https://youtubetranscript.com/?v=3l-9IlkevAo
It’s this disease that’s taking over everybody. And it’s like, I think the future belongs to people who are just going to pay attention to the way the world actually manifests, what actually is interesting, what life is actually like and tell those stories. And that’s going to win the day. You’re right. You’re so right. That’s what’s going to win. This is Jonathan Pajot. Welcome to the Symbolic World. So hello everybody. I am here with Neil deGrade. People who watch my channel have seen him around. He is the head of the band Dirt Pro Robbins, but he is much more than that. We’re here to talk about a new movie that he’s putting together called The Queen of the Night. Very excited about it. It’s like a modern fairy tale. And so I’m really looking forward to talking about that with him. Thank you for having me on. Always a pleasure. People might notice right now that today’s video is in black and white. And that is by no accident or technical error. We have as a band, we’ve always done concept records, but now we’ve decided to add a visual component, a stronger visual component to what we’re doing. And we’re making a silent film. It felt like the perfect way to create a story, a visual story that we could put our music to. So it felt like a no-brainer. We had the right story. And here we are. It’s called Queen of the Night. Yeah. So tell us a little bit about the mood of it, because there’s something, it has an old-timey sense to it. It’s a silent film. It’s using these classic effects even that look kind of old-timey. But there’s something about it that’s very rich in terms of visuals that you were able to create very simply. This movie is not costing you a fortune either. All of this is an interesting idea or solution for modern moviemaking or making stories today. Oh, yeah. Oh, my gosh. Give me a lot to comment on right there. Let’s talk about silent films quickly. You know, there’s early era in films, and silent films generally at first were just like they’re trying to bring a play to life. And things were shot like they were on a stage. Cameras wouldn’t move. Actors were coming in and out of the frame, off stage, on stage. And the props were generally like two-dimensional. So I wanted to keep an aspect of that when I did it. But I also, there’s something very tiring about silent films if you try to pull one up on YouTube that are like that. It’s like, oh, this is cute. But gee, an hour long of this, you know, is like, okay. If you don’t have that attention anymore. It’s like when you just want to do a puppet show for you and it just doesn’t end. You’re like, there’s got to be an end. You want me to watch you play a game you’re making up on the fly. So I didn’t want to do that because I’m not a huge fan of a lot of silent films I’ve seen. I really love the movie Metropolis, The Cabin of Dr. Caligari. I love the Old Nosferatu. I’m a huge fan of those. But the versions I’ve seen have been fully orchestrated. I think I imagine back in the day from what I’ve heard, it would be quite an event to go see one of these films premiere or at a larger theater because there would be a full orchestra there doing it live. And so if you like to see an orchestra normally, great. But if you want to see an orchestra with a story in a movie, well, now you’re talking next level. So I wanted to capture more of that. I wanted to feel alive and excited. I didn’t want to be fatiguing. I did when you’re talking about the old timey effects, we’ll show a clip in a minute. But there is a little of that jitter and dust speckle and stuff that would appear in the film. But we wanted to do enough so you got it. But we didn’t want to do so much that you were tired of seeing that. So we’ve tried to ride that line of creating that nostalgia, that sense of familiarity without the same sort of fatigue that accompanies that look and feel. The film’s done in an expressionistic style, which was really popular in that time, is that people were not going for realism. But they wanted to capture real emotion. So there’s a dreamlike quality to the film and its imagery. Things are laid out where they feel three-dimensional, but it also could be like a diorama the way things are. Someone might be pulling the clouds along in the background on a string. And we’ve tried to do some where even when we’re using computers to incorporate some of that human analog error in the process. So that’s part of Queen of the Night. And for people who follow this channel, I think that they’re going to, without explanation, be able to start digging into some of the symbolic content. The way you’re releasing it is through episodes. You’re putting out the different episodes. I have the chance because of my special relationship with Neil to follow the thing from the beginning and know the whole story and get a sense of this really powerful modern fairy tale. But for the first episode, we’re going to be introduced to these main characters and also get a sense of what is the symbolic structure. It has to do with the moon, the feminine, the light, the darkness. And so maybe tell us a little bit about what it is that you’re trying to explore in this story. Okay. Well, one of the problems is when I talk about any of these things, the way we’ll talk about it right now is not the way it comes to me. An image will come to me and then I’ll start almost questioning it. Why am I seeing this right now? Pretty