hpr-knowledge-base/hpr_transcripts/hpr0504.txt

Episode: 504
Title: HPR0504: Hacker Public Radio Round Table 8
Source: https://hub.hackerpublicradio.org/ccdn.php?filename=/eps/hpr0504/hpr0504.mp3
Transcribed: 2025-10-07 21:59:06

---

music
I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say
But I don't know what to say, but I don't know
what to say, but I don't know what to say, but I don't know what to say, but I don't know what to say
What's wrong? Nothing, nothing really. I just feel that it's something strong.
If you have a problem, don't hesitate to ask for assistance.
It's nice of you all right. Call 3-4-8-Fuck.
What's wrong? Nothing.
What is that question? Are you known? It's our head-to-head group.
What's wrong?
All right, welcome to HPR Round Table. This is episode number 8. My name is Sig Fluff.
I am the host of Demorabust and the Uberlead Hacker Force with me is Clitude of the Bad Apples.
We also have Deep Geek of Talk Geek to me.
And HPR Correspondent Lost in the Bronx.
Hello everyone.
Tonight we're going to be discussing the dystopian sci-fi movie by George Lucas.
His first feature movie, as I understand, in 1971.
I think it was his student film or something like that.
Okay, who here has not seen the movie before?
Yeah, it was the first time for me as well. It was shocking.
Which sounds really weird to say that it was shocking.
But it was shocking in the way that the movie 1984, the novel 1984 by George Orwell, was shocking.
It just draws you into a whole different reality. And for that, I was very grateful.
It was challenging to feel out the world that Lucas was creating with the movie.
But then once you got into it and you could see the problems of it, it was like, wow, really amazing.
I was really impressed with the robots, the technology, the trail of the mind control technology they used, the surveillance technology.
It's quite an experience.
And Lost in Bronx. This is your first time too. What did you think?
Well, I was frustrated by the style of it.
I mean, there have been many dystopian future films.
I mean, they go back to the style of Europe.
But this was one of the very first science fiction films that covered that in that truly pure, feral element.
You often see from Omega Man and Soiling Green and all these things where the future is dirty and run down and falling apart.
And everyone's controlled in somewhere or another because of either high technology that no one else has access to or through alien intervention or whatever.
But this film was very clean and very sterile and it showed a nightmare world that was not disease-written and that was not violent or overtly violent.
Of course, violence occurs because it always got strained armless so it's...
And in a way, it had a real frightening feel to it because it seemed in humans.
It was so clean and so perfect, it was not...
You don't have any reference to it. I mean, nothing in my life looks like that. I must tell you.
Even after cleaning up on Sunday, my house doesn't approach anything like that, that world. And I don't think anyone says.
And that...
The thing that struck me the most was how the whole thing looked.
And it really was a... you know, immediately. You know, you're in a real science fiction. This is a future. You know, someone's future or vision of the future.
I totally agree.
Yeah, that's a very good summary of it. I mean, it is so foreign-looking, almost real in-house.
It is, but yeah, it really gets across like this almost overly antipyzed future. It's really kind of unique.
Yeah, that's interesting.
The opening sequence, just like me, I'm talking like the first 30 seconds probably for a second.
Yeah, no friends or anything. I thought it was gorgeous.
Yeah, in editing was just completely unbelievable. I mean, now it's just like...
When I saw that, I just... I'm sure...
You know, I was just... I couldn't believe what I was saying. I was just...
It was so unique, you know. And I'm pretty sure that Walter Merch, the editor, has...
I mean, I know he's on edit like a lot of stuff since then.
Tell me it's kind of a classic edited scene, but it is one of those scenes that lives up to his reputation.
It's like really good. Do you know how much George Lucas had a hand in the editing of that film?
If I understand it not much, I don't believe he is an editor.
I mean, I don't think he claimed that as one of his skills. His wife, Martha or Martha at the time.
Lucas, I could be getting her first name wrong, sorry, but she might have had a hand in editing it.
I'm pretty sure the other editor was Walter Merch. I'm really kind of going off at the memory office of stuff I shouldn't be.
But yeah, I mean, I don't think he had much of a hand, but then again, you never know.
Like, was he sitting over their shoulders saying, do it this way, or did he just repeat totally hands-off? You can never really know.
Yeah, there was a... I remember in the credits, there was... I don't know if this is common for other movies, but there was a person who was accredited to doing sound montages.
And I guess there's this one person who did all the sound.
But my goodness, am I saying right? Mattages. That's how I always pronounce it. You know what I'm talking about?
Montage. Yeah, montage.
So, I don't know if that's common in other movies, but...
I don't think it is. I mean, I guess it is. I mean, it's really, it's probably just a matter of how they're talking.
I mean, sometimes they'll call it like a sound designer or something like that.
But yeah, the fact that they specifically called out, like, the sound montage was by this person.
That is, I think, kind of unique, yeah.
Yeah, and the sound was hard to tell.
