FULL INTERVIEW: The Avant-Garde Writer / Director Roger Avary Joins Alex Jones To Discuss His Awakening To The Satanic Globalist Mind Control Cult That Runs Hollywood, The Deep State, & Most Of The World!

00:00 It was when I started reading the obscene documents and I started seeing what was inside of them. And it started, I was shocked and I couldn't believe it. And I started telling people and people don't wanna hear it. And so then I went on Rogan and I talked about it. And I talked about these revelations of the elites at a very high level. And we actually know the basic number of them as well. are doing human trafficking, human rape, and human sacrificing of children because they're the closest to God. And when I read this, it's unthinkable. You don't want to believe it. And so I mentioned it on Joe Rogan. But I also mentioned that I was starting an AI company. And what shocked me is after the show, more people wanted to talk about the AI thing. And more people were upset that I was starting an AI company than they were about this nightmare of elites eating babies.

01:03 And so then I started thinking about why, why is this happening? And I mean, we've seen people who have spoken about it, who have been, who have participated in it and who have left. It's a kind of, It's an initiation that you go through to become a confidence initiation, that you go through to become part of a team. And that's when I realized that this is not something that's unique to the elites, that human nature involves these kinds of hazing initiations, or else we wouldn't see it happening since childhood. Like a bunch of boys get together and kill a squirrel or something.

01:58 If you're not part of that group, if you're the one kid who's not part of it and you recognize that it's morally wrong and you separate yourself from that group, you are now outside of that group. If you're in a fraternity and you don't go through the hazing initiation, which who knows what that is, you are now outside of that group. And so we have later- If you don't screw the pig or the goat, you're not in the club. There was this guy I'd seen on X who, this well-dressed black dude who was at the, I think it was at the Atlanta airport. And he had read basically what I had read.

02:38 And he was out there and he couldn't believe nobody, everything was, everyone was asleep and just going about their daily lives, just like Invasion of the Body Snatchers. And he was like Kevin McCarthy, the actor from the original movie who was reprising that final moment of the original Invasion of the Body Snatchers in Philip Kaufman's remake in the 1970s. And I think it's the 1970s. And where he was in the airport just saying, you know, You don't know what's happening there. He's telling them they're eating babies. They're, you know, the horrors that are going on and he's trying to shake everyone out of it. And people are videotaping him and people are standing back and people are kind of laughing, you know, off to the side. And nobody actually wants to admit it. And I was I watched that and in kind of horror, I'm thinking,

03:29 Here he is, that guy's like me. I know what he's going through because- And it reminded me of a Latin phrase that has been long known because it's true, which is, mundus vult decipi ergo decipiator. Mundus vult decipi, the world wants to be deceived, ergo decipiator, therefore it is deceived. And it's because we don't want to believe, when you know the realities of the world, it's like you've

04:14 bitten from the fruit of knowledge. And you can no longer be innocent again. You will never be the same once you know what the reality is of the world. You are no longer in the garden. You're no longer like an animal, which animals may kill, but they're innocent because they're They don't have knowledge the way we do. And so you're expelled from the garden. But people want to believe that they're still in the garden. They will lie to themselves just to believe that they're still in the garden. Exactly, that's the worst place. We're not in the garden and they don't even know it. So we're kind of giving them the second bite of the apple. Like you're already in Sin City, baby. You need to now admit it.

05:04 Well, I am really pleased to have Roger Avery with us. As you know, I don't like much of Hollywood. They don't make really anything that good in my opinion compared to what they used to because they just are churning it out, but not Roger Avery. I mean, when I start going over the list of films, like that's one of my favorites, that's one of my favorites, that's one of my favorites, that's one of my favorites. Pulp Fiction, Beowulf, the list goes on and on. His writing is amazing because At an instinctive level, it connects with us. And so he's with us for about an hour and a half. We're very blessed to have him. And he said some really great topics. Recent movies, predictive programming, for example, Civil War and Leave the World Behind. Obama's helped produce that.

05:44 Iranians taking Los Angeles or is it part of a larger psyop AI filmmaking ignorance is bliss pills about forgiveness the rights return or attempt to return to Hollywood in an effort to regain the lost soft power and We're gonna just talk about a bunch of other subjects with him. So Roger I was really captivated and I love Joe good friends with him But be captivated by your interview. I've actually I never watched his interviews twice. I watched it twice I'm

06:26 a underpinning of so much of what's going on, where you think it's going, kind of your 35,000 foot view. And then you've got the floor to go through these topics starting with predictive programming. But again, thank you. Thank you so much for being here with us. Find you on X at Avery, A-V-A-R-Y and Avery.com. So Roger Avery, thank you so much. Thank you. First of all, you really summarized everything that's on my mind right now and that I'm thinking about and that I'm noticing not just in Hollywood but in the world in general. And secondly, I want to tell you that when people found out that I was coming on your show, I suddenly started receiving calls like, don't do it, be cautious, you're going to get blackballed or whatever.

07:13 That actually made me want to go on it more. By the way, did this start only two hours ago? Because I was writing the show headline and almost didn't put Roger Avery in it because a lot of times guests don't come on because I announce right away, but then they get a bunch of calls. Yeah, I got the usual calls from the usual cast of characters, people trying to calm the narrative, I guess. But I've been a fan of yours for a really long time. I mean, to be honest, I've been a fan of yours since I think it was waking life that you were in. And I was like, who is that guy? And then when I started researching you and discovering you and then watching you over the years and realizing this guy speaks his mind, he speaks the truth as he sees it, the testimony of his eyes, and you take arrows like crazy. And you've remained steadfast.

08:12 I look at you as, I mean, somebody I think in your last segment said that you're the canary. What they mean is you're the canary in the coal mine. You're the guy in the trenches on the front lines speaking your beliefs. And there you go. I love this scene. And actually, I'm a big Linkletter fan. I am too. I mean link letter. I'm glad to hear that. I didn't know what your relationship was like with them after all these years and everything. But you know I think Rick is. of all the filmmakers out there right now of my generation that I think he's the best. I think he's the best of us and that he represents the best of us. I think he takes the greatest risks of any of us. I think- There's a dirty side of Hollywood, he's the opposite. Just baseball, America, apple pie, a true classic liberal, just a classy, just totally real guy.

09:09 Well, you know, it's crazy because we're right now in the Academy season and or the award season, I guess, as you might call it. And I think the Academy Awards are Sunday. I never watched the Academy Awards. In fact, I resigned from the Academy a couple of years back. And I one thing I did notice was of all these movies that are listed, I think there's some, you know, interesting movies made this year more so than recent years past. But I noticed that one movie was missing, glaringly missing for me, and that was his film Nouvelle Vague. And I don't know if you've seen it, but it's about the making of Breathless. And I think this is hands down, without question, absolutely the best movie of the year. And it's completely ignored by

10:01 academy. But then we have to ask ourselves what is the academy. Like what is this organization and it's a and what are these awards and what was the original purpose of these awards. And I mean you know I entered this industry very naive. And loving movies and believing in movies and I look at the cinema experience as a kind of near. Sacred Congregation you know you sit in a dark theater. You're you're sitting next to someone you don't even know who is maybe completely different than you. You know the different race creed religion like everything is different about them.

10:46 And yet you're sitting there next to this person in the dark and you're both sharing this kind of ecstatic waking dream looking at little stained glass windows projected on the screen. And we know humans are psychically connected. Princeton's now measured it with devices so it's really a communal psychic experience. Yeah, it's a congregational experience and I think it takes us back to church and even before church, back to the campfire where we're just sitting in the dark of night telling each other stories of our myths and traditions, just trying to get through the night. And so there's this really important quality about being next to someone, a real person, again, someone you don't know, and sharing this kind of invisible bodily electricity together as you share this waking dream.

11:35 And it's an incredible communion. It's an incredible communion. It's an incredible communion and it's a really important aspect of our culture. And I really believe that there are dark forces that kind of wish to separate us from the light. That's what the lockdowns were about. I mean, they wanted to make us depressed and isolated. Yeah, divide us up, lock us up into a room. You're a slave to some subscription service and you're watching things alone and then they can control the programming individually to you. And over the years, I've kind of watched as movies have transformed and changed. And maybe it's a function of my getting, becoming older and, um,

12:16 the world more because when I was young as I said I was naive when I entered into this business. I almost approached it like a surrealist. You know I I came in just believing that movies were about creative expression. I always knew that there was a certain amount of I think we can call it corporate propaganda because it's show business. But there was usually an equal part of personal propaganda. And you would have filmmakers putting their messages about humanism and about culture. So it was a trade off. You knew what you were doing, but it was still a trade off. There was something of a balance and and also the corporations you kind of there you knew that there they were just a slave to money. They just want to make money. That's the business part of it. You know the show part was usually something else. And and just over the years I feel like

13:08 because the technologies have changed the medium itself is transformed we've gone from film which is a- absolutely separate. Medium from digital projection or digital filmmaking and I'm not saying one is I'm not trying to create an argument where one is better than the other necessarily I'm just saying they are different. There is different as oil paint and water color paint you know oil and water completely separate. And yet they're both paint. Except well one is so just to dumb it down one is so disposable because it's so quick and there's so much of it just going back to film because I was involved

13:47 like you were performing, literally three quarter inch tape, very precious, with film, 35 millimeter, didn't have any money, could only shoot it one time, had to get it right. And so there was something magic about that it was limited to capture this, it made it so much more powerful. Now with digital, you can do it over and over again, and you'd think that would make them do more takes, we now learn they're doing less, because they don't even give a shit. It's like they're not pouring their soul into it. They don't even cut in between takes because the video you just run. Well, first of all, directors now they'll delete takes like they're deleting an email. There's no real respect for the moment. We used to say, I'll see you in the moment.

