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Booking a reservation for the movie called Reality

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Jon Rappoport
August 5, 2013

This is a serious process, for which some introspection is necessary.

You need to consider whether you are an individual or a group. That’s the first order of business. Group ticketing is easy and flows quickly through the system. That’s because any group is automatically ripe for mind control.

The individual, however, is a different matter. He may think he is a group, in which case: refer to the above paragraph. His application will be approved without delay. But if he knows he is an individual, certain restrictions apply.

His visible presence inside the movie called Reality alerts others to the potential existence of illusion. He could confuse members of the audience. They might begin to wonder whether they’ve been conned and hoodwinked. This is unacceptable.

There is an option. The individual, while inside the movie called Reality, could act as a representative for the producers. In this way, he utilizes his innate force, but channels it.

He acts for the greater good, which is the seamless impact of the film on the mind. After all, the whole objective is:

the inculcation of a wrap-around full-blown sensorium in which all possible audience actions are fed back into the movie.

  • A d v e r t i s e m e n t

To put it more simply, the film supports the film.

The producers and their special-effects designers have built what they call Sponge-and-Bounce. This means: whatever the audience perceives or thinks or does is absorbed and becomes an element of the production.

The founders of the Reality Manufacturing Company are producing, well, reality, aren’t they? They aren’t making a movie you can watch with a bag of popcorn in your lap. You’re in it. You’re a player, as long as you believe in your work as an actor. Above all, authenticity.

Can you give your heart and soul to the role? Can you support, in your actions, the movie?

Here is an interesting facet. Movies have directors, but the long-term goal here is a self-perpetuating space-and-time continuum. The audience carries forward the entire film. On their own. Eventually.

Their faith and belief in it, despite doubts, problems, trials and tribulations, is unwavering.

The power of that machinery is formidable, to say the least.

If you’re an artist, take careful note. If you book a reservation and enter the movie, you’re encouraged to do your subsequent work in such a way that it reflects the film. It mimics it. It mirrors Reality. In this way, the movie spawns little versions of itself. Think of what you’re doing as a homage, a tribute. You might even say you’re writing a glowing review of the movie while being in it.

If, on the other hand, you’re a “rebel-artist,” there is room for you, but your role is to attract scorn. You’re criticizing, in a way, the film, and at best you’ll be permitted to function as a safety valve, to let off steam.

You see, the audience, while completely immersed in the movie, is at the same time, chewing on its bridle. Audience members are burying a significant, even titanic, amount of, shall we say, outrage.

At a deep level, they know and experience a massive desire to rebel against living inside the film.

You, as the rebel-artist, allow small amounts of their energy to blow off.

Unless you take it too far. UNLESS YOU TAKE IT TOO FAR.

There is a phenomenon called “waking up inside the movie.”

If that is what happens to you, and if you then create compelling art that exemplifies the waking-up phenomenon—which is unavoidable—you begin to test the system.

The results, from all angles, are unpredictable, given enough time.

It might be better if you choose not to reserve a ticket for the movie called Reality.

If you’re wondering who I am and why I’m spilling so many beans, and who I work for:

I’m a former employee of the Reality Manufacturing Company. It’s simple. After long years of service, my boredom quotient reached a tipping point. I quit.

And now I have a new idea. It’s called Open Future. For individuals only.

It’s based on a bottom-line premise. Enough artists, with enough desire, with enough power, with enough independence from the central Glob, with millions of their very different Realities side by side…will explode the one central movie.

The audience cast out by that explosion will eventually find their way. Yes, there will be chaos, but it will be fertile.

Oh, a great deal of propaganda claims that this sort of liberation is impossible, I understand that. I know a few of the people who designed the propaganda.

But I assure you, it’s possible.

Why do people enter the movie in the first place? Boredom, desperation. They might be attempting to avoid arrest. They might think the movie is a lark. They don’t realize its enveloping qualities. Or they’ve given up on their own imaginations.

Then there’s a whole class of people who enter the movie because they see an opportunity to exercise power in it. They want to impose some sub-reality on other audience members.

There’s even a group who has a fetish and obsession about watching the audience members. All the time. They watch and track.

Some people enter the movie because they’ve read ads about the aesthetic qualities of film. Symmetry, harmony, balance, equilibrium, geometric simplicity in the production design. They have a hunger for these things. They want three dimensions of space, simplistic perspective, and one dimension of time. The Company calls all this “the lowest common denominator.”

And of course, many audience members, for their own reasons, enjoy compliance and obedience. They’re looking for a movie in which they can follow orders.

It takes all kinds of people to make a movie a commercial success.

This article was posted: Monday, August 5, 2013 at 3:09 am

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