I'm talking about that beginning sequence. It's just such a visually and sonically just incredible, you know?
I mean, the sound is different, and in a way, it's unique, the way the visuals are, but in a completely different way.
Because the sound is cluttered. The sound is omnipresent everywhere. There is some sort of sound in the film.
Even if it's some sort of background hum or something.
But then you get these very complex overlacking of radio noise or computer noise or voices or, you know,
I mean, it's very, very busy while the screen is very often very stark and plain and not busy.
And I think the, you know, the work between the two is, I mean, it gives you a...
Well, at least it did me a kind of a disturbed feeling as you watch it.
I like it. You really gave me a disturbed feeling as well.
The one thing I do like about the opening sequence, getting back to what I was using, is that one aspect I really liked about it was,
in the opening sequence we get a brief sort of, there's like a, I don't know, like a two-second clip of the main character.
I forget it as a multi-hx1138, fix.
Yeah, that would be the same.
Where he is bloodied up, he's beaten by these robot police.
And nowhere else in the movie is this expanded off. You just know that happened.
And it looks like this is when he's in that prison.
Yeah, yeah. So I thought that was, I thought that was kind of cool.
Well, it's not like something that was cold from a scene that got cut maybe or, yeah, probably.
Yeah.
The direction, because he appears later on after he's been captured, he's placed in that very, very strange cell with all those other guys.
He doesn't even hurt as far as I recall.
So, he didn't get that beaten that badly when he got arrested, didn't he?
No, no, he just got pulled away.
But I mean, he could have spent a lot of time in there.
He could have been in there for a month before we open up again to...
Yeah, yeah, it's a big open, infinite space, you know.
Who knows what time and space is like there.
Yeah.
That was a brilliant, brilliant space.
Yeah, that was, yeah, it was.
You know, in a way, you would never know this is the same guy that, you know,
had anything to do with, like, the last three Star Wars films that came out, you know.
I was watching the film.
And this was so distracting for me, because I'm trying to get into the movie.
The one thing that kept going through my head was, what the hell happened to that guy?
Yeah, you know.
Yeah, I was thinking that too.
Yeah, yeah.
Yeah, GHS was the first film in his last great film.
So it was a popular stuff.
Is this a company, Mr. Classy?
It does.
I mean, believe me, I'm as much of a Star Wars geek as the next guy, but I don't know.
GHS is different.
You know, that's thoughtful, very good.
It certainly did not have any juvenile elements to it.
Yeah.
As opposed to the Star Wars trilogy, which I would argue it was the Star Wars movie,
we started off less juvenile than the latest Star Wars movie.
Yeah.
Earlier.
What do you talk about?
Well, I'm talking about it in order of life.
In order of the timeline of the trilogy.
Oh, you think late return of the Jedi was less juvenile than Star Wars?
Yeah.
I remember going back and seeing one of the people that forget which one,
and when I saw Dancing Teddy Bear, it's more or less like that, it came up.
Well, that was the later one.
You said it backwards.
I think that part of you didn't realize it went along.
Yeah.
Okay.
Something like that.
Yes.
It's that time, Susan.
How do you explain Jar Jar?
Thanks.
No, because he came later.
And if there's any juvenile element, you know, I mean, that was just unpredictable.
You know, really.
So that is.
I mean, you know, something.
I can't.
I'm looking at Jar Jar.
Thanks.
And, you know, and he's swinging around on an enemy robot, gunner.
You know, he's doing some psychic.
And I'm just struck that this can't be the same guy.
You know, it can possibly be the same artistic vision behind these two films.
There's just no way.
Yeah.
I'm telling you, man.
It all went downhill after the Empire Strikes Back.
I know that's really cliche, but that.
Well, sometimes cliches are the truth.
You know, I said, yeah, that's not the environment, just it's true.
Yeah.
There was, you know, I mean, but again, after F.D.H.S., there was American graffiti.
And then American graffiti, too, was in there somewhere as well.
Which is actually a really good film.
It's a fine film.
It's not pretty.
You're actually saying that's horrible.
It was.
I really loved the, you know, the comedic elements that were involved.
I liked the, um, I actually liked to take on Vietnam.
I thought that was really well done.
And I liked the, you know, the dichotomy between those elements,
and then the domestic stuff was around Howard.
I thought, you know, I thought it was well structured.
But I didn't need to see it again.
Well, you don't have to agree.
You don't have to.
I mean, that's how it's structured.
But, you know, if that would happen, you would have one hit wonder.
And it just sort of all faded.
I mean, we can't just sound Star Wars in any way.
But, you know, that was an idea if you had that in the P.H.S. state.
You know, and it took him a long time to finally get to go ahead
and the budget to make that film.
Um, did he do the blog?
Early on?
I don't know.
Yeah.
But, you know, I think we have to account for the fact that
making movies is really hard.
And then, I don't know what kind of finance thing he had.
I think he was financed by Copola.
So, I don't know what kind of pressure there was.
And the realization that he was spending time with money,
like, a lot of it.
