks. Yeah,
but I'm such an honest, little Catholic boy that I
thought it would be exposed. So I should have just
shut the fuck up and kept getting those checks because
that production was supposed to last a year and it

(26:55):
only lasted a couple more months. And boy, I could
have really used that money to puld myself off for
the next show that I was working on, because it
was probably a couple months and when I was out
on my ass from that show, that I could get
on another TV show to work on you, Right, So

(27:16):
I was really only making like paycheck to paycheck wages
and that would have really helped me. But I was like,
you know, I think there's been a mistake, and I
didn't want to like owe money like Millie Vanilli later
where they're like, oh, we accidentally overpaid you, you know,
So I didn't want to like them to sue me
for but I think they were really like testing me,

(27:38):
like will he keep a secret? Will he shut up?
Like will we But I didn't want them to put
me in a situation where then I was over my
skis and I owed them, you know what I mean.
So I didn't think anything of it. I was just
like oh, there's been a mistake. And then they had
me like at first they were like, Okay, we'll go
to the ATM and give us the cash back, and

(27:58):
I was like, no, I'll give you a back minus
taxes back. So there was just kind of it was
a little shady, yeah.

Speaker 2 (28:09):
Experience anything else that would indicate that there was some
extremely debaucherous, messed up pedophilia stuff going on around you.

Speaker 3 (28:23):
No, I just kind of noticed that, Like, it wasn't
a meritocracy. It was. I always thought that comedy was
a skill to be learned, not a club to join.
And the more I kind of got through comedy, the

(28:45):
more I realized like it was more of a club
to be joined. It was more of a who you
know type of thing, because you would go out to
you know, open mics and this and that, and people
were like hilarious, but then they would be overrun because
so and so knows so and so, and then you know, yeah,

(29:07):
it was just kind of like to be one of
the three people in the production office to go around
to pitch to the networks, if you had some occult degrees,
if you were in some kind of secret societies, it's
pretty obvious that you would your pitches would go through more.
I mean, look at Stephen Colbert, thirty third degree Mason.
Look at and this. This kills me to say it,

(29:30):
but it's just true. Conan O'Brien is a free Mason.
It's just what he is. It's these are just facts.
So when you see these kind of and Conna, Stephen
Colbert sucks. I mean, he's terrible, and you know he's
best friends with the Podesta family, but he's the funniest person.

(29:51):
But like, I met so many people in the Upright
Citizens Brigade who had this who were just so fucking funny,
and they never climbed the letter. There was like a
ceiling for them. And you know, you.

Speaker 2 (30:08):
Think it's most likely true that in order to get
to some of those levels you have to be compromise
in a pretty major way.

Speaker 3 (30:19):
Yeah, I think that makes sense. I think there is
obviously a club, you know, and as you know, if
you're an emperor with a lot of cash and then
there is a disturbance, there is a disruption to your industry.

(30:42):
So let's say everyone instead of paying Comcast one hundred
and ten dollars a month for your cable bill, that's
too expensive. Everyone cuts their cable cord so that they
can afford a thirty dollars a month Internet bill and
then uh, you know, twenty dollars a month Hulu or

(31:04):
Netflix or Paramount Plus or ESPN Plus deal. Now you
see Paramount the parent company of Comedy Central, MTV. They're
all pulling their boats in and now Paramount Plus is
the new Comedy Central and MTV and MTV acquired Vice Magazine.

(31:25):
They all went down like the Titanic. Like it is.
There are these dynasties that are just being crashing against icebergs,
and you see the Little Boys Network emerge, uh where
Paramount Plus is pulling pulling their boats in as they
you know, they acquired the UFC and they're they're pulling

(31:46):
their boats in to to you know, save themselves from
the chaos of the the changing media landscape.

Speaker 2 (31:58):
So it is very interesting to see how everything is
unfolding right now, especially after COVID. It would appear from
an outsider looking in that Hollywood is in a slow
death state. But could it be that it's just transitioning
into digital algorithmic beast that is going to still be

(32:22):
there and still gatekeep in certain ways but it's going
to use AI and algorithms, and it's going to eventually
creep in to some of these other platforms that are
allowing the independent content creators to do some of this
right now. But do you see it that way that
it's just a transition or is it really crumbling in

(32:44):
doing a death roll?