14:28 And what the moment was was after all this intense preparation on set and getting everything just right. And the actors are often their trailer or in a room somewhere you know running their lines in their head and getting ready. There was all this like excitement built up. And then you would get there in front and then. You start hearing the camera running and you know that you're spending like four cents every frame and as it's whipping through the camera, and you know that you're burning money in that moment. And in that moment, you suddenly pop into another reality and you perform. And- Because there's two or nine, I mean, I've not been involved in a film like you have. You didn't even have it. But maybe take Linkletter.

15:07 When we did Waking Life and the computers were crashing later and they had trouble doing it rotoscope back then. It's so easy now. But I remember later they called me down when they were actually going to pick the scenes because he said just say whatever you want. And the first take he goes, that's so good. I usually do at least three takes. because it's true, do it one more time. And then they sat there in between all their being busy six months later, he calls me and he goes, I want you to sit here and look at this. Which one do you think? Because we spent days watching these two tags. We think it's this one. But what do you think? I said, yeah, it's obviously that one. But they still spent days just deciding, even though they already knew the first take, which was stream of consciousness unedited.

15:43 was the one, they still spent two days watching it and asking other people. Now, like you said, they don't even give a shit. It's totally changed. Well, you know, it's funny. The people look at Waking Life and you think, oh, it's just computer graphics and it's like a filter, but it's not. That movie was, you know, the rotoshop process was developed by a guy named Bob Savastan, who was probably sitting there with you at that time. I remember he was there. He was actually there. Yeah. Yeah. And they would hand paint. It's all the hand of man is over every single frame of that. And I think that people are as filmmakers, we're constantly trying to capture dreams on because a movie is like being able to look inside of someone else's mind and to see their dreams. When I watch a movie by Kubrick, I'm watching Kubrick's dreams on screen. And with this movie, he captured dreams better than, you

16:36 you know better than most in every many have tried you know Polanski does dreams very very well but but waking life in particular I think was just such an amazing. Experience of and such an experimental film. And and and right now you're showing a scanner darkly which was his his other movie done like this which I mean. I just think Linkletter through the years, you know, with what was the movie Boyhood and where, you know, he's shooting it over a long periods of time. He's doing stunts in movies that we just, you know, you dream about doing these kind of things as a filmmaker. And he is consistently doing it, whether he succeeds or fails, you know, at the box office because, you know,

17:25 Sometimes your movies don't work with a general audience at first. He's always trying these amazing stunts. This film that he's recently done, Nouvelle Vague, which is about the French new wave of filmmakers, What I loved about it is that it was completely disconnected from any of the politics of our time right now or of any of our current issues. And it is a movie that is purely about cinema and what it means to become a filmmaker and the evolution of Godard as he was becoming a director and how everybody views you as you're doing it and the kind of

18:04 approach you take to you know toward making a movie. And so they're just examining a topic instead of trying to make it political. He's not making it political at all. I mean, there may be some kind of politics in the movie, but what he's doing is he's really analyzing the French New Wave filmmakers and putting it all into context. And I learned things. I mean, I've studied, I've worked in France, I've made two films in France. I'm friends with all sorts of French filmmakers. I've read about the French New Wave. And I'm watching the movie and just seeing how he put the whole thing into context. I think it's one of the best movies about moviemaking that I've ever seen. And for it to be completely just, you know, brushed aside by the Academy and not considered just makes me, reminds me of what a joke the Academy Awards are. Would you say it's because he's not a toady and not part of Hollywood and just lives out in Bastrop at his ranch?

19:02 I mean, that might be part of it. It's difficult to say because he's also made movies that are like School of Rock. That may have been a very personal film for him, but it's also a very audience accessible movie that's for-. Or Days of Confuse was about him growing up in Texas. It's personal, but everybody likes it. Yeah. And so he has this innate ability that you know is he sometimes makes movies like what was it called was it called flags of your father's I'm trying to remember. Okay, this movie almost has no cinema in it. It's just him literally shooting because he knows he's mature enough to know when to step back, when to not let his ego get in the way of the movie itself. And so he in many ways serves the artistic statement that he's making and he's had enough success. I agree. Rick is so humble and it's not fake. He's like Obi-Wan Kenobi, he's like a servant.

20:03 Yeah, and I only know him lightly. I've only met him a few times, but I admire him more than anyone of my generation right now. I think he's the guy. When you look at his body of work and you look at the statements that he's made about humanity and who we are as a culture, he's a really important filmmaker. He's maybe the most important American filmmaker there is from my perspective. Well, Roger Avery and I think this movie that he's made is as important to cinema. It's like he's it's almost as if Godard were making a dramatic movie about the making of his movie while he was making the movie.

20:48 And Rick went out and he my understanding is that they shot it on 16 just in Paris, you know, with everybody in costume and everything. But, you know, Paris is modern now and you've got like dozens of cars in the background and that they just kind of used digital lightly to to change the background to make Paris. more to make it look like how it used to look. And he absolutely captures one, I mean, as I was watching the movie, my wife, I'm not sure she enjoyed it as much as I did. But she was watching, she was like, I don't know if I can enjoy this because I feel like I've lived this. I watched you go through that exact same process. And so for anybody

21:27 wanting to learn about movies the history of cinema the what it means to be a director and the what you have to go through to to make a film. This is this is the movie. And and so I mean I love it partly because I'm a filmmaker and You know, it's of interest to me. So maybe it's not going to connect with the reality of it. I believe that the Academy, you know, would it would ignore this movie as as they have and to show other films which are successful movies like, you know, for example, Sinners.

22:03 I can understand why that movie made money and why a general audience really ate it up. But I look at it and I'm like, okay, well, that's from Dusk Till Dawn. It's like from Dusk Till Dawn. I don't really see it being too much different from that film. I prefer from Dusk Till Dawn because I like Robert Rodriguez as a filmmaker. But it just looks like a repeat to me. And so for this movie to garner all the, I don't know, the nominations that it's garnered like what's really going on here and then we just have to remind ourselves what is the Academy Awards. Why did they start the Academy Awards. And the reason was is because they you know around this time of the year you want to get a little bit more juice out of your box office and you want to kind of

22:49 you know, punch the gas a little and so you remind everybody and you say, this is the best film. And then, you know, it makes a little bit more money. So it's purely exploitive instead of making by the art form that made it popular to begin with. We have four minutes to break. It has nothing to do with best picture. That's a ludicrous term to make for that awards show to make. I mean, even look, I won an Academy Award for Pulp Fiction and I personally love Pulp Fiction. But when you look at the other movies that we were up against at that time, I mean, Forrest Gump and the Kishlovsky film and I mean, Ed Wood, these other movies were extraordinary.

23:34 Personally, I think Ed Wood was my favorite film of that year. Again, it's another movie about movie making and in black and white. Maybe this is a thing. I think you were too close to your creation. Pulp Fiction was totally new and also exposed a lot of undercurrent that was real and just really hit people. Nothing had ever been made like that. It was truly avant-garde. Well, you know, it's funny because one of the things that it was the structure of the movie was one of the reasons people were considering it so avant garde in the moment and so timely. A lot of it is Clinton's execution of the film and how he how he approached the material because the actual structure you know when you look at I mentioned Kishlovsky before he had done a film called Three Colors you know red white and blue.

24:22 with Juliette Binoche and Julie Delpy was in white and then Irene Jacob was in red. And these movies are doing the same thing. There are three separate films where you can see in the background the other films taking place. They're all taking place at the same time. There are three movies about one movie. There was also the Jim Jarmusch movie Mystery Train which came out at that time which Like these are all like happening right at the same moment. Mystery train. You know it's three stories that take place in this hotel and you can hear this gunshot going off that you can use to synchronize the time within those three stories. And so it was kind of like you know an idea whose time had come.

25:03 And what really makes Pulp Fiction I think special was was you know I mean Quinn's voice as a director. You know he he he brought a very populist approach to the film and he is you know he I mean he as a as a film viewer and as a filmmaker he he always goes for what one what is proven. I think he he's he studies films and he figures out what is proven. What does the audience love. What does he love. And then he executes it. And some people say that's copying. But you know what it really is is when you're a young filmmaker you look to your parent filmmakers you look to your cinematic forefathers. Well civilization is building on what was best and innovating and making even better. That's what it is. Yeah well like you know when you're a child you look to your parents and then you copy and you learn how to be.

