Producing the movie called Reality

Producing the movie called Reality

by Jon Rappoport

February 27, 2015


For most people, reality sits there like a plate of scrambled eggs. Wake up in the morning: yup, there’s that plate of eggs.

Artists, however, about whom I write much in these pages, take a different approach. They never got the memo about the unchanging nature of things, or the memo declaring the patterns inscribed in the universe are so stunning, they should be worshiped on bended knee.

Fractal this, sacred geometry that? All right, sure, quite interesting, but some works of art can be analyzed and found to contain patterns.

And the universe (the movie) is just that, a work of art.

The movie called Reality is one production out of a possible infinity of films. Whichever studio produced it was hoping for boffo box office—and they got it. This universe is a hit. People line up around the block every day, waiting to get in.

But as we all know, commercial success is a deeply fallible indicator of value. You can get a few million people to watch a video of a singer who can’t sing, singing a song a composer who can’t compose, composed.

Whichever studio produced the movie called Reality was committed to enduring appeal, in the same way that people behind a soap opera design it to hook in audiences and addict them.

The movie called Reality (this universe) is injected with the illusion that it never ends and it seems to occupy space wherever space is available.

And then there are the rules. One: there will be no new space. Two: every event will appear to be the result of a long, long chain of previous causes and effects.

Therefore, if a person does something that jumps outside the chain, he is viewed with deep suspicion. And representatives (paid and unpaid), who are defenders of the movie, reassure one and all that the links of cause and effect are intact and can never be disturbed.

Did I fail to mention that the movie called Reality is displayed so that everyone in the audience is also in the movie? Yes, this is certainly a key factor.

It’s holographic. Watch it, exist inside it.

Exit From the Matrix

I should also lay out a few other strategies of the producers. They enlist artists to create other work that, while appearing to be original, actually promotes the notion that the Central Movie is the end-all and be-all.

They also fund various “spiritual” groups to devise complex systems that pay homage to the movie—as if it is a sacred object worthy of genuflecting worship:

“I’m waiting for the movie to tell me what to do. The movie is the source of wisdom. If it’s meant to be (by the movie), it’ll happen. If not, it won’t. We’re all ultimately connected in the movie.”

Meaning: you can’t walk out on the movie.

You can’t walk out on the space-time of the movie called Reality. You can’t walk out, come back, walk out, come back, and walk out at your pleasure.

If you could, that would be magic.

And there’s no such thing as magic.

So say the movie producers, who want a monopoly on that quality.

But they don’t have a monopoly.

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free emails at or OutsideTheRealityMachine.

10 comments on “Producing the movie called Reality

  1. Michael Burns says:

    Interesting Jon…you parallel my thoughts today.
    Different metaphors, symbols than my own.
    Strange the symbols we choose and personalize and make our own.
    The last week or so I have been fussing, fixing, and worrying, not in a bad way…like a dog gnawing on the bone called art. Gums are starting to bleed a bit…but that good, taste of blood furthers the gnawing. Something in the taste…I’d say.
    Surfaces are prepared waiting or the hand of courage…for me to just step of the cliff and let go into the abyss. And fall deeper and deeper into it till I am absorbed by it, and free of the initial shock of the fall. It’s a fidgety sort of positive to be in for me, throwing off the restraints that the matrix can veneer layer upon layer onto each and every one of us. The layers of nonsense. Fake protocol and mores of this ridiculous Walmart reality.
    I get glimpses of this new reality I seek at edges of things, objects and the peripheral corners of my eyes. Characters of that personal place that seeking my attention. With the whisper “Come play. Come and be free.” Sometimes I hear them fidget behind me, or see them pop up as image in foilage, or a spilled liquid.
    At any given point in what I do as an artist, there are upwards of one hundred paintings, drawings and silverpoints on the go. They are at various point of completion. I have been away from them for some time now…years as a matter of fact, with some of the images. So they scare the shit out of me wondering how to get back into them. But they also thrill me with possibilities. Imposing a distinctly altered state, another reality. With a separate physics and light and atmosphere…the quality of the air. The real textures, and smells, sounds and color of things. I get intoxicated with the place. It’s like a waking dream, only it coming out of you. It exists inside of you, complete, and that’s what’s startling about it…that it is that real.
    I was having trouble finding a way back into them after so many years they sat unfinished. It seemed I had lost touch with it…Art. I had allowed the world to demean it, I had allowed the value of it,to be exploited. And I mean that in what I felt at the time, was a wrong way.
    I pulled all the paintings out last night and sat surrounded by them. Immersed in the movie of me, this world I have imagined and conjured up over the last thirty years of my life. Each one either a major unpolished statement, or else a sentence, word or phrase of that place and I understand so well. That I had a choice to walk into this place for day, a year, a century and leave it and walk back into the matrix again if that be the desire. And see the matrix as the same thing. A creation. Except, the creators are restricting the choice of the leaving.
    And like you say, “There is no such thing as magic”…yeah ok!

