March 3, 2012 - The Political Cesspool - James Edwards
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Welcome to the Political Cesspool, known worldwide as the South's foremost populous radio program.
And here to guide you through the murky waters of the Political Cesspool is your host, James Edwards.
Anyone who is not listening to the Political Cesspool tonight is not cool.
They're very lame because this has been just a really fun show so far.
And it's going to get a lot more fun, a lot more interesting.
And, you know, so if you have any friends, relatives, acquaintances, enemies, strangers that you know that should be listening to this show, give them a call.
Tell them to tune in via Liberty News Radio and to get on the CFCC chat at cfcc.org.
As you can probably tell, James Edwards is not the host tonight.
Bill Rowland is the host tonight.
And I'm liking this so much, I don't know if I'm going to let James back in the door.
I may just have to sit here.
But of course, I know that would cause a riot, and I'd probably be taken out and, you know, lynched or something.
So that's not going to happen.
In fact, James will be here shortly, joining us for the show.
And I know that he would want to be here for our guest tonight because our guest tonight is certainly one of the best guests we've ever had on the show.
And one of our favorite people overall, Craig Bottiker, filmmaker, bon vivant, star of the absolutely fantastic video that I'm sure he'll tell you a little bit about that, A Conversation About Race.
Absolutely the best documentary from the white perspective on race ever made.
No doubt about it.
Now, with an intro like that, Craig, you got to come back at me, man.
Man, I might as well just leave now, Bill.
I mean, what else can I say?
That's one of the nicest things I've ever heard.
Political Cesspool is always very good to me.
Well, we're going to continue to be good to you.
But I know tonight, we've talked about your film before, and of course, we'll continue to talk about it because everyone needs to see it.
But tonight, we had you on the show because you've become involved with a new organization, the National Citizens League.
And we want you to tell us all about that and what you're up to.
What are you up to, Craig?
Well, yeah, thank you, Bill.
And give my best to Keith and certainly my best to James as well for having me on again.
And to answer your question, a lot of people have been asking me in the last year or two, you know, what are you going to do to follow up a conversation about race?
And I don't have a real specific idea.
I wish I did have one that was so solid as that was.
But one person suggested that I've got to set up a platform that I can actually make more movies like that from where I can raise money like you guys are doing, a 501c3 and raise money and people can donate tax and tax deductible donations, by the way.
And because frankly, it's just hard to try to make these kind of movies just out of your own pocket.
As you know, it's like undoable.
Yeah, as I think it was Orson Wells said, it's an expensive paintbox, no matter how big or small a film you make.
That is certainly true.
That is certainly true.
So we've set up this new 501c3.
It's called the National Citizens League.
You can go there at nclnow.org is the website for what it's worth.
And the idea is we can do two things from there.
One, we can work on producing more films like A Conversation About Race.
And then the other thing is we can show other people how to make movies for their causes.
You know, that's a very worthwhile endeavor because the visual presentation of ideas is so much more powerful in many ways, especially for people who, you know, the mainstream than books or publications or even the internet.
Because a film draws you into the subject.
And by doing so, that's how people's minds are changed.
That's how people are influenced by ideas.
Certainly D.W. Griffith knew that.
Certainly filmmakers from the past all the way to the present know that the visual aspect of film can grab people and really hold on to them.
And have you been contacted by any young filmmakers or other filmmakers about this idea?
And have they been pitching anything to you so far?
Well, I've only had the 501c3 in position for a little less than two weeks now.
But yeah, as a matter of fact, I've heard from three different organizations saying that they're going to get in touch with me very soon about the idea of either producing something for them or helping them write and produce something for them as well.
So knock on wood is sometimes the idea is the hardest thing to come up with.
You know, off air, I've got an idea I want to pitch to you because I used to be involved in a very amateurish way with video production, television commercials and that kind of thing.
And something struck me that you might find a good idea.
We'll talk about that.
And then when it's released and we're up there receiving our Oscars drunk and stupid and in tuxedos, then the whole world will know that it was a great idea.
I'll give you credit for it at that point then.
In the meantime, I see that you've got a link to watch a conversation about race at the National Citizens League website.