25:58 And then at a certain point, you kind of learn how to walk on your own. And, you know, with Pulp Fiction, he's looking to his cinematic forefathers. He's looking to, I mean, at that time, DiPalma, Scorsese, like there's a whole group of them that are like Quentin's parents. And that are, you know, and there's, from my perspective as a filmmaker and somebody who worked on Pulp Fiction, there's a bunch of filmmakers that I look to who were my parents. I mean, that shot right there of, Bing Raim's walking across the street. That's from Psycho. That's taken directly from Psycho. He's walking across the street. He looks into the car. He sees like, you know, that happens in Psycho.

26:36 And I wrote it because I like that scene in Psycho. Amazing. Roger Avery, stay there. I want to come back and get into current predictive programming. All the Satanism stuff on Joe Rogan. Incredible. It's amazing to have you. I listen to you all day. This is riveting radio and TV. Wow. And you can find him... Online at Avery.com and at Avery on X. I'm Alex Jones back in a few minutes. Stay with us. So CIA declassified documents last week. Operation Artichoke to poison vaccines, food supply in the water to Damas down to make us controllable. Now new documents about ESP control, how we're really electrochemical systems, liquid crystals, and the pineal gland, and how most people have microscopic to actual large worm infestations, not just from cats, you name it, like Kennedy has one in his brain, and they didn't tell the public most cancer, breast cancer, brain cancer is worms.

28:59 That's the amazing sound score from Beowulf that this guy made. What a great animated film. I love it. Roger Avery is our guest, ladies and gentlemen. And there we are, We Are Beowulf. That's from years ago. and Roger Avery reposted. So he's, he's here with us. I got so much to talk to him about here and I want to get into predictive programming and movies and, and you know, all of it, the stuff he wants to get into. But obviously I was already a fan of yours, followed your work, didn't know you were where my show and liked it. And then I see you on Joe Rogan and I kind of watch it, listen to the car and here and there. I said, I gotta just

29:42 Get on the treadmill and watch the whole thing. And I did. I was probably five pounds doing it. But just amazing because everything you were saying, I mean, I knew was accurate and almost no one else is saying it, but then I wanted you to be able to go on with more about how you knew it. So back to what I said at the start of the interview, and we went off at a link letter, which was great and real filmmaking. But sorry about that. But no, no, it was great. No, I'm glad we did it because I've experienced it and lived it. So it's my own experience. You kind of answered, you said, you know, early on you were just approaching it from your own perspective, hadn't been in the deep end yet. But how did you learn about predictive programming? How did you learn about the Satanism? How did you, and now you're on the biggest show in the world, Joe Rogan, talking about it. I mean, that was a big move. I mean, or maybe you talked about it before. What's the process there?

30:31 Well I mean several things happen a lot of it is a lot of these. There were a number of WikiLeaks dumps that you know that occurred and one of them was about Sony Pictures. And I started investigating and reading all of the documents that were suddenly available. And it was like suddenly I realized oh Like why didn't anybody tell me that's what the film industry is and I it was one of those things I always kind of I think I understood like you know one can think of Hollywood as being the propaganda wing of our government.

31:06 But something happened over the course of and it was probably during the Biden presidency where I started looking around and I started realizing that there was this kind of echo chamber in Hollywood. And I just definitely was not part of that. And then this most recent revelation with all of the Epstein papers coming out, and I started reading those as well. And then with what happened with COVID, and I had been working on a script about this virologist in Manitoba,

31:51 in Winnipeg. And I was writing a screenplay about her and she's a Chinese virologist who was the person who had developed the inoculations for leprosy. And it was a huge success, big huge success. You know, Chinese companies manufacturing all that stuff in California. And I was writing a story kind of about, you know, what it's like to be a rock star and you have a hit and then you're looking for your next hit. And I started noticing that and there was all these articles that have since been somewhat suppressed

32:30 I think it was in the Winnipeg Free Press or City Press, where she had been caught by the Royal Canadian Mounted Police shipping various copyrighted viruses like Hanta and all of them. Which by the way, appeared to be souped up versions. Yes, souped up versions and they were shipping them directly from Winnipeg to Wuhan on Air Canada freight. And then the Royal Canadian Mounted Police, you know, there was all the, you know, they have to, you know, everything's published, but they've redacted who her financier was. And when I started doing the research on it, I realized, well, it's one of three people and those guys are, they

33:12 the obvious people who you would think. And then suddenly I started realizing this is really nefarious. And then when Covid hit and they left the Kowloon Bridge open on purpose during Chinese New Year when this was happening you just kind of allowing everybody to flow out. And you know all the stuff that was happening during that time it was like this is intentional. This is you know The first time it's happenstance, the second time it's coincidence, the third time it's enemy attack. And I started realizing, we're under enemy attack. And then the way our own local California government was behaving at that time, how they were quarantining people on army bases, but then allowing people to go in and out of those quarantine areas. It was almost like no one is that stupid.

34:03 And yeah, that was her. And so I was writing a script about her. And so I started realizing no one is that stupid. This is intentional. We're intentionally doing this. And then everything just kind of look at this ridiculousness that we that we went through as a culture. And this was so it hammered on us and damaged us so badly. And then I started realizing because I'm a movie guy that you know that there were there were clues. There was the Soderbergh movie that had come out, Contagion, where basically they are talking about their, is it cautionary? Are they cautioning us that this is gonna happen? Or are they preparing us that it's going to happen through revelation of the method? And then the documents come out that it was psychological warfare run by the Defense Ministries Canada, the US.

34:55 the UK to scare us to create this new civilization to train us for carbon lockdowns in the future. So you, like many others, were already somewhat awake, but COVID and all of it with what you already knew was so obvious. And now it's confirmed that that pushed you over the edge. And they thought disease X and all their Rockefeller documents going back 30 years would bring in their world government. Instead, they now admit at Davos, it's destroyed them. It's discredited to them. No one believes anything they say now. Yeah, and thank God. I mean, this was an attack on the people. And I'm one of those people. And so when I kind of realized this and what was going on, and then I started looking around and all my friends and everybody, they're all just happily getting shots. And now they're just dying left and right. And so when this started happening, I started, I think, forming a much heavier distrust of authority.

35:55 And then I started thinking about it. I started looking at various movies and seeing the patterns and how it happened. And I think the one that I mentioned on Joe Rogan was Fight Club made by a guy who's a commercial director. They hired a guy who makes commercials to make a big commercial that is effectively selling what's gonna happen. And the movie itself is a manifesto. It's a manifesto about bringing down the financial system. And, you know, buildings all collapse. And when you look at what happened one year after Fight Club came out, it was 9-11.

34:55 the UK to scare us to create this new civilization to train us for carbon lockdowns in the future. So you, like many others, were already somewhat awake, but COVID and all of it with what you already knew was so obvious. And now it's confirmed that that pushed you over the edge. And they thought disease X and all their Rockefeller documents going back 30 years would bring in their world government. Instead, they now admit at Davos, it's destroyed them. It's discredited to them. No one believes anything they say now. Yeah, and thank God. I mean, this was an attack on the people. And I'm one of those people. And so when I kind of realized this and what was going on, and then I started looking around and all my friends and everybody, they're all just happily getting shots. And now they're just dying left and right. And so when this started happening, I started, I think, forming a much heavier distrust of authority.

35:55 And then I started thinking about it. I started looking at various movies and seeing the patterns and how it happened. And I think the one that I mentioned on Joe Rogan was Fight Club made by a guy who's a commercial director. They hired a guy who makes commercials to make a big commercial that is effectively selling what's gonna happen. And the movie itself is a manifesto. It's a manifesto about bringing down the financial system. And, you know, buildings all collapse. And when you look at what happened one year after Fight Club came out, it was 9-11.

36:34 And then you start looking at well who produced Fight Club and that was Arnon Milchan. And Arnon has openly admitted this is not me saying it, this is him saying it, that he's a Mossad guy, he's a Mossad agent and an arms dealer. That's what Fincher used to call him was, my movie was produced by an arms dealer, like jokingly. And, you know, so then I start looking at Arnon Milchand's other movies. And he did this movie called Medusa Touch with George C. Scott. I think Lee Rimmick is in it. And in that movie, again, airplanes are crashing into buildings. And, OK, so then I think I mentioned on Joe Rogan that at one point very early in my career, I had been through John Milius,

37:22 brought in on a little D.O.D. weekend where we were all going to get together and they got a bunch of writers together and they put us in a little tiny ballroom type thing in Long Beach and we all wrote scenarios for how to attack Los Angeles. Under the guise of, if we come up with ideas on how to attack Los Angeles, we can come up with preventions for it, which sounds good to me. But again, I was young and naive at that time. And as I look back on that, I realize how nefarious that was. And now- By the way, because I remember articles 20 years ago that even came out, I'm kind of jumping the gun, I don't know if this is what you say or saying,

38:03 where it turned out they were telling top writers, maybe it would have been you they're talking about, at these DOD funded camps where you thought you were fighting terror, that they were actually going to use that for scenarios for training and or false flags. That's exactly what it was. And so I was, when I started putting all this together in my head and realizing what a useful idiot I had been throughout much of my career. They got a top writer, one of the best in the world, for free writing them scripts for stuff they want to either psychologically say or do. Yeah, effectively for free. And so that was kind of like a third eye opened up in my head and I started

38:50 realizing all of this. And this was also at a time where I started approaching my faith in a much deeper way and my belief in God in a much deeper way. Like there it is, 9-11. So this is the revelation of the method where... Two years before, they did it on The Simpsons and everywhere. And people ask how I predicted it. It was a lot of things in the media saying Bin Laden's gonna hit us and all this. I knew the FBI had helped bomb the World Trade Center in 92. I interviewed Amman Salam. So I had all this data, but then I started having nightmares of the towers on fire being blown up. And it was the collective unconscious. It wasn't that I was, my unconscious was more powerful than my conscious. So I just said, they're gonna blow up the World Trade Center, they're gonna blame Bin Laden, they're gonna fly planes into it. And I didn't even know that right around the time I was doing that, because I didn't watch a lot of TV,

39:44 They had a lone gunman X-Files reboot where the government hijacks a jumbo jet, a small group to fly to the World Trade Center to go to war in the Middle East in Afghanistan. And then I got a few years later contacted by Chris Carter, by some of the people on the show, never met him in person but talked to him email on the phone. And they said, listen, the CIA came to us at parties and said sometimes, You want to do a story on this. So instead of Chris Carter writing a story for them, they came and gave him the idea. And people, when I talked about it, said that's a lie. They talked to Carter and he goes, no, Alex Jones is a good guy. He's not a racist like they say. This is like 2016. He goes, and that did happen. So again, how crazy is that?