much every one of my stories I’ve done or concept records starts with a singular image. I’ve become an inquisitor of that image. Why are you there? Why are you holding that? Why are you standing in this spot? Why are you crying? Why are you on top of this building? Why are you on this mountain? Those type of things. And then I just slide things around and then suddenly things will fall into place very quickly. And before I really knew what I was doing with this, when I go back and look at my older work, it still feels like, now that I understand some of the symbolic content and story a little more explicitly, it still was already fitting, even though I didn’t even know really what I was doing or what I was talking about. I just had an intuition. So what we’re about to talk about here is not why the story was created. In fact, that’s why we could share this with people. I brought Jonathan in pretty early on in 2021 once I had the story. And I wanted to tell it to you because I didn’t want to think about some of those elements. But I thought since you weren’t a creator, I would do that and that you would basically slap me back in line. But that’s not really what happened. I think we had a really good collaboration on this, is that I shared the story with you and it was more of a yes and. It was more like, this is awesome. Hey, what about this? But so much of it was so right. The intuition was so right. So you added layers and you explained things to me. I didn’t even notice. Like, I didn’t want to spoil it by explicitly adding analogous or allegory to the content or typology on purpose. I didn’t want to do it on purpose. I think I absorbed the world through this typological lens and more of the symbolic lens. And so things, when I tell them back, they come out that way. So I feel like I don’t have to try that. And when I do, now I’m starting to, I guess, impose a desire for the story on it. So I don’t want to do that. So, yeah, when I handed this over to you, we talked about a number of things, symbolism of the moon, masculine and feminine symbolism. And when we talk about masculine and feminine symbolism, we’re not talking about modern stereotypes about differences between men and women. We’re talking about the way those things reveal themselves over time in mythology. And in stories. So I think that was fun to do. I really loved your insight. You pointed out so many things to me that never would have occurred to me in the story. So I think that people who watch this, who follow your channel, are going to get an added layer that’s just going to be implicit to the general public. I generally don’t like explaining things to people in the past. Once it’s there, I kind of understand why I wrote it. You know, with Death Wars, it dealt with the pandemic. It dealt with this sort of totalizing system that was coming that they were going to kind of give an exchange for pleasure for an exchange for pleasure for this like control immediately. Yeah. Over you. And so, you know, by the time that thing was coming out, we were about to hit the pandemic in 2020. So it’s so amazing that I still can’t get over that. The whole album was like a prophecy that just played itself out in front of us. It’s pretty amazing. Well, I mean, I don’t think of that as that unique, though. I saw a lot of things like that. Like I kept things kept coming to my attention that had just happened in different shows that were. It was sort of people with a certain type of intuition were already on to where things were heading. It’s just like, you know, if I picked up a rock and threw it towards a window before that rock hit the window, we would all kind of know it’s about to hit the window. Yeah, exactly. Because you can see the momentum, the velocity and the trajectory. So I think one of the best ways to talk about why I don’t want to talk about things too much when it comes to the specific story is an image. I think I’ve shared this with you before, but it’s from Peter Pan. And in the beginning of Peter Pan, it’s obviously like a meta fairy tale in the sense where it does a lot to explain itself to an audience, like films generally wouldn’t or fairy tale generally wouldn’t. Even if you have Never Never Land. Yeah, we have a lot of these more explicit structures overlaid on a fairy tale type story. And one of those happens right in the very beginning, because it seems like the author, whether they did this intentionally or just by intuition, understood what they were getting into with the story where Peter Pan appears in person without a shadow. He’s not he’s not yet a part of this universe that Wendy lives in. And now her at this coming of age story, she needs to try on this childish idea she’s about to leave behind. She needs to experience like in its full totality, like when she leaves the nursery, what she’s really leaving behind. And so it’s her job to stitch the shadow onto Peter Pan’s foot. And that hurts like he doesn’t like it. So there’s this aspect of where I don’t want to put too many stitches in Peter Pan’s foot so people can kind of just absorb the story for themselves. Yeah. Subdegree. So I hope that was. But I think that the process that you’re talking about, in terms of the way you wrote it, this is actually the way that I’m telling people always because I have people writing me or ask me all the time, I’m trying to write a story and try to put symbolism into it. And then they just hit a wall because