    “Everything you can imagine is real.”
    -Pablo Picasso

    • From Québec says:

      Another thing we have in common. I haven’t painted either for 5 years.

      Before 2010,, I lived 36 years in an old huge flat with very high ceilings
      Very beautiful place. I made myself a big studio there. I was quite messy when I paint, too obsessed with my painting that I didn’t give a tinker’s damn if the paint landed on the floor. When I was finished, I would just close the door.

      But here, where I live now, it is much smaller, no place really to make a studio. Plus, I use to only do oil painting and now, for some unknown reasons, I can’t stand the smell of the turpentine when I wash my brushes. And I hate acrylic paintings.

      So last summer, I thought that since there is a big balcony in the back of my flat, that I would start doing some outside watercolor paintings (much more difficult than oil). But, I had a bee nest in the tree covering the balcony so I kept running in and out the door…lol. I got the nest destroyed by experts, but then I started having squirrels running on the balcony… and here I was again running in and out of the door So I gave up.

      But, I’ll try again next summer.

      Getting back to the movies, the only ones that interest me these days are comedies.

      • Michael Burns says:

        There are lots of ways to paint Q.
        There’s a story when Warhol discovered Basquiat. Basquiat was in alley with this card board box he had got out of the dumpster and carefully flatten out on the asphalt beside the dumpster. He had stick he was lighting with a Bic to make a charcoal end to draw with…I love that mental picture. Just like we did long time ago on cave walls.
        Poor Jean Michel couldn’t care less about the meat suit.
        How’s the soap opera going.?

  2. From Québec says:

    I read your post three times to make sure I understood it correctly

    If I got it right, that would mean that only science fiction movies or fairy tales like “Alice in wonderland” would be written by true artists.

    I especially had a problem understanding this sentence:

    “Fractal this, sacred geometry that? All right, sure, quite interesting, but some works of art can be analyzed and found to contain patterns.”

    This is how I understand it:

    – Fractal patterns are recognizable patterns that always repeat differently.
    – Sacred geometry provides us with a continuous reminder of our relationship to the whole.

    So what do you mean by: “Some works of art can be analyzed and found to contain patterns.”? What patterns?

    Switching gear here:

    “Whichever studio produced the movie called Reality was committed to enduring appeal, in the same way that people behind a soap opera design it to hook in audiences and addict them.”

    People who listen to soap operas, do not want reality. For instance, when a character dies in the scenario, people call and ask the writers to make him come back on the soap. They don’t want to believe that this character died.

    Sometime the character has been dead for a year and the writers bring him back because people want him back. They sort of resurrect him. I’ve seen that 3 times on the two soaps I am following.

    It is so far fetched, but the people don’t care. They are happy that he is back on the soap. Whatever reason the writers give for this resurrection is not a problem for the viewers even if it doesn’t make sense. . Like I’ve said, they don’t give a damn about reality. They live in a magical universe and they want it to stay that way.

    I know. I’m one of them. Every day, I read articles on alternative sites and , late at night, I listen to the Alex Jones Show and Infowars Nightly News. It is quite heavy material they have on these shows and articles. Crude reality, naked truth, right in your face. Enough to give you nightmares.

    But right after listening to these two shows, I go to bed and watch the two soaps that I have registered on the day. I really enjoy that. It keeps me from going insane. It sort of gives me a balance between reality and magic. I then fall asleep for eight straight hours and always have pleasant dreams.

    Listening to soap operas stimulates my imagination like nothing else. I rarely watch movies anymore, I find them too boring.

  3. Michael Burns says:

    “– Fractal patterns are recognizable patterns that always repeat differently.

    – Sacred geometry provides us with a continuous reminder of our relationship to the whole.”


    Fractal patterns are holographic in a sense, a small piece of the whole contained within the whole. It repeats it’s pattern endlessly within itself.