40:25 Yeah, exactly. And by the way, you know, it seems like a lot of people when you get to a certain level, you start having a handler, you start having a CIA handler. And I got to know mine. And he's a pretty nice guy. Wow. Tell us about this. Well, I mean, I'll tell you about this and other things. I mean, you know, once you befriend the people of let's say, and you start getting on people's radar. At a certain point, it's like, you know what? It doesn't cost anything. Let's put somebody on Avery, and let's watch him. And just make sure that Avery is remaining in his predefined frame, and not deviating too far from it. And so I think that's a good

41:18 There's a group of guys actually and you know to begin with and you know you get to know these people and you know for a while I was paranoid about it but then I kind of got used to it and I realized that you know just. I don't know if I'm still on any list, or need to be watched. Probably more recently, I am, but I get calls from him every now and then advising me on stuff. And saying, hey, you might not wanna talk about this. Why not talk about this instead, and stuff like that. And-. I remember former NSA and CIA, what was his name?

42:03 Michael Hayden in a speech like 10 years ago goes, we don't just we don't spy on bad people. We spy on interesting people. Yeah, well, and they told me at one point, look, don't try to lose us because frequently your surveillance will be there to protect you. You know, that gave me a scenario where this had happened once where some guy got jumped by a gang and they had to move in to protect their, you know, because they're surveilling. No, I had to see, I tried that with me. They're like, they're like, hey, your wife's cheating on you. Here's the hotel. And I'm just like, and I go there and it's happening. I'm like, God, they're like, we want to help you now. See, see how the surveillance is good.

42:42 I shouldn't have told that story. Oh God, I'm out of control, folks. But this is how it works. We're here to serve you. We're here to serve you. And it's all part of soft power control. I got invited to this dinner that was being thrown by a bunch of the Palantir guys. And I go to this meal in a private club, in a big private room with a banquet table. And there's all the people you would imagine would be there. Like there's the Top Gun guys, and there's so and so, and there's this director. And I was thinking, why am I here?

43:17 And basically they got up and they made a very good speech, which was what happened to, and it was actually Shyam Sankar, the CTO of Palantir, got up and basically made a plea. What happened to the American cinematic universe? And he was He wrote an essay about this called the American Cinematic Universe. What happened to the Hunt for Red October, Die Hard, these movies that were supportive, one could say of Die Hard, supportive of law enforcement, even though it kind of makes fun of the FBI and even though it's making fun of the goofiness of the LAPD and stuff like that.

44:02 It looks at the individuals of law enforcement and it makes them the heroes of the movement. It humanizes them. It humanizes them. And then you look at Hunt for Red October and it's about a CIA analyst who basically has to like drops himself into the- the Arctic Ocean to be able to board the submarine so that he can help stop nuclear war because they're trying to create this handshake between the Russians and the Americans through Sean Connery's submarine captain turning over this submarine. And so this is like, I mean, it's a Tom Clancy, I think it's a Tom Clancy novel.

44:41 You know, this is Hollywood doing what Hollywood did best, which was- By the way, I knew the CIA manager that gave them the classified info on real things that happen that's based on, that's Steve Puccini. Yeah, yeah, exactly. And so all of his stuff is based on actual documents and these scenarios and stuff like that that they read. And so their plea was like, look, we're gathering everybody together because this is what we want to do. We want to regain soft power because somewhere along the way, soft power got co-opted and taken control over by this other group.

45:21 And you know I have a very powerful director friend who I'm very close to who kind of was laughing about it and he said oh I because I said oh yeah there's probably a dinner going on in some other room somewhere else in Los Angeles with another group and they're trying to do the opposite. And he laughed and he said oh you mean like knocking over the apple cart you know playfully. And yeah, and so that's when I suddenly realized, my God, there's all these power groups attempting to control narrative. I mean, I always thought movies were just movies. But-. That's why I was told when the richest guy in the world at the time, through a whole nother meeting about lawsuits, like eight years ago, got me to this thing of this high rise like Howard Beale Network. And they're in there and it was off record, so I won't say the names.

46:10 Listen, we're actually a good group. We want you to work with us and we'll fix all this course was all BS But it's the same spiel. They're like we're worried because you keep controlling narratives. We want you to do our narratives I'm like no they said we'll get ready to be sued and that's what happened Yeah well I mean it's all about narrative control and it's all about capturing the audience and then programming them because people are very simple and you can and I think the data was that like a third of the population and it's probably more now that COVID has happened and fried everybody's pineal gland, calcified it and everybody's like has limited thinking powers anymore and

46:52 it's like it's changed people, but they basically have said, now you can control about a third or more now of the audience. Because people are just very basic, they're monkey see, monkey do. If you tell them about, if you program them to believe, for example, men are women and or a bunch of the DEI stuff, they'll believe it. If you put a non-binary couple, which is not the term, couple on screen, they'll believe it, they'll imitate it. And so you do this enough and people will imitate it. If you put a nuclear family on screen, people will imitate it. People, a certain- And they're giving us stuff that destroys civilization. And that's the thing is,

47:42 They've broken the social contract to make us more controllable. Like you said, about a third of people are literally robots. We're worried about a robot takeover. We already have it with humans that have become basically robots. Yeah, yeah. And people will, you know, argue for things that are completely illogical. And it's, it's, it's unreal actually how people behave. Have I frozen? No, you're back. You're great. Listen, this is incredible. Please continue on. We're so blessed to have you. It's amazing, Roger. Roger, let's- So I saw this movie recently that really pissed me off called It was a movie by this British dude. Let's do this Roger. This is so important. Let's reconnect right now. And we've got the whole next hour. If you can do at least 30 minutes, I want you to, we're going to reconnect with you right now. It has been amazing quality until now. It's actually frozen and your audio is starting to go out. So let's reconnect with Roger Avery right now. This is, you're getting exclusive top Hollywood writer,

48:39 your top producer, top director, like Krim Dalla Krim is telling you all this as he's waking up to it. And we're all waking up to it. I'm telling what's happened to me and I told personal story that is embarrassing and true. And it's happened other stuff like that. It's like It's crazy. And they're watching everything I do. And then it's like unknown number. Hey, we're going to send you a link to this hotel. Here it is. Go there. Boom. It's true. And I'm just like, wow. They're like, yeah, we're your friends. Exactly what they told him. And how do you say no to that? I have, but it's like, it's this, it's like God, basically it's not the equivalent, but like a sub thing. It's like, well, you guys got magic powers. No, they have the surveillance grid and boy, can it do a lot of stuff for you if you're in the club, you

49:22 You see, and people, a lot of people go, well I'm gonna be in this club then. I'm gonna do this right now. I mean, my God. But that's what finally pissed Snowden off is his CIA handler was watching him and his wife bang. And telling him about it, and oh yeah, your wife's mad at you right now. And it's just like, that's not your right to do that. And now it's come out that of course, the Metaglasses, whatever AI flags they have to watch. And so they have contractors in Kenya watching dudes on the toilet have sex with their wife, spanking their kids, whatever. And what do you think these things are? It's a palantir, it's a crystal ball, it's two way. Whatever Gandalf walks in and Soromon has got a palantir, he goes, what are you doing?

50:07 Soran can see us through this. He goes, why should we be scared to use it? And the point is there's this godlike power now, and that's what you're talking about. Please continue, but when did you with Rogan click to your analysis of the spell runner, the mind control, the Satanism? Well, it was when I started reading the obscene documents and I started seeing what was inside of them. And I was shocked and I couldn't believe it. And I started telling people and people don't wanna hear it. And so then I went on Rogan and I talked about it. And I talked about these revelations of the elites at a very high level. And we actually know the basic number of them as well.