That's just the message you have.
It's probably just, I mean, you can make an art out of it.
I think you're not going to make it if you're money back, you know?
Yeah, I could just be left.
That's in his later movies.
Um, just he was much less reflected in them.
Just, uh, over circumstances being, uh, so popular.
And, uh, having so much weight, you know what I mean?
Yeah.
Yeah.
No matter.
I wonder how much input Copola had on the production, you know what I mean?
Um, you know, I say that because people like Steven Spielberg
who has a really heavy hand, I mean, you know,
if his name is even remotely associated with a film,
and the film almost ends up looking like something that, you know,
he produced himself to be directed.
You know, um, he gets his very controlling.
I don't know what Copola is like in that regard, but it's so different
than so much of the other stuff that Lucas produced in Iran.
I wonder if artistically and creatively,
how much input Copola may have to be questioned?
The, uh, the thing that I really liked about, uh, the movie,
the aspect that I really dug, uh, was all these hints
that this world is maintained by the people who are in it,
like, uh, Taychex 1138 is employed building the police.
You know what I mean?
Like, uh...
Yeah, yeah.
That sort of thing.
Or like, when he's, uh, this may be a little bit less so to that point,
but maybe a little bit when they were in the prison
and one of the, uh, other inmates just pushed over the police officer,
just pushed him over.
And, uh, I was able to crush his face.
And so, uh, the respect that these people give the police officers
are just, they obey them because they obey them, you know what I mean?
Well, they're drugs, too.
So, I mean, that could have part of it.
Yeah, that's right.
They're drugs.
I mean, and we have to assume, I mean, the robot may not have been very,
very dexterous, but we have to assume it's stronger than a human.
Um, one thing I didn't get noticed,
I mean, this is nitpicking.
Really, this, this part of it is nitpicking,
but I do have a couple of criticisms of the film.
Yeah.
Um, a minor one, um, is that we're shown very, you know,
in the first part of the film with TX1138 working on these things,
that this is highly, his job, whatever he has to do in the building of these things,
has to do, it's very dangerous.
And there's a radioactive element to this whole thing,
that if it isn't done, you know, exactly precisely,
correctly, it's very, very dangerous.
Um, you know, why are these things walking around in society
where like any mist have my crack open,
their nuclear casing and poison in the city?
You know, it's a minor thing, but it's, you know,
maybe it was from an earlier time when radiation was being,
being more controllable than maybe we see it today.
But, um, you know, I saw these things as like walking,
you know, nuclear weapons in the way,
because if they're that dangerous,
it's that, that you could cause a nuclear contamination
while you're making them.
Um, you don't have to worry actually,
he's making them.
I mean, he might not be physically building the bodies.
I mean, maybe he's like, I don't know,
something about the chip or something.
They, they just show up.
Maybe they just took their practice to create the,
you know, the circuit for you or something,
although it looked like he was putting something together,
you know, in the scene where they apply the mind block to him,
he is putting a very, he's putting something
that's a very, very hot into one of these,
these police officers.
There's no denying that.
Like there's a, the head and he's putting it into the head.
Um, so I don't know, maybe, maybe you're right.
Maybe he's not direct, these things aren't directly involved
in the construction of them.
But I think the point was that they were,
that makes sense.
I, I also realized that I'm over intellectualizing it,
because if I'm paying more attention to
implied science, in a science fiction film,
I'm tripling and hitting the blame, you know,
the social point of it.
Um, that, that's why I say it's nitpicking.
The thing that I didn't like,
I thought that the film was unbalanced in the third half,
because the third half is, the third quarter of the film.
The last third is an extended chase sequence.
Um, it was very well done,
but it seemed very different in style and in tone
than the rest of the film.
I like to re-roll certainly.
Yeah, well I really enjoyed the ending sequence the most for me,
because I really liked the, uh,
the capitalistic implications of it,
because what really amazed me about the,
about the ending was that they sent a budget
for his, they, they sent the budget for his bounty
to bring THX back.
And as they, they keep thinking they're going to bring them back
and budget to keep, to keep going back to that.
And all of a sudden you see, you know,
the motorcycle with the agent flipped
and they see, they're coming at the number,
the number of agents that are out there.
And the girl just like looks at that counter
and just shakes her head,
and then they're calling them back.
And so, you know, it's, it's interesting
because also the fact that he is a technical worker
who, or a, it looks like a skilled nuclear worker,
but we don't really know for sure.
Um, you would presume that that budget
would be set quite highly,
which is probably why the chase lasted so long.
The, the economics of it, I found, um, mysterious.
In a world where the people are controlled,
um, why do you have to pay them seriously?
Um, I mean, it would be much more socialistic
I would say.
Um, less having to do with the money and economics.
Well, if it is, if there is money handed out,
it's all, you know, circular.
I mean, it would be really count for very much.
So I, I mean, that's the application of the Wall Street,
isn't it?
You just described the modern world
so I don't really understand how that's so in trouble.