they can’t do it, which is inevitable because you can’t think about symbolism and write symbolically at the same time. Those two are two completely different ways of being. You have to, like you said, I think the way you talked about it, where you have an image and then you poke at the image and you turn around it and you kind of nurture this intuition is a much better way to do it. And then once you have something out there, then you can come back with clippers and just kind of prune it a little bit or readjust things slightly so that they’re more coherent in terms of the structure. But you don’t want to do that at the outset. Yeah. And two, like I’m trying to like, so let’s just say that something’s supposed to be beautiful. I never try to make it pretty. I try to make it break my own heart. And it’s just, it’s a very different reaction. So like the idea of trying to make something coherent intentionally is that same thing. You end up with pretty instead of heartbreaking. And so I don’t know if that’s just kind of an adjacent analogy. But so yeah, I mean, my encouragement for artists who you want to do that is you, it begins with having to absorb the world differently. And we’ve been lied to about what I think in a lot of ways in our schooling, and not that these things aren’t important, but sort of the scientific world, this modern mindset of the things that really matter are things you can’t touch, taste, and feel, or you don’t really experience firsthand. I think one of the first videos I encountered with you is you talking with your brother, Mathieu, about, I don’t even know how to say that in French people. You can say Matthew. That’s okay. Okay. So, he, you guys were talking about water that when you drink you, well, that might’ve been coffee. You don’t experience H2O. You experience cold and wet and like, you know, we all, we have the problem with H2O. None of us have that in common. We don’t know what that is or what it really looks like or how to experience it. But, and so that if we think of it as H2O, we’re at a distance from each other. But if we think about it as something cold and refreshing, now we’re, oh, I know cold and refreshing, you know, cold and refreshing. Now we’re more connected. So there’s been this deep personification of the universe itself that has led people back to a point where they don’t really know how to tell an embodied story is because they, the story, because they think the real important facts are what we see at the bottom of a microscope or at the end of a telescope when none of those things can actually be experienced. And I believe have led to sort of a modern insanity about things that are right in front of our face. We can’t see anymore. We’re colorblind too, because we prioritize those things and we’ve intellectualized those things as the most important. And so I think that that’s something also that’s there in the Queen of the Night, because the first episode has to do with this encounter, like an encounter, an encounter between, an encounter with something which is bigger than you, like something that is just overwhelming, let’s say. And it’s not in the analytical mode, right? It’s like, you know, imagine, yeah, like seeing a God or seeing this, and it has to do with the fascination with the feminine. And the whole story has to do with this feminine image, which is related to light, light and darkness to the moon, to the veiling, to the unveiling. And so maybe tell us a little bit about like what it is about, let’s say, feminine imagery, which you feel needs to be explored or needs to be touched on or needs to be, yeah, that we need to talk about. The power of it, and not just in the modern sense where it’s like, okay, we’re going to make more roles for women. Okay. It’s like, oh, great. Cool. There’s so many cool things to talk about. What are we going to talk about? No, we’re going to give them swords and superpowers and they’re going to punch things and act like jerks like the men do, except they’ll be like heroes for acting like jerks. I know that that’s what I just said. They’re probably like, what is he even talking about? Some people are they just, you know, the hair stood up on the end of their back and they started screaming. But I don’t know, like a cat. So, but I think that really like, I think that just this idea of supplanting what was in the past male with just embodied by female characters, like that can happen in stories, right? Obviously, but it’s not, it’s you’re missing so many great opportunities. And hopefully we’ve taken some of those opportunities here in this story to show the power of femininity in, you know, a more coherent way within how the universe actually manifests itself. Let’s show a clip. I got a little short clip here. I want to insert in the video of a scene where he first encounters this feminine spirit at a very low dark place for this little boy. The moon is 400 times larger than the moon, roughly. But guess what else? Like that, you know, the sun is 400 times farther away than the moon, which makes them appear roughly the same size in the sky. They’re like, oh, well, that’s pretty cool. It’s like, well, what are the chances of that? Right. And these things are hard to calculate because we’re posing, we’ve got to, there’s a lot of factors involved and it has to do with human perspective, but it’s a, it’s a really rare occurrence that if the world universe is populated by all types of people