Speaker 3 (32:49):
Yeah, you know, I have a family member who works
in advertising and they're really good at, you know, counting
how many clicks someone clicked on an advertisement versus their
by rate versus. So there is this like algorithmic thinking
that that the use the useless eaters are just click
and consumer monkeys, you know. But when it comes to art,

(33:14):
I just remember seeing the Shashank Redemption on VHS when
I was fifteen years old. I knew nothing of the
Shashank Redemption. I didn't and I saw that movie from
start to finish and it absolutely blew me away. And
there's no algorithm, there's no spreadsheet, there's no for original art.
You can't just use a large language model with AI

(33:39):
actors to recreate that magic. So I think that there's
a real naivety to the people like Klaus Schwab and
the digital the people constructing a digital prison for us,
because they're not funny, they don't have love in their heart,

(34:01):
they're not creative, they're not artists. They just see humans
as eating, shitting, consuming monkeys that they are the Lord's
over and their naivete is just fascinating. So you know,
it just can't work. They're at algorithm when it might

(34:24):
work in by rates of this or that, but when
it comes to like good movies and good content, it's
just it will never work. But they're trying.

Speaker 2 (34:32):
So let's talk a little bit about your book, Girls
in the Demon's Deal. What brought you to write this?

Speaker 3 (34:41):
Well, I think a lot of frustration out there of
trying to be an artist, like we've been talking about,
you know, the original thing and I told Charlie Robinson this,
but I always get it was Colin Ferrell. So I'm
at the New School and they put in a tape

(35:02):
of like how to be an actor? And Colin Ferrell
is there and he goes.

Speaker 4 (35:09):
I was working in a sewer and then I did
like four movies and then I was in like Gladia,
And it's like, what that's how to be an actor?

Speaker 3 (35:20):
To be You're just the dumbest person in the world
and someone hands you the keys to the kingdom and
that's how you be an actor. Like it was so asinine,
and you like the scientifically worst advice possible. Yeah, I'm
gonna go in a sewer and then be an actor

(35:41):
being five movies. What the hell are you talking about?
And so I always hated people that were like, well,
I never wanted to be an actor. I never wanted
to be a comedian. Everyone just pushed me into it.
So this humble brag, douchebag fuck boy nonsense of like, well,
I was just so that people push me into it. No,

(36:02):
I wanted to be it because it was the only
thing I was fucking good at. So I pursued it.
I pursued this relentlessly, despite you know, stepping on land mines.
And I think it's a more and putting effort into
things I don't think is a lame. I think it's

(36:22):
it's a it's a very spiritual path. And so I
try to write a book where it's like okay, And
you know, a lot of kids every year they send
more kids to Juilliard to learn how to be actors.
They send kids to you and O to be screenwriters.
Maybe I'm the best screenwriter in the world. But if

(36:44):
no one may know, if I never get tapped on
the shoulder while I'm working in a sewer, So you know,
I just wanted to put out a pretty a relentlessly
honest view of what it takes. And so it was
kind of my response to the worst advice I've ever

(37:04):
been given.

Speaker 2 (37:05):
Right, You worked with Brandon Thomas to publish his book
Our Good Friend.

Speaker 3 (37:10):
Yeah. Uh, he was kind of a joy. Our personalities
are very different. He is a relentless optimist and I
am a grumpy bumpkin. And so I originally, you know,
submitted like fifty one chapters and then we edit them
and we got through the process and we got the

(37:33):
coverment art done, and so then I started like recording
the fifty one chapters for the audiobook, and I get
a call and he goes, oh, we gotta we gotta
cut all these chapters, and I was like what. And
the project almost completely fell apart because I didn't want to.
It felt like he was like cutting my baby in half,

(37:55):
like I birthed this baby out of my creativity boom.
And then his wife got on the phone and she's like, well,
you have all these chapters about your personal life, and
then all these chapters are like essays about show business.
It's like two books. And then I was like, let
me call you tomorrow, and I slept on it and
I was like, yeah, you're right.

Speaker 2 (38:16):
You know.

Speaker 3 (38:17):
I have a chapter called the Rise and Fall of
the UCB Theater that ended up on the cutting room floor.
Another chapter called Band from High Ho. When I was working,
I was a comedian in New Orleans and there was
a club called the High Ho that banned me. So

(38:40):
there was kind of like, They're like, this is more
of a book that's like scorched Earth, Like Eric's like
revenge naming names of all the petty losers, and it
kind of takes away from the heartfulness of Girls on
the Demon Steal. So this is like more it's like
really like sentimental and heartful memoir and me sort of

(39:06):
getting revenge in my sort of petty battles with coke
d losers was taking away from the heart of the memoir.
So they were like, let's get them to like you
in this book, and then you can use that social
capital to go scorch Earth in the second book.