Yeah, I think three.
You know, these are people under mind control.
And if they're being controlled to the point
where they can't even have sex in their own home,
it seems to me that they're placed,
um, and that you really don't need to pay these people.
You, you know, you are talking about like right now.
I don't think it's, I mean, you just,
that sounds exactly practically like what's going on right now.
Well, what are, what are we paying these people?
We, uh, he worked one day and he brought back this,
this object and he put into this thing and it made a flushing sound.
Like, what is this?
I think the, I think the fact that they're working for,
like, the entire movie when they goes into the booth
and, uh, the, Jesus figure,
zero, zero one, is like, work, be happy.
And, uh, so I think the fact that they work
are involved in their brainwashing.
I think if they weren't busy working,
they would be too busy rebelling or something like that.
Even a slave needs to be motivated in some way.
I'm sorry.
Yeah.
Oh yeah.
It's a point to remember.
Could you wait, could you, could you repeat what you just said?
Do you think you said something motivated?
I can catch that.
I said, even, even a slave needs to be kept motivated.
I mean, even, even in, in our country
where you have prison labor is, is,
our current, it's slavery.
You know, the, the, the, the people who work
in the prison labor system have to be given something beyond
for people who don't work yet,
or they just don't do it.
So, it's interesting.
Yeah.
I mean, we, and I, now also the shopping sequence,
the mall sequence, and the movie implies what he brings home
implies that it's just an illusion of,
they think they're buying something of value when they aren't.
It's something that's implied.
By the fact that this plastic shape,
you can do nothing with it, but sew it out.
You know, but, you know, you have to feel that you're being given
something more for trying harder in the end,
or you don't do anything.
That's all there is to it.
Not that I'm any extra of prison labor, Mike.
I just know what I hear a second hand, you know?
No, I...
It's very well documented that the sexual slavery industry is alive
and well in the United States.
And the only thing those people have is hope.
Usually false, but they certainly don't get paid,
or if they get paid, it's the pittance.
And the only thing they have is the promise that one day is going to end.
And they certainly, I mean, I don't know.
It just might be another nitpick.
I thought the structure of the film in the second or the third part was unbalanced,
but looking at the society,
and all I'm saying is that it might be mysterious.
That part is an explain.
It doesn't need to be.
But it strikes me as being unexplained.
Well, since then, you bring up the sex industry.
A sex industry is in place in the fluke.
I mean, you see the pornographic sequences,
and there's a masturbation machine
that he has, and you even see when he puts the channel,
that there's a heterosexual,
and a homoerotic pornography available on different channels
of his TV viewing,
or I should say hologram viewing device.
But I mean, I had the impression that he was definitely up a middle class
in the society.
What do you guys think?
Yeah.
Yeah, I have that impression as well.
I personally got the impression that there were massive amounts of
of managed or tight people in this film,
who presumably would be in some sort of higher social scale,
because we have all these people watching
all these other people,
and who are responsible for turning them in,
or for alerting other people who have,
at least, some degree,
power over these other people.
Oh, love, friends.
Well, love.
Thix is roommate watches people.
I think at the beginning,
she was responsible for clicking in responses.
Yeah.
And so she had some involvement in watching people,
and I don't know,
what do you think about that last in Bronx?
I found it a little nuts for things.
Maybe it was that level of privilege that allowed her
to initially get out from under this cloud of drugs,
because she was the first one to break away
from the state mandated drugs that they have to take,
and she substitutes for the placebo.
Remember, a legal evasion of drugs may result in,
I don't know what they said,
but I'm sorry, go ahead.
Yeah.
But it was just that it was illegal not to take your mind-controlled drugs.
For some things, though, critical,
you think they'd have a more structured way of getting it
into the people like in the air,
or something like that.
Yeah.
But if it was less,
I think if it was less,
if it was more different than it is today,
taking drugs that might not have had the same impact
when you see visually,
but they have these still bottles.
You know, it's the same old still bottles
that you see today,
and you would think in the future they'd be a little different.
But I mean, I think to interrupt here,
I'm sorry, just kind of maybe picking a little bit,
but I think part of taking pills,
I think is to show cooperation,
if that makes sense.
Like, take your medication,
and if you refuse to take your medication,
you're uncooperative.
Or if you do,
this is something,
a symbol in which we can test to see if you're cooperative or not.
I don't know if that was a problem.
Well, that is the point.
At least for some people,
the drugs don't work,
because if it was,
if the drugs were 100%,
they wouldn't,
I don't think that they would give them to you by cell.
They would probably put it in the water,
they'd find some other way to make sure you get them.
Well, they'd do that with the children.
I don't agree with that,
because I mean, think about one of the main things
that our government wants from us,
which would be taxes.
I mean, when you would have boiled down to it,
it's on an honor system.
You know, I mean,
if I didn't pay my taxes,
and just lied about it,
if I could get away with it,
probably for quite some time.
And at some point,
someone's going to realize
that that's going on.
