PEDOVORES: The Horror is Systemic & Global
Oliver Stone – Director, Producer, Activist
Oliver Stone, byname of William Oliver Stone (born September 15, 1946, New York, New York, U.S.), American film director, screenwriter, and producer known for his ambitious and often controversial movies.
Stone, the son of a wealthy stockbroker, was raised in New York City. He briefly studied at Yale University before dropping out to teach English in South Vietnam. Upon his return, Stone lived in Mexico for a year and again attended Yale for a short period. In 1967, during the Vietnam War, he enlisted in the U.S. Army. He distinguished himself in combat, earning two Purple Hearts and a Bronze Star. Stone then enrolled in film school at New York University (B.A., 1971), studying under director Martin Scorsese.
Stone was deeply affected by his war experiences, and his student films, such asLast Year in Viet Nam (1971), dealt directly with the consequences of the Vietnam conflict. After graduating, he directed the horror movies Seizure! (1974) and The Hand (1981), the latter of which starred Michael Caine. Stone also began experimenting with screenwriting, and he won an Academy Award for best adapted screenplay for Midnight Express (1978), which was based on the true story of a man brutally abused while imprisoned for drug smuggling in Turkey.
Stone devoted much of the early 1980s to writing screenplays, including Conan the Barbarian (1982), Scarface (1983), which was directed by Brian De Palma and starred Al Pacino, and Year of the Dragon (1985). He returned to directing withSalvador (1986), which he also wrote. In the film, a journalist (played by James Woods) documents the atrocities committed during the El Salvador uprisings of 1980–81. Stone again drew on the trauma of the Vietnam War in Platoon (1986), for which he won another Academy Award, this time for directing. The film navigates the perils of war from the perspective of a new recruit who quickly realizes that the idealism that motivated his decision to enlist was misguided. Stone drew upon personal experience once more for Wall Street (1987), using memories of his father’s career as a stockbroker to conjure an indictment of the greed and deceit governing the financial world. In 1988 he adapted Eric Bogosian’s Off-Broadway play Talk Radio to film.
Stone emphasized the continuing ramifications of the Vietnam War with Born on the Fourth of July (1989). The film, based on the autobiography of Vietnam veteran Ron Kovic, chronicles the evolution of a young man, played by Tom Cruise, from patriotic soldier to paraplegic antiwar activist. Stone won an Academy Award for directing that movie and received a fourth career nomination for his writing. The year 1991 saw the release of both JFK, a polarizing investigation of the circumstances surrounding the assassination of Pres. John F. Kennedy, and The Doors, a stylish account of the rise and fall of the titular American rock band. InHeaven and Earth (1993), Stone approached the Vietnam War and its aftermath from the perspective of a young Vietnamese woman.
Stone again courted controversy with Natural Born Killers (1994), a film, written byQuentin Tarantino, about the savagely violent exploits of a married couple, played by Woody Harrelson and Juliette Lewis. While Stone claimed that the film was meant to be critical of sensationalized violence, some critics found it guilty of exactly what it purported to condemn. Stone then cast Anthony Hopkins in the title role of Nixon (1995), a measured take on the life of the U.S. president. He also developed the screenplay for Evita (1996), an adaptation of the Andrew Lloyd Webber musical about Argentine politician Eva Perón (played by Madonna).
Stone revisited some of his favoured motifs, power and violence, in Any Given Sunday (1999), about professional football, and in Alexander (2004), a poorly received biography of Alexander the Great. World Trade Center (2006), a retelling of the events of September 11, 2001, from the viewpoint of two police officers, returned Stone to the centre of public debate. While the film was critically acclaimed, some questioned the propriety of making the film so soon after the tragedy. W. (2008), his biopic of Pres. George W. Bush, drew ire from both extremes of the political spectrum for its refusal to pass definitive judgment, positive or negative, on its subject. Stone later directed Wall Street: Money Never Sleeps(2010), a sequel to the 1987 film that was set amid the global financial crisis of 2008, and Savages (2012), an ensemble thriller about marijuana trafficking that, in its depiction of seedy mayhem, was reminiscent of his earlier U Turn (1997).
In addition to directing and writing, Stone produced many of his own movies. Besides narrative films, he made two documentaries about Latin American politics: Comandante (2003), about Cuban dictator Fidel Castro, and South of the Border (2009), which focused on several other left-wing leaders, notably Venezuelan Pres. Hugo Chávez. With Peter Kuznick, he also created Oliver Stone’s Untold History of the United States (2012), a 10-part television documentary (and accompanying book) that took an unorthodox look at the preceding century of American political history. In 1997 Stone published a semiautobiographical novel,A Child’s Night Dream.