    A Fractal is really a mathematical equation, were one embeds the fractal term inside of the equation. Fractal pattern is a language, a mathematical language that can describe irregular shape, phenomenon like clouds, trees, nebulae etc. It has come close to the original, using the language of mathematics to measure something so irregular that it defies accurate measurement by other means. For example calculating the area or mass of foilage on a tree.

    Its a good guess…I guess. But it is still incorrect. It is not truth. It is not real.

    Sacred geometry…well, nothing really sacred about it. The marriage of the fundamentals of science and religion, to come up with a holy shape, which is really a  holy number, or set of holy numbers, even a unholy number 666…its so catholic. Simply more brainwashing Q.

    How can sacred geometry have such a hold on the fundamental mind?

    Mathematics by its nature is about patterns, shapes and imposing order. It is about counting,  serious sophisticated counting, another layer of consciousness laid down to impose a reality again within the matrix. 

    If one looks, simply from the context of a single mind, a pattern can be found, in anything. By searching for pattern one seeks to make the thought our own. One seeks to impose an order. Freeze that known into an absolute. So that it never changes.

    But it is not ‘the’ pattern. If there is such a thing.

    There really is no final, all incompassing pattern, the minute you think you have it, it will changed. Or another pattern will be found.

    Nothing is static.

    We are limited by the physics of this particular solar system we live in my friend.  Anywhere else and we would would find that what we believe the Universe to be, would be wrong under a different sun, or solar system or galaxy. What does a spider think of gravity? Is it so absolute within its mind?

    We are condemned by the very size of our own minds. Patterns stop expansion of consciousness and the mind. They make it easy to fall back to safety.

    Everything is in constant flux. As it should be. There is a great beauty in that.

    If you look into a work of art like a painting, you can see the struggles of the artist. If you are aware, you begin to notice his thinking taking place on the canvas surface, you witness the problem solving going on in the process of the painting. Marks and dabs of color, tell stories.  That kind of process will make great work, great work. Patterns of problem solving become skill and visual things. An artist shows his point of view, what he truly feels about the world regardless of the patron. Sometimes it is necessary to conceal for those who can see within a pattern. Goya hid his contempt for the monarchy within his images. These become his true voice throughout his body of works. There is a pattern throughout. It became a signature of a Goya.

    Michaelangelo and the church, he needed the work and the patronage fame that could come from the church. But he disliked being a pet, he loath their censorship his work…so look closely and you will see his patterns and truth. A giant of an artist amongst meer priests.

    Soap operas Q are designed to be addictive, they set down mental architecture of modern reality. They are blue prints entrenching biased thought. They form concensus reality through these mock ups of reality. Doctors are experts, patriarchs dominate families. They reflect reality, and chain the viewer to the daily fix, like a psychological drug.

    My mother would neglect us as children because of her soaps, they were the mainstay of her day. Her day was built around them.q Family activities were arranged around these shows.

    My grandmother couldn’t tell the difference between the real and Coronation Street. She thought she was a witness to the real. I constantly had to talk to her (she was a old, and uneducated).

    I know women who record soap episodes if they leave for vacation, and some who record daily episodes of the afternoon soaps because they are at work. If they miss an episode, they get depressed, or get in a bad mood. There is even a soap opera hotline, if you miss a show. Most addicts have a back-up plan, in case of a missed show. This is a reality these people live out. To see television in this desperate way, is an insanity.

  4. Afshin Nejat says:

    Your analogy is really tight and all of the points you made, and many connected implications, can all be metaphysically explained and logically demonstrated, but ONLY IF the Principle of Antivalence is adopted for this universe.

    Otherwise metaethical paradoxes concerning the first cause of, and enduring persistence of EVIL are the consequence, which evil heirophants prefer not be properly right resolved, wishing to “keep the keys” to “such mysteries” whilst condoning and facilitating the raping of souls.

  5. From Québec says:

    “How’s the soap opera going.?”

    Slow. I’m still working on selecting interesting characters.
    I want to create a soap opera that will inform people, stimulate their imagination and make them laugh at the same time. Quite a big task!

    I don’t know if it will take shape someday, and if it does, I have no clue what I will do with it. But meanwhile, I’I’m having a lot fun building it.

    Honestly, right now, I feel like the guy “who had a stick he was lighting with a Bic to make a charcoal end to draw with,”

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