and different people on different planets, this would never occur on ours. So when things start to become rare to a certain point, you start to see intentionality in it. So I see intentionality all over the universe. I see what the thing I’m about to describe. We see, I see everywhere. So the moon and the sun appear roughly the same size in the sky. So why was it, why did ancient people like always refer to the moon and almost every situation as like a feminine spirit and the sun as a masculine spirit? It’s like, well, the moon happens to have a 29 day phase and cycle. And guess what? Like women have, you know, matured women have a like roughly 29 day cycle and there’s no evolutionary correlation between those two things. Like there’s been study after study. The last one I could look up was they had checked with 7.5 million women to like report on their cycle and if it correlated with the moon and it will line up once in a while, meaning that some people will, you know, have their cycle on a full moon or a new moon or whatnot, but it’s not, they’re not, there’s no scientific reason why that these two things are the same. And now for someone like me who sees meaning in the universe, I like, okay, this is the discussion of like cosmic feminine, cosmic masculine. And so to, if you never thought about it before, the fact that we have these two like equal size things in the sky and one exhibits an explicit feminine pattern, right? And one that is, I don’t know, that could be revelatory to someone, you know, now, like I talk to people all the time about these kinds of things and they’re like, oh my gosh, I never realized that. It’s like, this was obvious to everyone, you know, prior to our modern way of thinking. So, and you can, if you, when you understand also that the moon waxes and wanes and that it moves from light to darkness and from darkness to light, then you can also understand so much of the, some of the mystery of feminine symbolism in relationship to those things that are hidden and revealed. You can imagine even, you know, the idea of seduction as this showing and hiding, you know, this revealing, but not too much, you know, you don’t want to, you want to keep a mystery in this, in this relationship. And so, you know, this idea of the, of the mystery is, is very much related to feminine symbolism and always has been. Yeah. And you talk about this all the time. I haven’t seen all your videos, but I’ve seen quite a few. And you’re talking about this idea of unity and multiplicity. And during the day when there’s a unity above and then there’s multiplicity below, because this light allows us to name and identify things so that you, you know, you don’t walk around in daylight tripping and stumbling and falling into holes generally, because these things are made explicit. And the night, the opposite manifestation happens. There’s multiplicity above and then there’s this unity, but the unity is within darkness below where the ground becomes one thing. All this multiplicity becomes one thing and all this thing that was one opaque sky becomes multiplicity at night. There’s a real, I guess, you know, it might be the wrong analogy, but yin yang kind of relationship. Yeah, of course. These two things. And so I think that’s so cool. And there’s, there’s a beautiful story that we experience every day in that. And it’s actually a way to govern between order and chaos that appears in stories. If you can look at those two patterns correctly. So you’re talking about there, you also talked about explicit and implicit because one of the things that happens, you know, so let’s say someone reads the Bible and they hear the word light and they think of light as good and darkness as evil. And it’s used that way, but it’s also not used that way. Right. So there are, there are things that are kept secret that are hidden from you that are true. There are, there are analogies like hiding under the shadow of, of God’s wing, like the shadow being the thing that’s needed. So I talk about this, I’ve talked about this in Dead Horse a little bit. There’s a song called Kings and Queens, and it’s talking about this mothering structure of the city. For all of her flaws, injustice and faults, Twas a sight to behold, her pulse sing and waltz, As each selfish thing fought to make their own name. The tombstones of steel and glass were raised, And toast to her beauty in their day. And I was always confused when I was a kid, I would hear these old movies and they referred to someone who was very beautiful as fair. And I’m like, what does fair mean? And it was like, it dawned on me and I wrote it into the bridge of that song. And it’s talking about the city and the line was, And you know, if you’re crossing the desert and you’re burning in the sun and you see, you see the outline of a city, right? It’s like, oh my gosh, this is, that’s, that’s my salvation. Yeah, from the sun. From the sun, from the sun, right? It’s like, you’re like, oh, the sun’s a good thing. It’s like, it’s not always a great thing. I mean, you can, you can, in life, you can die by water. You can, that you need to live. You can die by sunlight, which you need for everything to live. So the world’s a complicated place and, you know, things aren’t as polemic as people make them out to be. And really fairy tales are awesome with that. Having the sort of ambiguous structures that depending on how you approach them, manifest as good or evil. And