Speaker 2 (39:24):
So you will be working on a second book to
put that other information.

Speaker 3 (39:28):
In, I think. So I think that's the plan as
of now. I mean I just finished, not only did
I you know, record the audiobook, but then you know,
sometimes I burp or fired or misread something, so I
had to go back and trim it down really precisely.
And then we have a guy who's putting a musical

(39:51):
score to it called Tom stark Weather and so he's
about halfway through putting a music score to it. So
the audiobook is going to be like really epic. So
I'm really happy with that how that asset's coming along.
But when that's done, I'm going to take a nice
break and I'm but I'm slowly putting I'm slowly kind

(40:14):
of re formatting the second book and having a look,
and it's very difficult, Like if people have read this one,
then it's like maybe I can start in the middle.
So I'm still trying to work with and some of
them are just essays, like I talk about Louis Cyk's
pig Newton.

Speaker 2 (40:32):
Yeah, I was going to ask you maybe you could
give us a little preview snippets of some of the
scorched earth that you're going to be unleashing.

Speaker 3 (40:43):
Well, let's start with just a let's talk about show business,
because I really was. You know, I think a lot
of people look at Luisy Ka as a mentor for
a lot of comedians because he's so successful. And what
he would do is he would put one one special
line HBO. Then the next special, he would use that money,

(41:04):
hire the same crew and put another comedy special on
his own website, charge five dollars. Then his next one
would be HBO again, Then the next one would be
Comedy Central. Then the next one would be his own website,
then the next one would be Hulu, then the next
one would be his own website. And he pumped the
mainstream audience in inward to leuisyk dot com five dollars

(41:30):
per download. And then from twenty years ago, he asked
two lovely ladies if he could masturbate in front of
them and they said yes, and then he did. And
now every mainstream article is sex offender Lewis c K

(41:50):
because they can't fucking control him. So when you read
a mainstream market disgraced sex offender, hey ma'am, can I
be in front of you? Yes you can. He was
not an Epstein's fucking Island dude, okay, sex offender Lewis
e k Right. So when you go, oh wow, like

(42:10):
they can't control this guy, they can. He's not making
money for them anymore and sending it back to whatever
country they have dual citizenship, who knows, but you know
what I'm saying. So they looking at things like that
I think are really useful to get a real good eye.
But then there's also like way, way, way pettier things

(42:32):
where you know, people coming off drugs are doing stand
up comedy, and then you know there's like, you know,
people on the let's say there's thirty people on the
list and a drug addict does like forty five minutes
because they don't give a shit that there's forty people
waiting to do three minutes. Because narcissism. So there's a

(42:52):
lot of things like that that I saw where I
will name names and go like I don't care if
this person is hit by a bus, like I'm and
I'm very serious about that. Like when you think that
your soul, you know, when whenever there's a flight log
that'll say sixty souls on this plane, because they know
those are those are live human So when when you're

(43:13):
on a list a stand up lineup, and there's sixty
souls on the list, and you are better than all
those people and you don't give a fuck about them.
I don't know. I think you should die in a
car crash or something like that. So I talk about
this and I'm there, I got names, dates, everything, and
Brandon's like, man, this makes you look a little petty.

(43:35):
I was like, hell, yeah, I am. You have no idea.
You have no idea doing this for twenty years and
seeing what I've seen, you have no idea, because it's
like can we all play? Like can we have honor
among Steve's.

Speaker 2 (43:49):
You know, I always enjoy hearing perspectives about the nature
of reality where you're at on your spiritual path, if
at all. Many people since twenty twenty have been trying
to figure out the nature of reality. A lot of
people before that, but there was a major shift where

(44:10):
people started questioning a lot of shit after twenty twenty.
Once you get past the surface level corruption and conspiracy
and you start to get to some of the deeper
levels that are extremely strange and enter the occult and
metaphysics and satanic rituals, that's when it gets difficult for people.

