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The Self-destructive man feels completely alienated, utterly alone. He's an outsider to the human community. He thinks to himself, "I must be insane." What he fails to realize is that society has, just as he does, a vested interest in considerable losses, in catastrophes. These wars, famines, floods, and quakes meet well-defined needs. Man wants chaos. In fact, he's gotta have it: depression, strife, riots, murder, all this dread. We're irresistably drawn to that almost orgiastic state created out of death and destruction. It's in all of us; We revel in it.

Sure, the media tries to put a sad face on these things, painting them up as great human tragedies. But, we all know the function of the media has never been to eliminate the evils of the world, no. Their job is to pursuade us to accept those evils and get used to living with them. The powers-that-be want us to be passive observers. Hey, got a match? And, they haven't given us any other options outside the occasional, purely symbolic, participatory act of voting. You want the puppet on the right? or the puppet on the left? I feel that the time has come to project my own inadequacies and dissatisfactions into the socio-political and scientific schemes. Let my own lack of a voice be heard....


You know, they say that dreams are real only as long as they last. Couldn't you say the same thing about life? See, there's a lot of us that our out there that are mapping that mind-body relationship of dreams. We're called the oneironauts; We're the explorers of the dream world. Really, it's just about the two opposing states of consciousness, which don't really oppose at all. See, in the waking world, the neurosystem inhibits the activation of the vividness of memories. Now this makes evolutionary sense. See, you'd be maladapted for the perceptual image of a predator to be mistaken for the memory of one, and vice versa. If the memory of a predator conjured up a perceptual image, we'd be running off to the bathroom everytime we had a scary thought. So you have these seratonic neurons that inhibit hallucinations, that they themselves are inhibited, during REM [rapid eye movement] sleep. See, this allows dreams to appear real, while preventing competition from other perceptual processes. This is why dreams are mistaken for reality. To the functional system of neural-activity that creates our world, there is no difference between dreaming a perception and an action, and actually the waking perception and action.

Cinema in its essence is about an introduction to reality. It's just that reality is actually reproduced. For Bazam, its not like a story telling medium, really. He feels like literature is better for telling a story than film. You know, if you tell a story, like a joke, like this guy walks into a bar, he sees a dwarf, that works really well because you're imagining this guy and this dwarf in the bar and there's this kind of imaginative aspect to it. But in film, you don't have that because you actually are filming a specific guy, in a specific bar, with a specific dwarf, of a specific height, who looks a certain way, right? So for Bazam, what the ontology of film has to do with is also what photography has to do with, except it has this dimension of time to it, and this greater realism to it. So it's about that guy, at that moment, in that space. And you know, Bazam is a Christian, so he believes that God obviously ended up being everything, and for him reality and God are the same. So what film is actually capturing is like God incarnate, creating. And this very moment, God is manifesting as this. And what the film would capture if it was filming us right now would be like God as this table, and God as you, and God as me, and God looking the way we look right now, and saying and thinking what we're thinking right now, because we are all God manifest in that sense. So film is actually like a record of God, or the face of God, or the ever changing face of God. You have a mosquito. You want me to get it for you? There, it's gone.


Creation seems to come out of imperfection. It seems to come out of a striving and a frustration, and this is where I think language came from. It came from our desire to transcend our isolation and have some sort of connection with one another. And it had to be easy, when it was just simple survival, like you know...water, we came up with a sound for that, or sabre-toothed tiger right behind you!, we came up with a sound for that. But, when it gets really interesting, I think, is when we use that same system of symbols to communicate all the abstract and intangible things that we're experiencing. What is frustration? or what is anger? or love? When I say "love," the sound comes out of my mouth and hits the other person's ear, travels through this Byzantine conduit in their brain, through their memories of love, or lack of love, and they register what I'm saying, and they say "Yes, I understand," but how do I know they understand? Words are inert; They're just symbols; They're dead. You know? And, so much of our experience is intangible. So much of what we perceive cannot be expressed; It's unspeakable. Yet, when we communicate with one another, and we feel that we have connected, and we think that we are understood, I think we have a feeling of almost spiritual communion, and that feeling might be transient, but I think it's what we live for.

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