I think that’s, that’s a really great thing in storytelling. This kind of missed. I love those stories and I think we’ve got a little of that in Queen of the Night here. Yeah, definitely. We, I mean, I think that in the, in the story, I mean, we don’t want to reveal the plot or anything, but there really is this kind of encounter, this seductive encounter, this fascination, which, you know, the, you can say something like the masculine tries to control or tries to possess, you know, and then ultimately it’s like, no, sorry, man. It’s not as easy as you think, you know? Yeah, right. And well, in two, so like, I mean, there’s a lot of things that we might push back against in life, like someone like people would use me of mansplaining. And I’m like, you actually have a point. Like when you’re saying that, like, you know, I don’t mean in a like way that someone really doesn’t know how to shut you down. So they make some sort of in impotent claim like, okay, boomer or, you know, thanks for mansplaining that to me. You know, I’m not talking about in that sense, but the idea that like there, the negative symbolic masculine is this idea to over define, over explain, pull too far out, you know, show something, you know, you know, even like, even the world of science, you know, there’s a great essay by CS Lewis called the abolition of man, which everyone who watches this channel should read. It’s amazing. But he talks about that, you know, the science today would do something, you know, to a person that they wouldn’t have considered a hundred years earlier doing to a turnip. There’s this overmasculinization of everything and wanting to pull apart and for power. So I have a question. What, so with all these movies, because this is kind of a change for you in a way. I mean, because you were mostly doing music for the large part of your career, you wrote a book, was it last year? You were a fairy tale. That’s a little experiment I did. It’s called the three golden ropes and a story like, I mean, you’ve known me long enough, Jonathan know, like a story pops in my head every day. And I was like, let me just, let me do the practice of kind of putting this into a visualization. So there’s an artist named Chad Nuss who’s done some work. He’s doing concept art on queen of the night. He’s fantastic. He has his own comic called the silence comics. And he, he illustrated for me and Chad’s art is amazing. So like he made it worth buying. You could find that at DerpooreRobbins.com. I think I have a link to that somewhere. If you want to check it out or look at the art. So what are you, so what are you, what’s happening? Like where are you going? So here’s the thing. So I do music. The fun thing about music is it’s, it manifests itself in, in a type of opposite from the way life comes at us normally. So when we go out into the world, we see things before we see patterns, right? Patterns take, I guess, a type of spiritual discernment in the sense that they’re, they’re not something that manifests in a moment. It manifests over time. And so we have to see the pattern. So life, we see things first. We see pattern second music is pattern first and it implies the things. So Beethoven’s sixth symphony, he was trying to musically describe this, you know, a pastoral setting in the countryside or, you know, the movie’s Fantasia really have a great explanation of, of this relationship between the visual and music. But that gives you an example of sort of like the different, the different worlds. And so I, I wanted to bring the story in farther. I thought we had a good story to do it visually. You mentioned that we, we have some constraints on that story and how we’re telling it visually because it’s a silent film. And those constraints are really helpful to me as a new director and someone who wanted to really bring a fantastical image, images to life with rockets and zeppelins and moon space travel and, you know, not a $50 million budget. So yeah, like putting those constraints on it allowed us to really not have to compromise anything and tell me and have a window in which we could tell that story where you didn’t feel like things were missing. Hopefully, hopefully like a boast. So yeah, that’s what we’re doing. So it’s going to be interesting for people who follow us in the past, because like our last record was a little bit more modern than the Ravenlox, the record we had done before that. It had some more synth elements and even like robotic voices and still with a blend of classical and I think even classic rock in there. But this one, we’re going farther back in time. We’re pulling from the romantic period. We’re also, you know, as we go farther along in the story, as things modernize, we’ll start to throw in some ragtime and elements like that. But at first it starts out, you’re going to have, if you’re waiting for like a, you know, a slapping pop or rock number, you’re not going to get one right away in the story. So episode one, the music’s kind of somber and it deals with, you know, some more symbolic content. It’s a risk. I mean, but I don’t know. I kind of work outcome independent. I just do what I think is what I really want to do and then I like it. Do you want, is this something that the storytelling part, like is it something because that, you know, we need good storytellers. So is this something that you are interested in continuing to do? Like, are you, are you? Oh, absolutely. I want