But I mean, there's a lot of things that are,
I guess, they're sort of passively enforced.
You know, we're also in fear of the consequences,
that we do what we are told to do anyway.
I think the same could be for the drug taking.
I don't see why that wouldn't be left out to people.
But there'll be a hybrid situation
that you're not taking into account.
I mean, what I mean to say is that,
maybe they are doing the real drugs,
or mixing to the air, mixing to the water,
and then they monitor the crop of this
by having them take placebo's constantly.
And, you know, that's one thing.
The other thing I find isn't interesting,
is that at one point in the scene,
THX tells his mate or his roommate,
what he wants to call her,
that, you know, he can't be withdrawing on the certain day
because he has so many things to do,
and he can't deal with the draw on top of it.
Sounds familiar.
That's an interesting idea.
I hadn't thought about that.
That also implies that maybe there really are no drugs to begin with,
because she stops giving him the so-called real drugs
and he comes out of his state-induced print.
But maybe, maybe there never was one at all,
he needed was the tacit freedom to think for himself.
Yeah, this is a point where you might ask yourself
whether or not they all think they're all imagining
that they're taking drugs,
and they might not really know the difference.
And, you know, I think so.
I go find out.
Paul is implicit in this government art,
how, I mean, you know,
one man is able to elude, you know,
what we would assume would be highly sophisticated security systems in place,
and he's able to get out.
You know, that's something you said before,
lost the Bronx,
because they were a management service society.
And the only manager I remember is that one guy
who was accused of being a manager,
because he was doing a legal program.
Well, I don't know that he's actually accused as a manager
so much as he has access to computer systems,
but they're definitely layers.
I think what I was trying to say is that,
there are obviously many layers above the average person.
There are people fine on the average guy, you know.
You could maybe sort of extend this to this idea of layers.
When he's in the prison, he kind of gets help,
being escaping from this hologram,
who believes he's a hologram.
He doesn't believe he is,
or maybe he is a hologram,
but he seems to be a layer below everyone,
because he's a hologram now.
Like, what's that?
You know what I mean?
Well, he ends up maybe still programs to believe
he's just a TV personality that's all that's left of.
Yeah, I mean, I saw him just as a photographic actor,
I didn't see him as a person who really believes himself
to be a hallucination as somebody else's screen all the time.
It was also a newscaster.
Didn't he read the news or something like that,
or they had some debate,
and he's face-to-face on the TV.
I remember that character saying,
you know, that he was doing the old,
what he called the old,
and he went into the legs routine,
and then he made the dance motion
that you saw in the porn-channel sequence.
Okay, I missed that.
Yeah, okay.
Yeah.
I thought it was probably bizarre,
because the guy who was accused of illegal programming
is trying to escape his following THF,
and he had a suspect he's a homosexual man,
and then you meet the male porn model
on the holograph system,
and he's just looking at himself out in silence,
and you wonder if he's going,
oh, my God, it's him.
You know, you just wonder what his reaction really is,
and then he's that look of shock.
I never thought about that.
That's interesting.
Can I say, I thought it was a marvelous performance
by Donald Pleasant,
someone who'd been, you know,
the heavy for so many years before and after,
and he didn't play a squeaky-clean guy.
He was kind of not a nice man in this,
but then again, it's not a nice world,
but I thought his performance was understated
and really, really, I mean,
it was touching away.
It was so tragic that this man, you know,
he was motivated by,
I won't be assumed,
as D.C. said, we assume it's some sort of
a section or, you know,
a fantasy affection for GHS,
and he's willing to risk everything
to try to achieve this.
And, you know,
because he must be fully aware
of the consequences of getting caught.
And he assumes,
he just naturally assumes
that D.C.
does not confirm it,
which, you know,
of course proves uncompressed,
but he, and then when he finds D.C.
a check later,
and realizes that he turns him in,
he doesn't care,
it doesn't matter,
they're together.
He says, I realize you did.
It's okay.
He says something like that.
Which is either,
I think, be able to all forget this thing
you think is more of love.
Ah!
Ohh!
Everything will be alright.
Oh, you are in my hands.
I am here to protect you.
You have nowhere to go, you have nowhere to go.
One, one, three, eight, THX is charged as a violation.
And X4, 4, 5, 6, 1, 3, 8, 8, 8, 7, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8, 8
8, 8, 8, 8, 8, 8, 7, 8, 8, 8, 8, 8, 9, 8, 8, 8, The number of facts is not seen as available in Android
But whatever, because at that point the story line just takes like, it just basically shifts,
you know, because I mean, everything changes at that point.
You know, it's really, really just kind of like a big turning point, that's all I think.
And then just randomly, I mean, just his little attributes in the confessionals are,
I just like those, because they're just so, such strong propaganda message
from this authority figure or religiously authority figure.
It's just kind of, I don't know, funny and, you know, all too true and stuff like that.
I thought it was interesting that there are sort of religious figures.
We have the booth that people confess to.
We have the person in who wear these clothes.