And that's a good first step, I think, because when people see the quality of that film, they're going to be inspired to both, one, make an investment in films like this in the future, and also to realize, as I said, the power of the visual medium to influence people and to sway their opinions in the direction of truth and justice in the American way.
Well, I couldn't agree more.
The decision to launch it free was just that so many people had been kind of pirating pieces of it here and there on YouTube.
And it had been almost four years.
So I thought, well, it's time to go ahead and show it for free.
And as long as I'll get some use out of it for the new website.
Interestingly enough, I think we've had it up for about a week and we've already had 500 indirect links to it.
So people are still watching it.
Well, that's certainly, I know that you, of course, we're friends on Facebook, which, of course, I would never turn down a friend like you, and I hope you wouldn't turn down me.
But as I say, we're friends on Facebook.
But, you know, have you gotten any real boost from that when you announced the creation of the NCL, the National Citizens League?
Did Facebook really turn out to be a good asset?
Yeah, you have to give Facebook credit.
We can gripe and complain about Facebook, as I will be known to do.
But yeah, I think the first day I had like 160 likes or something on the page.
That's certainly a positive development.
Yeah, it may not be as big as some of the numbers that I do hear from other folks, but for me, not really doing too much to promote it, just sending out the links on my Facebook page and getting that kind of response.
That's good.
I've also got some cash donations, too, which actually we like even better than the Facebook likes.
Sorry, just teasing.
But you know how it is.
Money is better than friends on Facebook in this particular circumstance.
And in the ledger book, yeah.
In the ledger book, it has to be.
Right.
Now, you know, just to get into the topic of filmmaking, to make a film like make another film like A Conversation About Race, I think when you made that film, you actually used a Panaflex camera.
Didn't you use regular cameras and film to make the documentary?
Actually, we used at the time a pretty standard camera.
It was a Canon XL2.
So it's not a Panaflex.
It's not a film camera.
It's a high-definition video camera.
I'm sorry.
It's a digital video camera that's standard definition.
So today they're somewhat obsolete, but back when we shot it, it was still pretty much pretty much what most, especially internet video, was shot on.
So yeah, Canon XL2.
The funny thing about a conversation about race, actually, it was shot in a German format.
It was shot in PAL.
So if you notice kind of a strange shape when you watch it on full screen, it's not quite a 16 by 9.
And that's because the camera was formatted for a German camera, man.
We won't go into the whole backstory of that.
Well, I'll tell you what, we're coming up on a break, Craig.
We're going to be right back in just a minute.
This is the Political Cesspool.
And my guest tonight, Craig Botaker, filmmaker, and most recently, a man who has gotten into the 501c3 business and is looking to make more films.
So we'll be right back right after these messages.
Hello, everyone.
James Edwards here.
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I worry about my parents because I think smoking is going to harm them.
I mean, it harms my mom.
She coughs all the time.
Just like, mom, it's because of your smoking.
But she's like, well, see, this is what you should look at.
See me, I smoking.
Look at this.
I'm just like, yeah, mom, why don't you just try to quit?
Sometimes teenagers do know what they're talking about.
I've tried.
I've brought them the little pamphlets that we get at school about not smoking.
And I've like tossed it in front of her.
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We even got this thing from the American Cancer Society.
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A public service message from this station and the Church of Jesus Christ of Latter-day Saints.
Welcome back.
To get on the Political Cesspool, call us on James's Dime, toll-free, at 1-866-986-6397.
And here's the host of the Political Cesspool, James Edwards.
James Edwards is absent without leave, so I came in to take over for him.
This is Bill Rowland sitting in for James Edwards at the Political Cesspool.
And I tell a lie because James should be joining us very shortly, and certainly by the third hour.
And I'm delighted to have with me tonight Craig Bottiker, filmmaker and most recently organizer of the National Citizens League.
Sometimes I get my initials mixed up.
No telling me.
So do I. Sorry about that, Craig.
National Citizens League.
And so the response has been good.
You've made some friends on Facebook.
And what do you see developing, let's say, in the next six months with the National Citizens League?
Well, a lot of that depends on, to be honest with you, like you mentioned talking to me off-air about some ideas.