to do it everywhere. I mean, I want to collaborate with other artists too, because I have more stories than I can put out and I really love and I would love to find some people who can visualize those. You know, I just told you about one right before we started our call and I feel like that’s a great story, man. I would love to see that happen. It’d be wonderful. So I’m watching Eric Weinstein on Joe Rogan’s podcast. I went back and watched this and he’s, they’re talking about how like, oh, the world’s been stripped of this sort of mythological content and story, spirited content and religious content and stuff. And he’s like, now it’s time to fill it with what’s really interesting. And Joe Rogan’s like, well, what’s really interesting, Eric Weinstein? What does the world need to be focused on? And he’s like, the Octonians. I can’t do an Eric Weinstein impression and I think it would be insulting if I tried. So I’m going to just talk about it. So the Octonians, if you’re not familiar or if you haven’t seen the episode, do you know what they are, Jonathan? I’ve no idea what that is. There’s this theoretical number set, right? And he starts to go off about this theoretical number set and I was like, Eric Weinstein, have you not met a normal person? If you do know, have you ever fallen in love or what? Like, have you ever had a really good meal? Have you ever had a funny thing happen to you that you retold later? It’s like, this is not where people are at. So this is part of the insanity, though, of the modern world. It’s had this dull, dulling effect on storytelling. So many stories, like what’s really happening is like, oh, the zombie invasion is just, it’s really a biological element. And here’s scientifically why there’s a zombie invasion. It’s like, no, that’s not why we’re telling zombie stories because we’re telling zombie stories because, you know, everybody’s a zombie. That’s why we’re telling zombies. Like there are people just zombieing around and, you know, not even looking up at their kids when they come in the room. That’s why we’re afraid of zombies because, you know, the conservatives think that there’s too many liberals in the world and they’re all coming to get them. And they’re going to make them think their way and they’re going to take over their mind. And then the liberals think there’s too many conservatives in the world and they’re going to take over their mind and they’re going to force them into the hands made in tail. So that’s why we tell zombie stories. We’re not having discussion about biology. And so I… That’s for sure. What you’re saying is great because one of the things I thought from the right from the beginning is like this whole IDW thing. I was like, this is not, this is going to fail. It’s going to fail because they don’t understand how the world actually changes. It’s like, I’m sorry to tell you guys, artists change the world. Not like computer programmers and not scientists, like in terms of changes in the sense of what happens in the world. Like you can make a technology, but the dream of the world comes from the profits and the artists. And even in the scientific revolution, you can see that that Cyrano de Bergerac’s, you know, a voyage to the moon precedes any scientific desire to go to the moon. Right. The storytellers were the ones, you know, that all the imagery that happened in the 17th century, a lot of it was storytelling. It wasn’t. And so we need to… The kind of IDW type that wants to kind of help restore something without art, they’re not going to do anything. They’re just going to fizzle. People are alone and like everybody has the same things going on. They’re waking up at 3 a.m. in the morning and they are just miserable and they look to film and they look to story and it’s arguing about politics. I mean, I followed Russell Brand years ago because he had someone interesting on to me and I pull up his channel now and all he’s doing is covering American politics. I’m like this British comedian. It’s this disease that’s taking over everybody. And it’s like, I think the future belongs to people who are just going to pay attention to the way the world actually manifests, what actually is interesting, what life is actually like and tell those stories. And that’s going to win the day. You’re right. You’re so right. That’s what’s going to win. There’s no way around it because at some point this kind of political type storytelling is going to become so crippling. I mean, it might get worse for a while, but in the end, the good stories win. It’s just inevitable because they’re better. They just have more of reality in them. So I think that what you’re doing with Queen of the Night, you know what you’ve been doing with Dirtball Robins is great. I mean, it’s right in line. I’m happy that we’re kind of collaborating on a lot of these things because I think it’s an exciting time to be honest. Even though it’s kind of like the worst time and a very dark time all at once, it’s an exciting time because these little lights I think can flicker in the madness because they’ll appear as what they are. I get a little lost for words sometimes because I don’t know how to describe what I think is really beautiful in a way that people can hear it anymore. And so I kind of don’t most of the time. They just make beautiful things. I just, that’s all I know. That’s all I can do is try to make beautiful things. And they’re not political and they don’t