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Jim Jarmusch answers a question concerning Mubi’s controversial relationship with Israeli defense investor Sequoia Capital: “I was, of course, disappointed and quite disconcerted by this relationship… Having said that, I’m an independent filmmaker, and I have taken money from various sources to be able to realize my films and...

472,390 просмотров • 11 месяцев назад •via X (Twitter)

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Catherine Austin Fitts on the rich being "on the menu" for the digital enslavement grid "I can't tell you how many people who have big stock portfolios think they're fine" "They don't understand they're on the menu" "money that can be taken away from you... is not your money" This clip of Fitts, a former Assistant Secretary of Housing and Urban Development, investment banker, and founder of the Solari Report (The Solari Report | Catherine Austin Fitts), is taken from an episode of the Children's Health Defense (Children’s Health Defense) series Financial Rebellion posted to Rumble on June 4, 2026. ---------------Partial transcription of clip--------------- "I grew up in a world where you could go to Wall street, make a lot of money, and your excess money would protect you from central control. And most people operate under that theory. I can take action in my own life. I can earn enough money financing and building the control grid, and that will give me enough money to protect myself. That is wrong. That used to be true. That is wrong. "And one of the things Carolyn and I got very clear about in 1998 for— on is money that can be taken away from you with a snap of a finger is not your money. "And if we don't have real rights and real powers, then we're all going to be slaves. So this is something that has to get clear in people's minds. I don't care— "I just finished as I described, traveling all over the country. I can't tell you how many people who have big stock portfolios think they're fine. They don't understand they're on the menu, and now is the time to take action to make sure what you worked hard to earn, you get to keep."

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George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

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