They're very different, these giant hoods that walk around.
And we never really get to, to see what their world is about.
But they're definitely as multiple characters here.
It's not just a bunch of people who shaved heads.
So it's interesting.
And in a way, it's like 1984.
There is an outcast society as well.
There are people that are not considered part of this society.
That would be the dwarf that they portray in a somewhat animalistic manner.
That they see what they call shell dwellers, I think they call them.
Yeah.
And we get the impression that they live in and around the outside shell of this underground world
or the dome world at any rate.
You know what I'm saying, I think, even though it's a part of the show,
some sort of animal that attacks the HX1138 later on.
At least in the version that I saw, it had a look at CGI,
which many think it was, but in later, it had a habit of doing that.
Well, it's not interesting about me to talk about the different tasks that are apparent.
Is that, you know, we all know that the prison task is usually a low-income task.
And so, when he comes out of that strange communal cell, when he gets out of there,
all of a sudden, you see a crowd scene that you've never seen before,
anything else in the movie, after watching this movie, all this time.
And that made me wonder if maybe the reason why he didn't normally travel in the circles
that were exposed to these crowds.
I thought maybe that was another interest to his classes role in this society.
And that's what I was picking up on at the TVC again.
And that's why, I mean, the Donald Trump character, I forget his name,
but that guy, I never really got that he, like, had real affections for the HX1138.
I thought he was trying to get in on the HX1138 positions.
And I guess, security, I guess, you know, like trying to horn in on his class,
you know, getting up in the world, see it, really, really amazing.
That is possible, and I'm reading into it.
I mean, I just assume that a guy who resorts to a legal programming,
whatever that really is, to change his male roommate to another male roommate,
and then goes into detail, and perhaps it's stereotypical,
about goes into detail about how he's heard about his cleanliness.
You know, yeah, it definitely had a...
I mean, I know I'm going to apologize for that, I say it,
but, you know, I mean, I think that was intended by the movie, actually.
So stereotypical to me, it was very tough on sexuality,
even the overt stuff on the screen.
But it's so disconnected from real life.
The sexuality in general is very enthused and quiet, and random.
Well, you know, they say lost and lost.
They say the quietest love maker is the president of the United States.
Well, you know about that.
How did it be overlocked? It's the stuff, those clothes that you know.
Oh, come on, guy, that was funny.
Oh, no, no, no, I thought it was funny.
Yeah, yeah, I thought you were pretty funny.
You know, disturbing sexual imagery, so...
Lost in Bronx is mentioning that the third part is kind of out of place.
I'm wondering, I don't know, I kind of agree a little bit.
The point that I didn't like very much in, of course, this is sort of integral into the interval.
This is sort of...
This is very important for the plot, was the fact that they ran out of budget.
The fact that they even have a budget allotted.
Like, what money are they spending?
I don't know, it didn't seem quite right to me.
It seems to be a very, you know, he seems to want to make economic statements throughout the movie.
But it always makes you wonder, because you never see a real product.
Exactly.
That would cause sequence.
You never really see them having any material to...
You don't see them curating and fancy clothes and...
Even with the cars, when we watched the holograms at first,
this person is talking about how he went through a crowd of people
and how he was just issued this car, this car.
So he never actually bought it with any money.
Well, when you get to the car or another problem,
he's working on the exterior behind the wheel and then he's really mario and dready.
I mean, he's outracing the machine.
And that didn't seem...
I mean, I wouldn't say I was winking and nodding at that.
I didn't bother me that much.
And I say the third part bothers me, but it didn't...
Everything's...
We have to talk about relatives.
It's compared to, you know, say, a pack of the clothes
or something like that.
It didn't bother me at all.
But, um, you know, considering the cerebral quality
of the earlier part of the film, this becomes much more physical
and much more action oriented.
You know, it was extremely well done.
It was extremely well staged.
That was...
You know, I thought most of that was a miniature of the models that I read out.
We defeated it.
That's actually still in that first in the uncompleted tunnels
of the parts that some antennas could go.
So, you know, those were real parts.
They were smashing up and real motorcycles and gunmen and stuff.
So, it was very well done.
Very, very well done.
It's a threat to the films for me.
I, uh, I like the, uh, I get the beginning of the movie.
The first two parts, it very much seemed like, uh,
I don't know, a collage of, uh,
of just showing you different parts of the world.
There wasn't too much plot.
There wasn't too much,
or at least at the first part.
There wasn't really anything going on.
You just saw,
this is the part where
Thics gets, uh,
a medical examination by these happy little robot things.
And, uh, you know what I mean?
It's, uh, very much full of these, these little tiny stories
that all come together.
And, uh, I really like that aspect of it.
Made for a very entertaining movie, I think.
It was a very thoughtful film.
Even though it didn't cover ground,
we haven't seen it before.
So, the idea of the Politarian Society is the future,
and no privacy,
and you're fascinating, monitored,
and one man wants to escape from an,
in unjust world,
except we've seen it all before.