hold. I mean, what you’re talking about, you’re saying, hey, it’s nice to have someone or to have people out there who are actually trying just to tell stories because I don’t have an explicit like proselytizing purpose in what I’m doing at all. I just take what comes to me and put it out there. And I think that’s the only way that me as a person can make anything better, my life better, my family’s life better. Because we get so focused on trying to change the world. And it’s like, that’s just like, that’s too much for anyone. That’s not it. There’s something like really exciting also about this time, which is that there’s something also, this is how I feel. Like you tell me with you, right? But there’s something really exciting about feeling like you’re in on a secret. This is how I feel sometimes because like, let’s say, I think that your album Dead Horse is just amazing. Like, it’s just a great album without any qualifier. But it’s still kind of not, it’s not like the most, you’re not like the most famous band in the world. It’s not like everybody knows about Dirt Po’ Robbins. But there’s something about that which is exciting because there’s this thing burgeoning. There’s this light kind of appearing and a few people are able to perceive it. And you know, like there’s no doubt about it. You know that this is moving towards the future. And a lot of the stuff you hear on the radio, the stuff you see on Netflix, you can feel like this is just dying. Like it’s just this decrepit thing that is kind of decomposing. And it’s like, okay, so I can perceive this light, which is growing. Not everybody can see it yet, but it actually makes it somewhat exciting to feel like you’re in on something. Well, I know I also have like weak selfish reasons why I like to stay a little under the radar too. It’s because I like anonymity a little bit. I mean, here I am in your channel and I’m wearing this, you know, animal print shirt. Like this zebra print thing. But man, like it’s a world of sound bites. I wrote a song about this on Dead Horse called Sky Rider. Because the world’s turned into a place where everything’s, everyone’s a sky rider. Anything I say, there’s going to be something I didn’t say that can be held against me. Like there’s always this something in the negative space of what I’ve just said where someone can make me saying something I’m not. And the world’s awful with that. And so like there’s a part of me that’s kind of like, yeah, I’d be totally happy to just have enough of an income to keep making art. And then people find it when I’m dead. And so they can’t ruin my life. That’s a little weak and selfish of me sometimes. I’m not very courageous, but the modern world has made me like, there’s nothing in me left that would want to do this for celebrity. It’s not there. It’s like that’s hard. That’s like my biggest fear is to be a celebrity, I guess, in any capacity. So I also revel in the sort of anonymity of what we do that there are people that it seems to impact and really enjoy it. And I’m like happy like, I’m like, yeah, keep it. Keep it there. Just enough income for I can keep making more for you. But no, actually, we do need people. I don’t want to be able to share the video. There is a stronger part of me that’s like, who cares? OK, so they’ll tear you apart. You’re just going to have to go feed yourself to the wolves if you’re going to. You’re going to want to manifest your full potential. So that’s kind of what I end up acting on. I have all these subtle fears. At the end of the day, we really need people to share this and watch this. And if you love it, like, you know, let your friends in on it. Like that’s that’s where that’s our entire marketing plan. Basically, outside of like coming on your channel, coming onto your channel and talking like a Derek Fiedler who did a really great review of your brother’s book, The Language of Creation. And he get a really great response to Matthew McConaughey and Joe Rogan about the Bernie Bush on symbolism of that. He’s going to he’s going to be doing breakdowns of the episode for people in the symbolic world who want to hear that kind of thing. So we can link to him. But yeah, I’m not doing much to promote it right now. So and that’s part of the reason we didn’t take it straight to streaming services, because it’s actually not that hard to get on streaming services. But I think Netflix has like 15000 movies in their catalog. So you can get into this catalog and make no money and pay money on the outside to advertise to get people to go watch it on their platform. That’s a great starting point. So right now, we’re kind of relying on everybody to be like to absorb this. Maybe we have a Patreon channel, like, I mean, Patreon account. If they want to give us some money there, that’s also helpful for the post production, because otherwise I’m paying out of pocket. So to get this done. But yeah, we’re going to be releasing the episodes over the next few months. One at a time, the story evolved quickly by episode two. It moves into what is the present day for the story, because the prologue takes place ahead of that. And things start to move really fast and the music gets faster. Cool. So we’re going to be releasing an episode maybe every six weeks. And so we do need a little help financially getting that out there and done. We’re going to do it. It’s just a matter of who’s going to be who’s going to help. So it’s going to get done. And