50:50 are doing human trafficking, human rape, and human sacrificing of children because they're the closest to God. And when I read this, I mean, it's unthinkable. You don't want to believe it. And so I mentioned it on Joe Rogan. But I also mentioned that I was starting an AI company. And what shocked me is after the show, more people wanted to talk about the AI thing and more people were upset about that I was starting an AI company than they were about this nightmare of elites eating babies.

51:29 And so then I started thinking about why, why is this happening? And I mean, we've seen people who have spoken about it, who have been, who have participated in it and who have left. It's a kind of, It's an initiation that you go through to become a confidence initiation that you go through to become part of a team. And that's when I realized that this is not something that's unique to the elites, that human nature involves these kinds of hazing initiations. Or else we wouldn't see it happening since childhood, like a bunch of boys get together and kill a squirrel or something.

52:24 If you're not part of that group, if you're the one kid who's not part of it and you recognize that it's morally wrong and you separate yourself from that group, you are now outside of that group. If you're in a fraternity and you don't go through the hazing initiation, which who knows what that is, you are now outside of that group. And so we have later-. If you don't screw the pig or the goat, you're not in the club. You know, there was a really great movie. In fact, it's my favorite Ridley Scott movie of recent memory. It's the only movie of his that I really, of recent, you know, of his recent films of his last four or five movies that I really, really liked. Hold on, stay there. It's a two minute break. Roger Avery, next hour coming up. Please stay with us. I'll tell you about it right afterwards. Yes, sir. Again, amazing interview.

53:11 You got a top writer, top director here telling you how to carry the cabbage at Avery on X, Avery.com. Back in two minutes, everybody you know, tune in now. This is important. Stay with us. I'm making this announcement on Tuesday, March 3rd, 2026. You have until the 17th of March to take advantage of the March mega sale at theavreshowstore.com. This is one of the biggest sales of the year yet. Up to 40% off store wide. 25% off on the shirts, on the hats. 10% off on things like the collectible knives and up to 40% off on supplements like Ultramethylene Blue. And the more you buy, the more you save. These are incredible products. You've seen the rave reviews. You've seen the five-star reviews. These are the very best game-changing supplements available, period. Again, I only sell things that really work.

57:33 where evil is always there but it's a neglected, controlled, suppressed thing not put in the driver's seat. Roger Avery got interrupted when his Zoom cut out earlier. He was trying to get into pretty good programming why the movie Civil War made him so mad. But Stacy's joining us in five minutes. Let's do that then. We're finishing up a point about waking up to the Satanism. Please continue. Well, I mentioned the Ridley Scott movie. The Last Duel, my favorite film of his recently. Oh, I love that movie. Three different perspectives. It's a Rashomon story, which is like the Japanese Kurosawa film Rashomon, where the same event is told from different perspectives. I agree, that is his best film. Not Alien. That movie, I watched that movie like eight times.

58:20 I think that movie is this century. It's one of the best films of the century. And I think he's you know, he kind of goes astray. I did not like I have not liked a lot of his movies and I was going through and watching rewatching a bunch of his films and I was not liking Napoleon and I was not liking Exodus and I mean all these movies I just wasn't connecting with and then I had avoided the last duel Mostly because I thought it was just gonna be this sort of joke and I love this time period. So I finally put it on and I was blown away by it. Okay, so it's the movie- And the best part is it's a true story. The best part is it's true. Yeah, and it's based on a book and it's written by Matt Damon and Ben Affleck. And no matter what you think about those guys, they're smart guys. Am I wrong though? Isn't it based on a real story?

59:08 Yeah, well, I think it's based on the last duel that was ever allowed within the feudal system in England at the time. But it's dramatized, of course. And OK, so I'm watching the movie, and I kind of stayed away from it because I saw Ben Affleck with the blonde hair, and it looked like a joke. But then when I finally saw the movie, the movie is written by Ben and Matt. And they wrote it together, and inside of it, It's an understanding of how Hollywood works and Hollywood because it hasn't changed. Hollywood like the court in the last duel.

59:44 If you're not part of the orgy, you're not on the inside. It doesn't matter how true and noble you are as a soldier. It doesn't matter how pure you are. It doesn't matter how well you fight, even against insurmountable odds. Because Matt Damon's character, who I really identified with, he at one point goes off to fight a war and they lose miserably. But it's not his fault necessarily. He is trying, he charges when nobody else will. He's a good leader and he really believes in it. But he's kind of a, like he doesn't, he doesn't play the court thing very well. He's not fun. He's got a wife. He won't be fake. And it's almost like not as good as this, but Ford versus Ferrari, the other true story where the best driver is told to lose.

1:00:29 Yeah, yeah, exactly. And so basically what they're saying is if you're not part of that orgy, if you're not like there with the prince or the king or whatever, sharing sex and entangling with each other on a bed, you're out. It doesn't matter who you are, how good you are. You're on the outside. And defeating enemies for France doesn't matter if you don't have an orgy. Yeah, they're talking about power and they're talking about what it really means to be in power. And it doesn't matter how true and noble he is. They take his land from him and they give it to the other guy. And it doesn't matter how good of a friend he is because as I was watching it, I was thinking, and then they take his wife. Yeah, exactly. And I was thinking kind of like Adam driver kind of like, but that's a repeat of the business. That's a repeat of rollerball.

1:01:23 I love rollerball, the Norman Jewison rollerball, not so much the- James Caan, he's the top guy in the world, most popular, but the executive wants his wife, so he has to give them to her. Yeah, and also, he believes in the game, like just the way that I believe in film and movies as a kind of- Stay right there, we gotta go on stage, let's talk about it. They wanna steal our essence, they wanna steal our art, they wanna make us- Yeah, absolutely. Well, they wanna steal your voice. is what they wanna steal. And with me, I learned they don't just censor you, they then misrepresent you. Once you're silenced, they create a counterfeit and that is the worst part of it. They create an avatar of you that's not you. We'll be right back in 60 seconds. Amazing. When they make a $300 million movie and release it during the election year 2024 called Civil War based on leftist uprisings and killing a Trumpian figure, they're not doing it as a joke.

1:02:19 When Obama produces a Netflix film, Leave the World Behind, what is the point of that? Roger Avery, one of the most respected writers, producers and filmmakers in Hollywood joining us today, taking it to the next level. What is predictive programming? Why does this film Civil War make you so upset? Well, I mean, Leave the World Behind is another one where, you know, this is our former president who is making a movie that is effectively advocating leaving the world behind.

1:02:56 Okay, why is he making that? What compels him to make that, to have the little girl and say, daddy, I don't trust white people and stuff like that. That's really putting something out there that people are gonna listen to and pay attention to. And then I saw this movie Civil War and it really enraged me. It was everything that I was afraid that it was gonna be, which, made by a British guy of all things. And look, I like Alex's movie, Ex Machina, and I admire him as a writer. He's done some work that really interests me. But if you wanna make a movie about the collapse of everything, go make a movie in England about the collapse of England and the shit that's going on there. You're like, don't do this.

1:03:44 And so I'm watching this film and especially having Nick Offerman playing what I'm presuming is a kind of Trump stand in this kind of cartoon character of a president, cartoon character playing a president, and standing in for him. And then making this movie that does nothing but kind of visualize collapse of the United States and this battle that takes place to, and the ultimate statement being, don't let them kill me. And that's enough for the journalist. And the idea that the journalists

1:04:22 Who I think in this day and age are villains. The journalists are the heroes in this. And so everything about this movie was like a kind of program, a kind of statement. And I despised the film. And I looked at it and I thought this movie is attempting to collapse our country. It's attempting to prepare everyone for this kind of this vision to occur. And Alex, I think, has said, well, it's, you know, I'm viewing everything from a neutral stance. And I didn't feel that at all. I felt that it was an attempt to will it into being. At lesser magic, which the Satanists do, they'll tell you they show the thing in play before they do it. They believe it makes it happen and it gives it more power once they do it.

1:05:14 And then you have the Podesta plan that if Trump won, they would actually do this and have the military turn against Trump. But now they've tried it. It's not an endorsement of Trump. He's doing some things I don't like right now. The point is they are literally pre-programming this and admitting it. Yeah and they're willing it into happening and they're showing everyone an example of what it would be so that again the revelation of the method you see what's what's there and and it makes it OK for it to happen. And it's a it's a form of also predictive programming. Yeah, you started to get it on the show, but then he, I do it too. He cut you off on another subject. Elaborate because I've studied the Graham Grimloirs, black magic, all that stuff to understand these people. They talk about, you have to show them, you have to tell them that's metaphysical rule. It also gets them ready. Uh, and then it makes it even more powerful when you actually do it. And, and, and then you realize that they're doing this. Uh, speak to speak to that if you can.

1:06:12 Well, we live in a universe of mind and the one thing I've started to realize is that these kind of forms of spells, this magic is real. When you believe something enough, you create a reality. Yeah, we call it a spell. What it is is a narrative to control your mind and we can build incredible things. So it's a program. It is a program. You select it, you project it, you expect it, and then you collect it. It's the spec method. And it actually works. And so people who are using it for, you know, there's good spells and bad spells. And there's spells that are promoting humanity, and then there's spells that are disintegrating humanity. So we're talking about self-fulfilling prophecies. When people are

1:07:00 you know- doing sacrifice whether it's human sacrifice or animal sacrifice. The reason they're doing it is because it works and do and we see that that it actually works inside of the Hollywood system. That it becomes supported and whether that's just- a corrupt system supporting the people that accept this kind of perspective. Or whether it's actually altering the quantum reality as we know it. You know that's debatable. But the fact is that it works. And so- Bottom line, it's a litmus test. Will you go against humanity? Will you do horrible things? It's just, it's a test.