It depends on some ideas that other people throw my way.
I'm receptive to many other ideas.
I guess organically, what I'd like to do, I think what might be doable, something that I could foresee doing, I'd like to see the idea of developing a National Citizens League news, like a one-hour, or I'm sorry, like a clip.
You make one click per week and you do our take on the news events of the day.
That's a great idea.
Yeah, sort of turn that into a... Comedy or any funny parodies from our position.
Not too many, anyway.
Right.
And so it might be fun to do a news parody with the anchorman with the hairdo and the whole thing, except doing it about news that matters to us.
Well, you could use James for that, except no hairdo.
But wig, you know.
Yeah, an evangelist wig.
That would be perfect.
I think that's a great idea.
I like that.
Well, that's actually when I was working in television and doing commercials and so forth, that's actually what we did was a lot of comedy.
And maybe I'll send you a copy of my DVD back 25 years ago when I was involved in all that.
You probably won't speak to me again.
But it was a lot of fun.
And that's part of this.
Part of this, I think we have to get people involved in the fun of doing these kind of things.
I couldn't agree more.
It is fun.
It's creative and healthy.
We're not used to doing that, interacting about things that we care about and things like that.
So yeah, it's always been, I guess it's always been kind of a direction of mine if I could develop some sort of a format to do some sort of a take on the news.
Not necessarily a rush limba or anything like that.
Yeah, but something funny and a parody of how the media delivers news to us today as well.
Well, I think that's, and, you know, actually, you know, the gap between news and comedy is beginning to narrow.
I mean, you know, it's funny that I watch the NBC Nightly News with Brian Williams, who clearly has a dry wit and brings some humor to a news broadcast when it's appropriate.
And that certainly would never have happened in the Cronkite era, the Dan Rather era, you know, the stiff, the stiff-necked stare into the camera and deliver the news, you know, format.
So I say, and then, of course, the comedy channel also, you know, with Jon Stewart.
You know, he's delivering news, but also with a, with a, with a twist.
Well, that's quite a twist it is, too.
Quite a twist it is.
But nevertheless, that idea certainly has gained legs, and it appears even to be affecting the network news.
But I think the fun aspect is very important, and certainly a lot of people.
And let's talk about also the vanity factor of people wanting to be in the media, wanting to make films, wanting to see themselves on television or in a film.
That's a good draw, too.
That's a good way to get producers.
Believe me, in a way, that's how I got the subject for a conversation about race.
People sometimes don't think quite as clearly when they have cameras and lights on them.
They kind of find that they'll do a lot more to be in a movie than you'd think they would.
I think that's true.
I mean, we're sort of an attention-starved nation, and we've been raised on this idea that fame is a virtue.
Fame is the end goal.
If you're famous, how could you be more successful, right?
Well, you know, this is the first civilization.
This is the first civilization I know of in history where actors are at the top of the aristocracy of this country.
In most countries in history, actors were at the very bottom of the social heap.
And now they've risen to be our elite, our aristocracy.
And you want to take a caller, Craig?
We've got Rich on the line.
And if Rich has got a question for Craig, we'll take his call.
Rich, are you there?
Yes.
Hello, Craig.
Hello.
I just wanted to tell you that I saw your movie.
I thought it was fantastic.
I want to say something else later in the show, but I didn't know I'd be on this quick.
But I was talking to a colleague at work the other day, and he was telling me how a black guy, he says, I deal with racism every day.
And I says, oh, okay.
I says, well, what racism have you dealt with today?
And he couldn't come up with anything.
I said, I'll tell you what, at the end of the day, let me know what racism, you know, what you have to go through on a daily basis.
At the end of the day, I says, hey, what racism did you go through?
He says, well, there wasn't on today.
I said, okay, tomorrow, let me know.
As soon as racism raises its ugly head toward you, I said, let me know what you've been through.
And so the following day, I went up to him.
I said, has racism raised its ugly head again?
And he goes, no.
I said, well, earlier you told me that racism, you dealt with it every day.
I said, I'd like to just.
So then the other day he told me it was covert.
I said, so it's invisible.
Yeah.
I said, are these imaginary people?