(44:33):
Many people seem to be falling into this kind of
gnostic understanding that we're in a prison planet and there's
nothing to look forward to, because the afterlife is just
a meeting with arkons that pose as your grandmother and
then sends you right back to be recycled and do
it all over again. To me, that's a very dark,

(44:54):
bleak perspective about what the hell we're doing here.

Speaker 3 (44:58):
But what do you think, oh, just the meaning of life?
That's an easy question. I think there's a lot of tyranny.
Tyranny needs compliance and you know, do you know what

(45:22):
kind of magical powers you have to be for your
face to be printed on something that says twenty pounds
and then you work an hour slaving away for a
picture of the Queen or the King of England like that.
You have to have a lot of accult pooha so

(45:44):
that a printed on a piece of fricken napkin is
worth your weight in labor. And so everything is this
sort of compliance ritual, and tyranny needs compliance. And there's
a word called state craft, like witchcraft. State Craft is

(46:06):
the dance of coercing tyrannical compliance from a population. But
I you know sort of remember when Princess Diana died.
My mother was weeping, and it was nineteen ninety seven
and I was twelve years old, and I was kind

(46:28):
of like, you've never met this lady, you know the
But I think everyone in America was really appreciative of
Princess Diana because she was the first behind the castle
person who had an assemblance of a soul. And I
think it's pretty obvious that her husband, King Charles murdered

(46:50):
her because she did a BBC interview where she said,
my marriage was a bit crowded with Cabilla around, and
then she started dating the Muslim man, mister Fayette, and
then she was murdered. And I think it's obvious and
the state craft of keeping the monarchy intact as these

(47:15):
the most entitled, retarded people possible, where the word entitlement
is your name is, you're you're born into a position
of higher authority than anyone else, when you've not worked
ever at anything. And so when they get away with it,

(47:35):
and then the British people are so brainwashed and enamored
by their position in society that they don't go behead
the King Charles or Prince Charles at the time. But
what did happen was it kind of fractured the public trust.
And then later on, I think the public was a

(47:56):
little quicker to go after Prince Andrew when he was
associated with Jeffrey Epstein. He's been officially kicked out of
the castle. He's been officially kicked out because they can't
he can't rule over them and make the state taxpayers
pay with his mom's face on them slave tokens. To

(48:19):
have him go to Epstein's island. It was a little
bit too much. I mean, King Charles had coerced the
population to have him be best friends with Jimmy Saville,
the second most the prolific pedophile in the world. But
that family, you know, they tend to know all of
the most prolific people in the world. So you know

(48:41):
what am I saying. I'm saying, at least we kicked
one out. So you see that the population does have
the power to reject royals when enough of this common
sense outrage has bubbled up. So I think that there's
always this good and evil sort of dance out there.

(49:03):
And I think if enough public outcry goes to the
nine to eleven issue, goes to the genocide of the
Palestinian people, the issue goes to the COVID scamdemic, goes
to you know this or that thought experience, then the

(49:25):
the sleight of hand of state craft. The power goes
away when the methods are revealed. So that's why I
think it's more of a holy journey to go after
these these perpetrators because they're they're magically. Their magic requires

(49:50):
a dumb, compliant population, which I refuse to be.

Speaker 2 (49:55):
They rely on theater so heavily. I question every everything
that is on the television, that's seen on social media,
because you have to. There is so much deception and
everything they are trying to portray that your average person
is so divided, that the left hates the right so

(50:17):
much that we're on the verge of civil war, that
there's mass psychosis spreading through the younger generations, that anyone
could be a school shooter at any minute, just chaos, horror,
fear everywhere. But when I go out and I talk
to my neighbor or go out on the night on
the town and meet new people, I don't meet these
crazy fuckers that they're talking about on the television. I

(50:40):
don't know where they are. I may see one or
two blue haired people walking on the side of the street,
but they're not in my reality. They never will be.
What is your perspective of the way things really are
versus the way they're being portrayed as in is society
on the verge of collapse? Are things in the real

(51:01):
world pretty fucking normal? Still? The theater is just what
they're trying to get us to believe in so that
we can manifest the chaos.