1:07:37 And Hollywood has been built on, the bread and butter of Hollywood is built on wrath and revenge and stimulating these ideas inside of people. And it was something that I believed in for a good portion of my youth as I was trying to push the ceiling as an artist. And at a certain point, I started to realize It's you know you can make a movie about revenge and be a mediocre filmmaker and people will say that you're a master because you're supporting that message. OK. You try to make a movie about forgiveness which is the opposite of wrath. OK. That's really hard. Like to really make a movie about forgiveness. That is

1:08:19 If you do that, you're a master. And when I started watching this show- So is that why The Passion of the Christ is so successful? We want movies about Brazilians. That's one of the reasons The Passion of the Christ is absolutely so successful is because, and Mel Gibson is a master, because he's continuously tried to make these movies that, I mean, Passion of the Christ, it doesn't hold its punches back. It's like an Italian giallo movie. That movie is, I had to turn from it at times, and I have a pretty high threshold. But it was ghastly watching that show. Very gritty, very good feeling. I started watching The Chosen and I think The Chosen, this guy Dallas Jenkins who directs every single episode, who has gone against the Pharisees of Hollywood and made it completely separate and done things that you're told you're not allowed to do, like directing every episode of a show.

1:09:10 Shepherded this story of the Gospels and told the story like the TV show Rome. He's told it from a very ground level perspective so that we can identify with the characters. That's the same guy that made Rome? No, it's like Rome though. Who's the guy that made Rome? He came and visited me and wanted to make a film with me. Great guy. Who's the guy that made Rome? It was buried at Sharon Stone. Doesn't matter. He's another great guy. Well, I mean, Milius was one of the progenitors of that project. So I consider it Milius. But I'm trying now to remember the name of the actual showrunner guy.

1:09:50 The thing about The Chosen is we kind of know where it's going. And he's making an episode about forgiveness essentially every week. And we've been able to watch him develop as a filmmaker. And I have the greatest admiration for this guy because he is truly a master of this kind of storytelling. And it is very, very difficult to do. Ridley Skye, one of the examples I used was the movie Revenant, which is about a man Trapped in nature, he's isolated. And it's a true story. Nature is trying to kill him. Yeah, again, it's a true story. Nature is trying to kill him and he's doing everything he can to get back to civilization and he's doing it for revenge. Like that's why he wants to go back. And this movie is very widely received, Academy Awards, blah, blah, blah.

1:10:38 Okay, there was another movie that same year directed by Ridley Scott about a man isolated in nature. Nature is trying to kill him. He's trying to get back to civilization. And the reason he's trying to get back to civilization is forgiveness. And that movie was The Martian. That's a much harder movie to make. And it's also a much more difficult movie to accept because audiences, the serotonin levels get easily stimulated by violent imagery, which is why we've seen television go from a place where you go to return to be comforted by characters that you love to television where we get you to love a character and we

1:11:19 mutilate them in horrible way, we vivisect their genitals on screen and that makes you horrified and you think you've seen something catastrophic and I'm talking about Game of Thrones and Walking Dead. Exactly, when you show him something super violent, like take my grandfather, my dad's dead, he was both my grandfather was in the Army Air Corps, but he was a bunch of missions out of North Africa and then Spain and then Italy and Germany volunteered a bunch and then he was running like food canteens and stuff as an officer after that But he would go to movies with my dad and if there was any violence, he'd say we're getting up We're leaving he liked to go watch like, you know Dumbo and stuff and it wasn't he was a wimp He'd seen so much blood and death. He took it like death isn't a joke. You can't turn it into entertainment and

1:12:08 What happens to our synapses as we see simulated murders and death, it basically hits us so we think we saw something powerful, but it's a cheap trick, I think is what you're saying, because it hits that level, but it wasn't to the higher levels of our consciousness. It hit us viscerally, so we think we just got a meal, but it's like cotton candy, it's actually poison. Well, and by the way, there is death in Dumbo and in Bambi. These movies, they dealt with loss and significant loss, but in a human way. And so, and the story of Christ in the Gospels, as Dallas Jenkins is telling it, is leading to this moment, this horrifying moment. And as you've come to love the characters,

1:12:55 you start realizing what's coming. And how- And it creates that real empathy. You have to earn that. You have to earn that. And I feel like just pushing serotonin levels for the sake of doing it, which I've done as a filmmaker. And I'm not necessarily entirely proud of it. But you're saying it's the easy path, it works, but it literally art controls society. You keep doing this, you get Satanism because that's where this goes. And it's one of the reasons I admire Linklater so much is because he seems to be somewhat separate from that and immune from that. He approaches movies from a humanist point of perspective and point of view. And- Yeah, when I was growing up, I got mad at musicals and love stories.

1:13:40 and comedies that they were wimpy, because I was all about the serotonin. As I've gotten older, I'm like, oh, I want that. I want a refuge. I want to be happy. And in truth, it's not bad to have a balance in cinema. But something has happened along the way where the scales have tilted. And I now realize that if you want to be a groundbreaking filmmaker, if you want to push the ceiling, you've got to push the ceiling of forgiveness. You've got to like you've got to preach forgiveness and love. That's right. We've hit the maximum of torture and death and hostile and you know. All that stuff that that that now it's the other way is what you're saying the revolution it's numbing people it's it's numb us to to those horrors of life and simultaneously we're receiving these kind of predictive programming messages which seem to be supportive of it and simple minded.

1:14:32 monkey see, monkey do people will immediately follow that. You put the message out there to somebody to behave a certain way, they will behave that way. Somebody will. And I just now realize as a filmmaker, and it's caused me to have a little bit of a loss of standing in the Hollywood system. I no longer have an agent, for example. I'm no longer a member of the academy. But that's a good thing because the Hollywood has collapsed. So there's a whole new system forming. Yeah, yeah, it's true.

1:15:06 truly a whole new system. I mean, it's the paradigm has shifted and we're moving into individuals able to produce at a very high scale. And there's a lot of talk about AI and people are afraid of AI. Yeah, well obviously I've never used a tool, a gun's good for good or good for bad. But obviously we use AI here. AI for independent groups. What is the good side of AI? You've talked about that. AI filmmaking. Well the good side of it is that it's going to democratize the filmmaking process so that the individual can now make you know it's always great to be on tour. You can take a writer's vision and literally do something that would cost $100 million.

1:15:51 Yeah and I you know I think what this is going to do is it's going to not remove the artists from the equation because I started an AI company it's a technology company and what I'm realizing is you still need artists. What it's going to get rid of is the gatekeepers the velvet rope people the you know the cock blockers so to speak. Those people are going to lose their jobs. The executives who really perform nothing other than to say no to everybody, they're going to lose their jobs because they operate out of fear and they're parasites. And I feel like the Internet would suppress it and slam us all. It's backfired on them just like they thought. Correct.

1:16:29 You know people to be afraid of AI is to sort of like to be afraid of digital video when it first came out. And what I recall. No no I agree. Listen to me. Why do I say embrace it. Take it over. I want distributed. I want a thousand a million AIs. What I want to stop is centralized which we know they've been trying to do. We need wild wild west. Well, and we're getting there. The new AI models are, I mean, there's technology breakthroughs that are allowing the kind of generative video that we see at the highest level that will be able to be done on your laptop computer. And so what it is, is it just means that as a filmmaker and as an artist, as a cineist, you'll be able to visualize whatever is in your head and put it on screen.

1:17:16 You know, in the early days of computer graphics, people were wild with computer graphics and they did all sorts of crazy stuff that they were showing off. Eventually it calmed down and it balanced out. And we started seeing guys like, I think Zemeckis is an outstanding filmmaker. And he was largely using it in an invisible way where you didn't even know that you were seeing something that was-. No, that's right. It's a tool and it's how we approach it. They want to tell us it's scary and totalitarian because they mean it for that aim. They don't want us to go pick up the Promethean fire ourselves. Exactly. And you know at the end of the day it is always about the artist. You know I watch Star Trek a lot and they have a holodeck on there and the holodeck is run by a computer and it's got computer generated characters that appear to talk on their own. But in that world in that paradigm they still have hollow novelists

1:18:08 who are effectively in control of the narrative that's being told on the holodeck. And, you know, I've noticed that most technology seems to be copying what we see in movies, just like predictive programming. You know, the iPhone that was on Star Trek, the computer talking back to us that was on Star Trek, because we see that and we're like, I want that. And then some clever guy or girl figures out how to make it. Just like Genesis tells us we're not God, we're made in the image of God who is a creator. Which people try to say AI is superior, we built it. No! We have to realize how amazing we are.

1:18:46 And people talk about, is it a demon? Well, angels and demons are the same. And they whisper into the ears of men, and we either listen or we don't. And we either take the advice or we don't. We have the power of choice granted to us by God. And we don't have to listen to the evil that's whispered into our ears. We can listen to the good instead. And that just means that AI will be whatever it is that you create out of it. The world is whatever you create out of it. It's what we visualize to be true and real.