Sean Stone, son of controversial filmmaker Oliver Stone has acted in his father’s films such as Wall Street, The Doors, JFK, Natural Born Killers and many more. He has starred and directed in his own feature film Greystone Park. Sean joined the team of investigators for the Tru TV hit Conspiracy Theory with Jesse Ventura. Sean currently hosts an alternative media show ‘Buzzsaw’ featuring interviews with whistleblowers, styling itself as the ‘real X files’ looking into the hidden agendas behind the news.
10 Reasons Why Reality Is A Collective Dream
The government beast to the people: sleep now, little child. Everything is going to be alright. Mommy and I are not going to let anyone hurt you.
1. The Western media is keeping mainstream Western consciousness in a state of sleep. It is doing this in order to suppress public awareness of massive crimes against humanity by financial, media, and political leaders in the U.S., England, and Israel.
2. Time is speeding up, and leaving little time for reflection and thinking. The world is changing at a pace that exceeds our ability to grasp what the changes mean for us as individuals and for our collective destiny as a species. The overwhelming sense of lost time is too much to bear for a lot of people, so they get depressed, disengage from the real world, and escape into their fantasy worlds.
3. Everything we are led to believe about official reality and official history by society’s institutions is a lie. A sense of meaning to our lives has been lost, and we are desperately looking for answers. Some of us get trapped in the maze of information, and give up our personal quest for understanding. And some of us continue to slog on through the darkness, night in, night out, because we are never satisfied with our current level of knowledge.
4. On 9/11, we witnessed the Orwellian leaders of the U.S. and Israel destroy reality and reason, and replace them with illusion and irrationality. Their political use of terrorism to mentally condition the people of the West into believing that the threat of terrorism demands their vigilance and sacrifice to the state has created societies of sheep that instinctively react against truth-telling and anti-conformist speech.
5. The politicization of news has created a culture of disinformation, distraction, and deception. 24-hour “News” is the most dangerous and lethal thing in the world. Television is a cancer on the mind. Since 9/11, television has been utilized as an instrument of psychological warfare against the people in America, Canada, and other Western countries.
6. Esoteric-minded individuals in government, media, secret societies, and Hollywood are pursuing a secret political and religious agenda. Deception and secrecy are instrumental to their demonic mission. Their commitment to suppressing historical facts and objective reality is total and absolute.
7. Movies are more than entertainment, they are a subversive and successful form of mass programming. Hollywood is a dream factory, and its dreams become reference points for people, media, and politicians. On 9/11, responders and survivors said that they felt like they were in a movie. There are so many more examples of this social, cultural, and psychological phenomenon.
8. Seeing life as a dream is a trick of the mind. For the criminals of the world, especially those who control governments and financial companies, being separated from reality allows them to engage in illegal activities with an exaggerated sense of confidence. The state terrorists who did 9/11 feel untouchable because their absurd lie has been mindlessly accepted as an objective fact by the majority of the world, rather than as an evil deception. They are the masters of reality, and they know it, which is why they are not afraid to stage another false flag event in the West to justify another criminal war.
9. Consensus reality under a system of dictatorship is reached at through the use of terror and systematic propaganda. How do we arrive at a consensus on public policy and government spending programs in a democracy? Idealistically, through intense debate, political dialogue, public education, and public discussion. But that is not what happened in the days and weeks after 9/11.
Western nations arrived at a consensus about the threat of terrorism after the shadow governments of the United States and Israel committed the biggest act of terror in history. The consensus reality we have lived under since 9/11 is a collective spell, and a long nightmare. The social fruits of this collective spell are death, poverty, and misery.
The propagandists who work for Washington, London, and Tel Aviv are masters at devising an “international consensus” on political and military objectives, whether in Afghanistan, Iraq, Palestine, Libya, Syria, or Iran. But they don’t use logic and reason to win over the world, instead, they use big lies and false flag terrorism to intimidate nations into accepting their twisted version of reality.
10. Regimes of terror and fraud create a collective dream state to limit the consciousness of the people so they do not wake up and realize the magnitude of the crimes that have been committed against them while they slept. The propagandists of totalitarian regimes of terror are constantly engaged in a war on collective memory. Their target is the collective psyche of the society. And they use all kinds of psychological, military, and scientific techniques to realize their goal of creating a dispirited, unconscious, ignorant, fearful, and psychologically traumatized population.
But there is a way out of our collective nightmare. We can reject the terror-based consensus reality that has been constructed by the tricksters behind the 9/11 events. We can dream a new dream.
SOURCE: http://disquietreservations.blogspot.com/2012/05/10-reasons-why-reality-is-collective.html