Speaker 3 (51:13):
Well, let's put it from the other perspective. What if
you perpetrated COVID? What if you perpetrated nine to eleven
and you're an active participant who's in the club to
cover it up. I think what they do is they
want to pump up a issue that they have control over,

(51:33):
to put this righteous anger towards the state craft deians,
towards an issue that's irrelevant, to shoot that anger away
from the perpetrators. I think that's really their whole game.
And just like I think that I used to think
that theater was a meritocracy of the best screenwriter gets

(51:56):
put in position and to but I think that the
zeitgeist is what the state Craftians are so focused on.
Because state the zeitgeist. They want to herd humanity into
a dead end to always keep in power. So you know,

(52:22):
I didn't know when I got my degree in screenwriting
that if I'm not you know, if I don't take
a benefactor like a Peter Teel and write his bullshit
for him to make him look like a god king,
that I would have or his philosophy to be out there,

(52:43):
that you have no chance. So I think that's kind
of I think they they are trying to put a
lid on this on the zeitgeist, that humanity is in
the in the righteous anger of the huddled mass says,
that's why they put out all this division content on

(53:05):
the nightly news. I think that's why. So when you
know that's why, then you are immune from falling victim
of their traps.

Speaker 2 (53:16):
Do you have hope for the future? And what advice
would you give somebody that wants to attempt to get
their foot in the door in entertainment, whether it be
comedy or screenwriting or anything like that, what would you
tell them about navigating?

Speaker 3 (53:37):
Yeah, it looks bleak, you know, like when you doom
scroll through social media, you see people slapping each other
unconscious they have you know, it's like, well, maybe I
can get famous if I stand with my arms behind
my back and I let another human being slap me
as hard as possible until I get concussed. That'll really

(53:59):
make mommy proud. I hear the next season of slap Fighting,
the contestants will well pooh a in a mold of
a brick, and then they'll put in their freezer overnight
and they'll hit each other with bricks of their own shit.
Because you know, that will really showcase a contempt for humanity,

(54:23):
which I think is what the point of that is.
But do I have hope, Yes, because I think the
more people see the tricks of the puppet Master, I
think we have more of a chance. I think we
can speed up. Look, they killed JFK in nineteen sixty

(54:45):
three or whatever, and only you know now they're like, okay,
we did it. Finally we get RFK in there and
they're like, okay, yeah, maybe the CIA was evolved. Whatever. Well, now,
even Tucker Carlson, he was shitting on doctors, even Jones
for his research about nine to eleven. Now, Tucker Carlson
just made a five part series about how nine to

(55:07):
eleven was an inside job. So instead of one hundred
years now he shrunk his awakening down to about twenty years.
So now what I said about the tactics that the
Rand Corporation used in Vietnam. Now, even Piers Morgan, who

(55:28):
is a completely shill journalist of the Empire, he's even
pushing back against Israel committing a genocide in Gaza, and
they're calling him an anti Semitic, anti Semite because their
state craft doesn't work anymore. So I think I think
in the age of the Internet, as our attention span collapses,

(55:52):
so does our our tolerance for tyranny. And I think
that's kind of We're kind kind of the population is
building a herd immunity to tyranny, and I see that
as a really positive thing. I think we're not putting
up with it. We're not waiting. We're not going to
wait one hundred years until everyone's dead to reveal what

(56:16):
happened with COVID. I don't think that's possible anymore.

Speaker 2 (56:20):
Well, you mentioned earlier you're going to take a little
break and you'll eventually be working on the second book.
Anything else upcoming for you.

Speaker 3 (56:31):
Well, I don't know when this is today out, but Thursday.
Oh great, Thursday. I will be in Houston, Texas at
the Secret Group doing a comedy show called Thursday Laps.
So if you're in Houston area, you can see me
Thursday eight pm at the Secret Group in Houston, Texas

(56:54):
doing a little stand up comedy. But yeah, I got
a podcast called Highway Diary.

Speaker 2 (57:01):
I have.

Speaker 3 (57:03):
A lot of content on ericcollarbock dot com. You can
always see where I'll be at ericcollarbok dot com. And
I employ you to get girls in the Demons deal
if you want to know how to navigate your own
demons while trying to keep your soul in this horror
show known as the United States Bankrupt Corporation.

Speaker 2 (57:26):
Excellent, man, I'll have all those links easily accessible for everyone. Eric,
Thank you so much. Love to talk again in the future.
And until next time, everyone, have an excellent evening. We
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Entertainment Industry & Realms of Narcissism, Girls and the Demon's Deal | Eric Hollerbach

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Entertainment Industry & Realms of Narcissism, Girls and the Demon's Deal | Eric Hollerbach