Yet, even though I have,
it made me think very much about those issues all over again.
Yes.
I think that was the mark of a,
uh, a very,
a very mattressly-made film.
Collision, you're kind of quiet.
Um, that's because everyone else is saying everything.
I mean, I agree,
so if I guess,
I mean, I don't know,
I don't think I quite,
I don't think I quite agree with like some of the little details
that you guys are bringing up.
But, on further reflection,
maybe I should have noticed the,
so yeah, maybe I do.
The money thing, I don't know,
I'm still, I still buy the money thing totally.
I don't, I don't think that,
you have to have a product,
generate money,
since money is a,
just a,
just a realistic concept,
anyway,
it's just like the politarian thing that we came up with.
So, I don't see why not.
Why not pay people a mix of,
in their money,
in minds there,
their finances,
and everything,
even though you're,
issuing them cars,
and things like that.
I mean, it's just,
I don't see why,
it's the size,
I think,
it's just,
for me,
that I think was,
was kind of interesting
about the money thing,
and this is now that I'm thinking about it.
I don't think the money
ever got really to,
the people,
the population,
of this place.
I think, maybe,
the money was more used for,
budgeting of this project,
or building this tunnel.
That could be, yeah.
And, but that kind of alludes to,
maybe there are other underground,
like, where do they get this money from?
Do they borrow this money
from the Federal Reserve,
or something,
like,
I don't know,
like, how much,
here,
it's not clear,
and I don't,
I mean, this place,
any criticism,
as I may have had about it,
it's not,
I don't think it's blurry,
or dark.
That could bring up a point
that I think is actually interesting,
the idea of money being used,
is,
it's another form of drugs,
it's another way to control people.
You know,
if you,
if you behave properly,
then you get certain rewards.
It's no different
if you take your drugs,
but you get anywhere,
and you, you know,
you behave properly.
So, you know,
that's an interesting hate of it.
So, yeah.
And that's all I was trying to do,
that money has gone from
the industries of being
in a drug too.
Yeah.
You know,
you could make a good analogy for it.
Yeah.
Yeah.
Yeah.
From that standpoint,
I do agree with that.
You know, I mean,
it's very, very basic with people,
when we went off the metal standards,
the little country,
you know, people were like,
always,
just making away what's
the value behind the money,
and just keep going.
Yeah.
Well, there's still people
that get upset over that.
I mean, the symbology
of it is important.
So, just thinking about it,
and thinking about the security
of rings is very, very important to,
you know, well, I mean,
let's be real.
Every one of us,
you know,
worry when we can't pay our bills.
You know,
it's right.
So,
if you set up the system
where
you ask the think about those things,
and then you are provided
to mean
to control those things,
it makes you feel better.
You know,
people who feel better,
cause less trouble.
So,
it implies a massive amount
of micromanaging
in people's lives.
The fact is,
evidently displayed
in this film,
in fact, it's
way better in this film,
than I think in any other film
I've ever seen.
You can be,
you're being monitored
24-7.
Right.
It seems like
it could be done.
One thing that was mentioned
before,
it was a homosexual
period type
that was displayed.
But,
there is one
period of type
that was displayed,
that I actually
found a little bit
disturbing.
And that is,
when they bring in
the dwarf,
character
into the
prison,
and then,
later on,
you see more
dwarf,
when the adjacent case.
And, once again,
we're seeing people
with dwarf system
who are being portrayed
as non-human.
Frankly,
physically,
they have an advantage
when it comes
to playing non-human.
But,
you know,
that was an actor
I've seen before, right?
You know,
he was doing films
at that time,
and I've seen him
before.
So, you know,
once, you know,
at the population
of the dwarf,
and in the world,
it's small,
granted.
But, you know,
we see, once again,
a portrayal
of a person
with a physical condition
who is portrayed
as non-human.
Yeah.
It's a physical
that way,
and he was behaving
like a savage
in the film.
Although, you know,
if you have you,
what the implication
was that they
weren't light
to everybody else.
And, um,
then I found a little bit
awesome.
And, you may
need that
for a question
of the time before,
because I don't,
I'm not so sure
that will be done
in exactly that way today.
If they were going to
do that, they
would have a dwarf threat
up in a rubber mask
in some story.
Now, they just have,
like, a D.
And, you know,
they could do that now.
Yeah, they could do that now.
I mean, maybe
that is your idea
of going for the
only resource.
Yeah.
People, you know,
but I mean,
you don't have
the danger of building
a plane.
All of them don't have
it.
Yeah.
Where?
Yes.
Got one.
Maybe they think they're
funny.
I don't know,
but it bothers me,
because, you know,
I think his point was
that there are people
who are outcasts.
There are people
that are not
part of the society,
even out welcomed
in this society.
Yeah.
I got that,
I got that same thing
with the holograms.
All the black people
are holograms.
And, they think
they're holograms
or at least,
maybe they think they're
holograms.
So, they are not
part of society,
either.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
and if your population is mostly white, you can make anyone who isn't a normally sized white person
into whatever form you want.