then when it’s done, we’re going to release the full film as one entire cohesive unit. But it’s also an album. It’s an album. Yeah. Okay. I keep forgetting to talk about the music because the music’s old. Because the music is all original music that you’re writing for the movie. Yeah. So I did with this video, I’ll take over the intro like I did last time on the channel was something I’ve done. So that’s that’s score from the film. And yeah, we’ve got new music. So there’s going to be a single, at least one single released song or two released with every episode. Oh, wow. Okay. So that’s how it’s going to do. That’s great. It’ll be a full record when the movie comes out. It’ll be 60 minutes of music that’s done. So not like more instrumental content than normal. And I’m not sure how much of that I’ll put on the final record, depending on how strong it is or on its own without the visual. So what are things about scoring for people out there that do music and want to score? Because scoring is like a real like, ooh, like a real learning business for people is that it’s weird. Once you put music’s not the same as when you’re making music just to listen to as music and music to accompany a film. Is the film does a lot of the work. Like if there are a lot of shows where I was like, oh, this is great. And then I pull the stuff out like the Mandalorian is one of them. Like I love the original Star Wars scores and the Mandalorian is cool. But then when I pull it out by itself and listen to it next to a John Williams piece, I’m like, well, do you not fair to the composer to compare to John Williams? But it’s like, oh, like this is not actually there’s not a ton happening. It’s just kind of textured and small amounts of melodic content. So yeah, that’s an important thing for people who want to get into scoring. Or even if you’re like someone who never pays attention to the score, start paying attention to it and figure out what you like and what you don’t like. It’s an interesting world. But yeah, it’s some of the stuff has to it can’t be your most best thing to listen to by itself. If it’s going to accompany the image and serve the image. But you have you have some songs with with words and I think it’s not just music. Yeah, yeah, absolutely. So we’ll have a lyric video that comes out a few days. So this video hopefully airs on the day of the episode in the episode. Comes out November 16th at 9 p.m. And it’s the prologue to the bigger story. So that’s on our YouTube channel, which we’re Dirt Poor Robins. You can find us pretty easily and like and subscribe. Smash that like button. So I’m just going to spend the rest of the talk here advertising my channel. No, I think it’s great. I think people have to I think people have to check it out and leave comments, of course. And yeah, I think just understanding that this is really this is something that we’re hoping to see flower, you know, both Neil and I, we’ve been talking in private for years by now. Got the meeting person this year. Yeah, that’s right. We actually did. And so it does exist, everyone. People are starting to wonder if you exist. Yeah, we actually have legs, you know, like a few. But we’re really hoping that that, you know, these little gestures we’re posing is just also going to be impetus for other people, people that are watching this, people that are that are getting excited also about these this returning to kind of good stories. And so so we’re excited to see where it goes. And we hope that other artists, other storytellers get involved. And, you know, and I, you know, and if you’re also if you’re a professional artist and a lot of people I’ve been in contact with recently, if you’re a professional artist, if you’re a musician, if you are a painter or illustrator or a filmmaker, you know, reach out because we’re kind of yeah, we’re building up to some interesting stuff and we’re excited to have at least people have a buzz around around what’s going on. And and and who knows where this is going to lead? Who knows? I think eventually there’s going to be it just seems like it’s heading that way. There’s going to be a collective of people that are doing quality and people that want to learn to do quality and work and and lead up to that. Also, like here, I’ll hijack Jonathan’s channel for a second. I really think he needs to do an online symbolic world conference. With, you know, some of the characters from his Avengers universe in there, the other people he has on his channel. If you think that’s a good idea, like someone comment that in like it and let him know that a symbolic world conference online would be a terrific idea and you would be glad to attend. All right. Okay, Neil. So all right. So we’re all helping each other. All right, everybody. So so thanks for your attention. You know, check out the Queen of the Night and everything else Dirt Poor Robins is doing. Like I said, their last album, Dead Horse, is really like just one of my favorite albums. I listen to it all the time. And my kids love it, too. My daughter, they all have they all have the merch and they they love to to make help their friends discover their band. So so check it out and and stay tuned for more discussion with Neil in the future. And also, you know, like we said, who knows where this is going to lead. We might be surprised to find out where all of this is going. So thanks, everybody, for your time. Talk to you very soon again. Bye bye.