1:19:34 It's just showing us our some work, but because our cerebral cortex can't focus on the trillions of pieces or we go crazy. But AI does show us the subconscious, really the unconscious, it hallucinates. But so much what I see from AI is dreams already had. So we're really looking at a mirror of our own collective unconsciousness here. And like you said, how we program it is the way it goes and the way they program it. a The brain works quicker because it's not doing calculations or hallucinations of worrying what I'm about to say or how it will affect people or let me be politically correct. The more I just say what I want, it just gets better and better. Does that make sense? Absolutely. Absolutely. You know, I worked in VR for a while and I did a number of tests in VR in the early days and I was writing white papers on it for a virtual reality company.

1:20:46 What I recognized was that when people put these goggles on for the first time the first thing they would do is look around and what it did was it was returning them to like baby brain where you're seeing the world for the first time and you're exploring the world for the first time and it takes you back to a very vulnerable place that is still within all of us and this this. This baby brain part is vulnerable. And I started recognizing that the first thing people were making with VR, and this is probably one of the things that started triggering my way of recent way of thinking, was they were immediately trying to do shock horror inside of this virtual reality environment. And I started thinking how dangerous it was and how effective it is because of where the

1:21:33 Medium is taking your perception to which is this protected child within you and that's how many savings in very exactly with her when you said that it totally clicked it's hard to rub. I was wondering what's the look of people at first put on the yard when you said it click that's what a baby does exactly. Yeah, you're examining the world for the first time and you're seeing things for the first time. And what it's doing is, you know, the medium is the message largely. They don't just say that, it's true. The medium has an effect on your physiology and how you take in, you know, movies. You know, when you watch a film, for example, projected on film, you're watching 24 frames, which are still images every second.

1:22:21 And your brain is looking effectively at still images. And then you're using the persistence of vision to stitch those still images together to create the illusion of motion. And this activates beta cycles in your brain. Whereas video was using refresh rate. and scan lines, and this activated alpha cycles in your brain, which is why people were able to absorb hours and hours of television very easily, whereas you get exhausted in a movie after 90 or 100 minutes. And it's because physiologically you're taking in the means. It makes it more intense, like a struggle. Exactly. That's why film is so much more powerful, because it's a struggle. Yeah, exactly. You're an active participant in it.

1:23:01 VR being its own kind of new medium was taking people back to this kind of protected baby brain space that is inside of all of us and affecting us. And by immediately throwing horror in, because horror is easy to do, we know that, it's shocking people. It activates the crocodile brain. Yeah, it damages your inner child. And so I started realizing this and that was when people didn't want to read my white paper anymore in VR because it wasn't necessarily what they wanted to hear. But, you know, so we have to be.

1:23:39 Careful with how we assimilate the world around us i mean we have layers of abstraction of what is real and there you know just without movies just looking at the world there's a number of layers of abstraction of you there's the light as it travels in through your eyes there's you know the cornea and the lens and all of the. The cones and rods that take in that light and process it into information. And then even then there are layers inside of our brain on how we perceive what is real. You start adding movies on top of that and you're starting to affect what reality is. Incredible, Roger, stay there. One more segment. I want to get into the rights.

1:29:13 And that's where we are and that's what I'm trying to do, Roger. Avery's trying to do is we don't claim to have all the answers, but we know we're not in Kansas anymore. Roger, you brought up body statures. Why did you raise that on Rogan? Well, there was this guy I'd seen on X who this well-dressed black dude who was at the, I think it was at the Atlanta airport. And he had read basically what I had read. And he was out there and he couldn't believe nobody, everything was, everyone was asleep and just going about their daily lives, just like Invasion of the Body Snatchers. And he was like Kevin McCarthy, the actor from the original movie who was reprising that final moment of the original Invasion of the Body Snatchers in Philip Kaufman's remake in the 1970s. And I think it's the 1970s. And where he was in the airport just saying, you know,

1:30:07 You don't know what's happening there. He's telling them they're eating babies. They're, you know, the horrors that are going on and he's trying to shake everyone out of it. And people are videotaping him and people are standing back and people are kind of laughing, you know, off to the side. And nobody actually wants to admit it. And I was I watched that and in kind of horror, I'm thinking, Here he is, that guy's like me. I know what he's going through because- And it reminded me of a Latin phrase that has been long known because it's true, which is, mundus vult decipi ergo decipiator. Mundus vult decipi, the world wants to be deceived, ergo decipiator, therefore it is deceived. And it's because we don't want to believe, when you know the realities of the world, it's like you've

1:31:17 bitten from the fruit of knowledge. And you can no longer be innocent again. You will never be the same once you know what the reality is of the world. You are no longer in the garden. You're no longer like an animal, which animals may kill, but they're innocent because they're They don't have knowledge the way we do. And so you're expelled from the garden. But people want to believe that they're still in the garden. They will lie to themselves just to believe that they're still in the garden. That's the worst place. We're not in the garden and they don't even know it. So we're kind of giving them the second bite of the apple. Like you're already in Sin City, baby. You need to now admit it.

1:32:01 Yeah, exactly. And if the garden is too much for some people to accept, one can always use Plato's cave as an example. That you're in Plato's cave, you're looking at shadows on the wall, or this guy from The Matrix who knows that the steak is fake, but it still tastes good. And he would rather be ignorant because what Orwell said was ignorance is bliss. And there comes a point where if you've undergone gnosis, if you have an understanding of things and you've read the papers and you see the horrors that are behind the veil that are no longer hidden. And they show these things during Olympic ceremonies now. They show us.

1:32:51 You know, I think it was was it 2016 in the Olympics? They showed us the the coming of covid because these are plans. They're thinking about these these plans three steps ahead of everyone. And so, you know, when I heard that, you know, that it wasn't Iran that announced that there was going to be an attack on Los Angeles, it was the FBI that announced the attack on Los Angeles. I haven't heard anything from Iran about it. And so I started immediately thinking, well, this is gonna be like Lahaina or this is gonna be like the Pacific Palisades. Why would they do this? Why would they do this at a military ceremony if not-. If not part of a spell that they're casting.

1:33:39 When I heard about the attacks, which are ludicrous, the idea that Iran is going to attack California, it's as ludicrous as the movie 1941 by Spielberg. It's a joke. What makes a lot more sense is that somebody wants to do a land grab, or somebody wants to destroy their building for insurance purposes, or somebody wants to create chaos in order to enact something else because they're thinking three steps ahead. We're only thinking one step ahead because most of us are just trying to get through our lives. We're just trying to pay our mortgage. We won't think like administrators, like have all this control of narrative of property and even admit they're gonna do stuff like this. We have to stop being naive and start thinking like they do.

1:34:25 Yeah, and the thing is, the messaging is all out there all along. You can see it because of the revelation of the method. They have to tell you in advance as part of the karmic relief. Explain that. You know the esoteric, you were laying that on a rug, it was fascinating. Why do they have to tell you what's happening? Well, the revelation of the method is to expose what you're going to do before you do it. And by doing that, it becomes accepted by the people before you do it. And then once you do it, you are relieved of the karmic weight that comes with actions of negativity. And so this is something that dates back, back, back, back, back as

1:35:07 to the dawn of time and that has existed for a very, very long time. And it's in all the books. You can read these esoteric texts that are effectively describing how the nature of reality works. I mean, people sometimes are like, wow, that's a coincidence or wow, I see patterns in everything. I see patterns in the world around me. So it's contracting. If they tell you you've agreed if you don't oppose it, so you can waive your rights on a contract. Correct correct it's it's like it's like a vampire asking to be invited into the home once you invited into your house you've made it okay whatever happens to you after that it's your own damn fault and so we as a culture mostly asleep.

1:35:57 are being fed these kind of images constantly, either through movies or through Olympic ceremonies. And you just have to ask, who is running the Olympics? Every NFL thing, every Hollywood event, it's devil worship, it's a cult, all seeing eyes, portals, what are they saying? I'm sorry, say that again. Why are we know they're doing it when you see a cold ceremonies are almost in every major event. What is it? Obviously, it's about the revolution of the method. But what are they telling us through the ceremonies? Well, they're telling us what they're going to do. And you can see what they're going to do if they're going to like, for instance, the queen, they're saying revolution. They don't mean they're saying revolution.

