The Dark Forces that Run the World | Jerm Warfare

Jerm (0:30)

My name is Jerm, this is Jerm Warfare, the Battle of Ideas. I've gone blank now, what's her name? She was in ET when she was like six years old.

Sean Stone (0:39)

Drew Barrymore.

Jerm (0:40)

Yeah, that's right, that's right, right. You were also like six years old when you were in the movies.

Sean Stone (0:47)

She's a much bigger actress than I am, she's done a lot more than I have.

No, I mean, I was, I wouldn't, how do they say it? You know, she's a dynasty. I was, you know, I was put in films as a baby. And, you know, I wouldn't say I was much of an actor at the time. I was just, it was, you know, frankly, I was intimidated, I was very shy as a kid. So it was just a task of memorizing lines and, you know, basically, you know, saying them on set. I wasn't interested in necessarily being an actor at the time. I enjoyed it more. As I got older, I think I embraced that role more. And I subsequently did act in a number of independent films. But, yeah, I mean, I was just, you know, it was convenient for my dad to be able to put me in films as a child in like The Doors and Wall Street and Nature Born Killers and JFK.

Jerm (1:44)

It's not like you're putting you into like pop culture movies. Yeah, like E.T.'s kind of pop culture, like JFK isn't.

Sean Stone (1:54)

Well, what is pop culture to you?

Jerm (1:59)

That's a pretty good question.

That's a pretty good question. How would you define that?

Sean Stone (2:06)

What does that mean to you?

I think pop culture is whatever catches, you know, whatever catches and becomes popular, right? That's the concept of pop culture. So, if you're saying pop culture is more like the MTV version, I mean, of reality, I mean, Natural Born Killers was meant to kind of reflect that pop culture and was probably had, I think, at one point had the most edits of any film. I think we've probably passed that, you know, in the last decade or so. But at the time in the 90s, you know, Natural Born Killers was edited and constructed almost like, you know, MTV style. Many different, almost like, you know, like an expansive music video, right? Many different formats, animation included.

How many million cuts in the film? I don't know. I don't know about a million, but hundreds of thousands of cuts. I mean, it's a very, it has a real pace to it. At the time, it was overwhelming. Now you watch it and you're like, I think, you know, with the nature of the modern day action films and CGI films and whatnot, the pace has slowed down compared to where it was in 94 when it came out. And it was just like being on a mushroom trip or something.

Jerm (3:19)

I think any sane person will know that the official story is bunk. I mean, the magic bullet is ridiculous.

Sean Stone (3:31)

Listen, I mean, the establishment historians and media still, you know, still embrace it. It's hard to say that if it's because of a sanity, I don't know if it's a sanity test. I think it's more just a test of people's refusal to, you know, to think critically and to question things that embraced, you know, whether it's the Kennedy assassination or the 9-11 conspiracy narrative of Bin Laden and his, you know, 19 hijackers.

Or, you know, you name it, you go through any story that becomes the lore, right, by which government and its society and society functions.

Jerm (4:16)

Certainly the US, from where I'm sitting, dramatically changed after the assassination of JFK.

Sean Stone (4:24)

Well, that was the thesis of the film, right? The film JFK had the thesis that there was a coup d'état that basically shifted us to, you know, like, called now the Deep State Run. You know, it used to be called the Secret Government.

There may have been many names for it, right? But this idea of a national security state, right? Which is what formed the CIA in the first place and the National Security Agency. But this whole, you know, 47 shift in post-war, post-World War II was like, we never, we never shifted out of war. You know, from the point of the second world war, we never shifted out of a war society. And we shifted into a national security society. And so that's the basis of government secrecy to this day, right? And a lot of, at the point, in the 70s, when there were church committees and others that were starting to investigate secret government actions like assassinations and coups and mind control and things like that, that's when I think a lot of the national security state shifted into the private sector en masse. So there's this marriage and a marriage really of the enterprise in the 80s when they were running the war, the Contra War and they were running arms, they were selling arms to Iran to fight, basically surreptitiously arming Iran to fight Iraq, who we were also backing with a lot of support, including chemical weapons and things like this.