You know, these people are the monsters on the outside shell.
You don't want to go there.
These people are all cramps, and they're there for your entertainment.
You know, that's actually a very interesting thing.
It gives it a very, very different view than just the full intensity you're going to have.
It's actually, it's just another layer of itself.
Yeah, it does.
The one that I hadn't really caught up with before.
What was everyone's take on?
It's really like it.
That's not the way it's straight.
You know, I feel weird.
I mean, you know, you guys know me as a technical podcast,
but I have to be a person who has a special idea too.
And I found it to be very bright.
I mean, the idea that the majority of people
and the society can be satisfied by a equal painting of people
and I'm recording.
I found that beautiful.
I didn't find it that way at all.
It's just that, especially now that we've analyzed it,
the hologram solved it, but it's going to be outside or seen before,
but like that it is.
It's like he's just taking every possible message.
The powders that he or her, you know, those people in charge
could use and manipulate control of the population.
Everything they possibly could use.
They're throwing at it.
And that goes everywhere.
And it goes for religion.
And it's fast.
It's like, for rich and whatever.
So, I just think that point was that everything
was going to be working against the population.
Frankly, I think there's a lot of that going on.
I think it could also be seen as a depiction of how far
the spiritual quality of the society has eroded that this is enough.
That's what I think point.
That is when you have a government, if you can even call it a government,
if you have a controlling society of this nature,
it not only eliminates the need for your duality,
but you're being controlled by every level.
But that your quest for some kind of inner truth,
you know, you don't get that option.
You don't even have the ability to look inside your self anymore.
And that just that would be another way to look at it.
I mean, I thought it was an interesting way.
It's just, you know, it's like too sad that this is just another, you know, tool used.
I mean, you know, if you find your drug starts quite enough,
you can go and talk to this anything which, you know, will give you a stand answer.
And of course, everything you're saying is he recorded and analyzed by, you know,
whoever it is that's controlling the fox release and the fix the work zone.
And it's another true way to monitor the people,
because people go in and reveal the secret.
And you can, you know, take appropriate action on people,
if you really are.
So that's pretty cool.
Against them.
Well, people don't, you know,
the innovation that people are having, you know, find destiny,
religious meetings, which in other authoritarian societies,
where, you know, their religious beliefs are in the minority
or they're depressed or, you know, they're pogroms against these people who are having,
people will plan together in a night meeting to have their religious, you know,
but if people want to have a religious experience, they will do it.
But not necessarily.
That has been taken from...
Now, the Star Wars was taken, Star Wars took place in that, the distant past.
Right?
Yeah, it had another galaxy entirely.
Another galaxy entirely.
Do you think this is the future or do you think this is the future?
Do you think this is the future? Do you think this is something else?
Yeah, I think this is the future.
I'm wondering if...
Or a parallel universe, like what's happening right now?
I think the reason why they're underground is because the surface has gotten so unusable
that they're forced to be underground.
And I think that's an indication that it's a future.
Otherwise, there would be a planet to inhabit.
I'm sorry.
I'm sorry?
Well, I think that's the...
I think that...
And you'd see this beautiful sunset with birds flying high in the case of a fight on the surface is possible.
And that, to me, meant that the idea that the world outside is impossible to live in,
that it's poison, that it's radioactive, that it's whatever.
But just another story, keep people under control.
It's still out there.
It's not safe to stay here where it's safe.
Yeah, I mean, I saw that.
I think the sequence is indicative that, you know, probably at some point in time,
the above ground became inhabitable.
But then they had everyone living like this.
And so, after whatever blown over, blew over, it just kept going.
Yeah, that's how I started here.
People should make more art house by 5 feet.
That's okay.
That was the cost to make the movie anyway.
I just want to talk about the frontal, because I didn't know that about the filming.
The power sequence and sense of the tunnel,
but I think that's magic.
That's a good thing.
That's a good thing.
I just want people to do that on the weekends, whatever they want.
Of course, Wikipedia,
hopefully I got an advance of like $300,000 to make the film.
I don't know how it would proceed.
So, I'm pretty sure it was not well received.
The change?
Well, I think it totally turned out to be.
I don't need to general movie watching public.
It's still ready for that moment.
It's just not fun.
Yeah, I read it to the house and they longed and they said I'm getting a fact.
It was commercially unsuccessful.
It was re-released with five minutes and it had been fact.
You know, they made it up fairly.
It made a big thing about five minutes to whatever reason.
It's a film that I, as I said, I had never seen it.
And I always felt it was a glaring omission on my part that I hadn't.
And now that I've seen it, I feel that doubly so.
It's a film that anyone likes to watch.
It's a reasonable film.
Don't make me think.
It's gotten to me under short term.
I can see maybe why it would be a commercial disaster today.
It's a sort of film that, you know, straight over time, it will find its audience.
But, at least at one time, you may not have a population.
And at any point, we're going to love it.
I don't know.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.