1:36:43 And they're soft implying, it's a kind of soft power that puts it in. If you show The Last Supper, which is the version of it, you show The Last Supper and you pervert it and you invert it. You own it. Then you're creating an inversion of reality. And just like- And stealing femininity with gross men with beards. dressed as women and going in and making women nurses do pap smears on men's penises. It's all about a cult ritual to make you submit to lies. It's all about as above so below. And when we read the Hermetic laws, the laws of Hermes Trismegistus,

1:37:26 You know, these laws are the laws by which, you know, most lawyers operate under. And and and so when you when you see like the laws of correspondence that, you know, that which is above is also so below what they're trying to do is I don't know if you've ever read any of Zabotai Levy, Rabbi Zabotai Levy's works. Their whole thing is to bring about the apocalypse sooner. Like, and so therefore... Acceleration is to explain what that rabbi said. That's important. Zebedee Levy effectively said that if we bring about through sin and through acts of sin, we bring about the apocalypse sooner and therefore we become closer to the end times and the coming of the Messiah or whatever he called the Messiah. And so there was this kind of belief that, I mean- Forcing God's hand, which we have egg, Seth,

1:38:23 little fan of the Iranians, like, well, we're going to force the end of the world here. And then meanwhile, the Iranians thing, their 12th Mahdi is about to come the same thing. In Marlow's Faust, there's a moment where Faustus creates a circle, a magic circle to protect him, and then he conjures Mephistopheles using a certain spell. And Mephistopheles comes to him, presumably from hell and before Faust, and Faust asks him as one of the questions, now that he has the demon before him, he says, if you're truly a demon and you are condemned to hell, how is it now that you are here before me? You know, if God has condemned you. And what Mephistopheles says, why Faust? This is hell, nor am I out of it. Thank you that I, who have seen the face of God and known the gifts of heaven, am condemned to 10,000 hells to be deprived of it. And what Marlow is saying is that we are in hell.

1:39:25 the material realm is the trap. And what we're undergoing now is a kind of battle between spiritualism to ascend and materialism, which is to descend. And this is a wonderful version of, I mean, Faust was written by Goethe and Marlowe. They both did versions of it. And this filmmaker, whose name just previously escapes me. Andre, no not Andre, I can't remember his name off the top of my head. But he's an animator and he combined Goethe and Marlowe very elegantly. And this is-. The crazy part is Faust could have gotten out of it any time, it didn't.

1:40:15 Yeah, well, the crazy part is that Faust is given everything that he asks for because he doesn't believe the mortal soul is anything. It's just a thought, you know, this this trifle of a mortal soul that you speak of. You know, I gladly give it up to be able to move the spheres from their orbits to look behind the veil of reality to know the secrets of the universe. And once the entire story is done, Mephistopheles comes to claim his soul from him and he says, yeah, but I don't know any more than I did at the beginning. I've seen everything, I've seen behind the veil, I've been able to move the spheres and change reality and do all the worldly manipulations possible. I've had all the powers, I've raised the seas, I've lowered the seas, I've done it all and I still don't know the truth of things. And the devil says, or Mephistopheles, the devil says, why Faust?

1:41:13 All the secrets of the universe were there for you all along in a single blade of grass. And what they're saying is God and God's method is here, and it's for us to choose. It's for us to choose the the beauty of this reality that we're in over the, I mean, we are in equal parts hell and heaven simultaneously. And isn't that the paradox that God gave us free will, gives us a cheat sheet, but the devil is an agent of God, the devil decided to rebel, but God allows the devil to do this. People need to understand that. The Satanists always come back with that, oh, your God's a Satanist, he allows this to happen. No, he gave us free will.

1:41:58 And it's just like I have children, they could be bank robbers, be great people. It's the same process. Angels and demons. I went to CERN and at CERN, as I was being, they gave me a private tour and they took me in, you know, they took me into the anti-matter chamber. They did all sorts of stuff. And there at CERN, they have like, you know, stuffed animals of the Tasmanian devil. They have a giant A on the wall with an arrow going one way and a D on the wall going the other way. And I was like, what's that? And they said, oh, that's angels and demons. And so, you know, CERN, when you look at it, you're like, what is that? It looks like a giant, you know, cathode ray tube to me. It looks like a projector. It looks like they're projecting television that they're trying. And there's Kali, the destroyer, Kali Yuga, the destroyer, which is, you know, a sculpture that they have at CERN. And, you know, there's been ceremonies there over it and, you know, at that sculpture.

1:42:52 There it is and what exactly are they doing and you know this is where the World Wide Web was invented. This is where large advances in A.I. came from. This is one of the few places on the planet that is completely multinational. You know like while I was there and this is a while ago there were Iranian scientists Russian scientists scientists from all over the world. And it's an extra even though it's it crosses I think three separate countries. You know, you do not need passport. The passports are extra judicial. I think that's the term that they use. And so it's like a city of London or Israel or the Vatican. It's its own thing. And they're trying to, they're trying or they have succeeded in

1:43:40 Effectively projecting reality. And you look at that logo, that logo that you just had up is three sixes. It's 666. Is that an accident? Who designed that? Is that just because the colliders take the spin rates like that? Or is it because that's a 666 that we're looking at? And what is 666 from your research? Well, the 666 is the number of the beast. But then again, that is the revelation of the method. By showing us what it is, and we all agree with it, it is now part of something that we're all paying for and that we're all aiding in. And just like all representatives of every country there, you're all involved.

1:44:22 Yeah, because there are no real countries. That's the other thing that I've started to realize is that just like in Hollywood, there is no there are no multiple studios. It's all run by one giant group and whatever we call that group, whether it's a an agreement among these giant corporations or whether it's BlackRock, State Street, Vanguard all working in concert to basically send messaging from above to the development executives who all will follow. They listen to their bosses. We know that. That's come out with the ESG. So in closing, an incredible interview. One other point you'd like to make. Nothing happens without being sanctioned first and without us being told what's about to happen.

1:45:06 And so just be aware of what you're watching and why you're watching it. Well there's a struggle right now between- the- I. We could call it the well meaning right and we can also call it the well meaning left. But both of them have rather extreme ideologies and- I've always kind of felt that you need to know your extremes in order to find your center. And that you you choose just like you choose between good and evil. You know constantly. I mean. My kind of discovery was that the well meaning right were.

1:45:42 can just as easily fall prey to the trappings of what Hollywood is. And, you know, for example, this dinner that I was at, you know, they were asking, what can we do? How do we do it? What do we do about the American cinematic universe? And, you know, the answers from most of the guys there were, well, you make 10 movies and one of them is a hit. In the end, they're all chasing money. And that is the problem, because money is not real. Money is a concept. Like they say, our planet is in debt, trillions of dollars in debt. In debt to who? And when you read Milton Friedman's dissertation, which is the Island of Stone Money, about the Isle of Yap and how they used these stone face, which are like doughnuts basically, of different sizes, that their concept of money was these rocks. And so in order to get anything done, the Germans at the time, when they were trying to build an airstrip,

1:46:40 They encountered these people and they're like, how do we get them to do what we want them to do? And they offered money, but the money was, they just burned the money. They didn't care about Reichsmarks. And so instead, they marked up all of the fey, these stones that were laying around the island. And they said, the ones that are marked belong to the Kaiser now. And unless you build that road, I'm not gonna take the mark off of it. And the road got built. And so money is a kind of confidence thing. It's a kind of belief system. It's a faith. And you either believe in the faith of that or you believe in the faith of your own spiritualism and those messages that come from within. And I think that we all now must make a choice, and the choice is between materialism or spiritualism.

1:47:30 I totally agree. Does Hollywood know effectively, in my view, that it's basically the old system's dead? Are they zombies? I think in some kind of unconscious level, the old system is dead. And what's really happened is you have a number of executives who are being paid $600,000 a year, and they're very comfortable in their job, and they will not make a choice. Like you come in and you pitch something, they would rather say no to everything than to say yes to something and maybe be wrong. And the ratio is about 10 to 1. So they're totally stagnant.

1:48:06 And so they're frozen. They're like a deer in the headlights and nothing gets done that way, which is why it's up to individuals now to pick up the torch and say, I can make a movie. And by the way, I meet young filmmakers who make movies for $50,000. And they have figured out how to release these movies in such a way that they see consistent return on their investment. And they own their material. So the system committed suicide itself it doesn't know yet but the innovations there you're seeing a renaissance again. Absolutely. I think that there is a renaissance coming. I think everything moves in in ebbs and flows. And whenever there's a crisis inside of the Chinese word for crisis is the word the Chinese character for opportunity. And this is a great opportunity for us to to put out the right kinds of films and the right kinds of messaging to preach the right

1:49:01 ethics and morals to the people who are, who just want to go to be entertained. Exactly. There's Satanism to destroy everybody. They need to turn back now. Roger Avery, I'm going to end the broadcast with a plug. If you want to hold just one minute, I'll say goodbye to you at the end. Please. I want to talk to you too. So please don't hang up. I'm going to end in one minute. Thank you so much. And just an amazing interview. People can find you at Avery.com and at Avery on X. Thank you so much. It's been my pleasure. I really appreciate you having me on your show. Thank you so much. Amazing. Just hold a minute and a half because I want to say bye to you before Harris Smith takes over with the war room today. I'm not fun about the Qataris, the Israelis or Hollywood or anybody. I'm fun about you. So this whole operation, everything we do is fun about you at the Alex Jones store.com. We got a big sale.

1:49:46 a a at the store right now, limited edition shirt. And we also have the mega March sale ending the 17th, 40% off everything else. TheAlexShownStore.com. That's what changes the world. Products that make you healthier, wealthier, wiser, and a funny operation. I want to thank you all for your support and encourage those that haven't been visiting the site to do it now. Amazing interview with Roger Avery. Incredible stuff. We'll be right back with the next broadcast with Harrison Smith and the War Room.