You know, are they make-believe?
And then he just, he couldn't say nothing.
I'm just so tired of hearing that garbage.
By the way, I'm also an actor.
Ah.
Ah, that's the reason you called Rich.
Okay, well, we'll take the number off your side card and we'll get you in one of Craig's films.
Well, I'm also his friend on Facebook.
But to let you know one of the other reasons I called, and I've been dealing with this since I've been young.
I went to a school in Cleveland, and we had race rides.
And I've been dealing with this movement for a long time.
And like on the chat recently, they were talking about the Jews this, the Jews that.
I'm getting to the point where I just think it's destructive to our movement because of the fact that some of the statements were like, well, they're smarter.
They stick together.
Well, I don't understand why we can't stick together.
I don't know why we can't work harder.
To me, it's almost you're making excuses why we can't succeed.
I met a black person one time, and he says, well, I can't make it because a white man's holding me down.
No, you can't make it because you haven't taken individual responsibility for yourself and stood up for yourself and went out and did the work that you have to do.
Hey, Rich.
Have you got a question for Craig?
Because we need to move on to other callers.
Oh, okay.
Oh, yeah, I did see your website on that, and I didn't see much information on it.
I didn't hit like on it yet because I wanted to see more information about it.
It's somewhat bare bones right now, just to kind of let the fact know that it exists.
And we haven't really, I haven't figured out what type of content I want to.
I don't know if I want to go on this on a daily basis and do stories or just to keep it strictly to NCL video projects.
Okay.
Well, thank you.
Thank you for your time.
Well, thanks for the call.
I'm glad you liked the movie, Rich.
Thank you, Rich.
Okay.
Well, you got one actor waiting in line now for the film to get made.
And so that's good to know that we've got some talent out there who's talent willing to take part in worthwhile projects.
But Craig, you're talking about sort of focusing on video.
Would you be willing, for instance, to take some, let's say, audition videos or some rough cuts to see if people have got talent and perhaps develop some ideas that way?
I think that's a great idea.
I mean, yeah, I'd be more than happy to see small files, not HD, small MP4 files of people showing me what they got and what their strengths are.
Keep it to the American Idol level of introduction and audition.
Yeah, we don't have to get the full encyclopedia knowledge yet.
Exactly.
You don't want two hours of some kid playing a guitar and singing the blues.
But I would be more than receptive to it.
That's what we need.
We need to find the good content.
Right.
Because what I want to talk to people about.
Hey, Craig, we got a break coming up.
Save that thought.
We'll be right back.
You're listening to the political cesspool.
The political cesspool, guys.
We'll be back right after these messages.
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You are listening to The Political Cesspool, the most dangerous radio program on the face of the earth.
And now you are our hostage for the remaining two hours.
I am Bill Rowland, sitting in temporarily for James Edwards.
I'm just a temp.
But I've got an absolutely outstanding guest tonight.
And so the show is going to be one of the best, even though James isn't here.
I know that I can't substitute for James' talent, but I can bring in great talent.
And that great talent tonight is Craig Bottaker, filmmaker.
And currently, he is working on a project called the National Citizens League, which encourages young filmmakers to get involved in making films for and about white people and for and about what's going on in this country.
And Craig, you know, obviously from the show tonight, we have some people interested in developing their talents in that direction.
But certainly, as we said before, as I said before, it's an expensive paintbox.
And certainly you can't make a film on $5 anymore.
You got to really have some resources.
Well, yeah, that's for sure.
And that's why we have to resort to the begging for money.
I hate to do it, hate to do it, but yet, as you know, there's nothing that can get done without money in America today.
And a lot of us, a lot of us even think that we won't even watch a film unless it's got, you know, super CG, you know, special effects and, you know, $20 million worth of added post added to it.
And, you know, it's kind of too bad because there's a lot of good stories that we're missing.
Well, you know, I don't know.
There's sort of a, you know, a word that's more often used in English than ever is retro.
And there's this draw to retro, you know, getting back to sort of the old days and doing certain things.
And, you know, I noticed we've talked on the show before about the return to agrarian life by people who have lived in the city and they're moving to small farms and starting over their lives as small farmers.
And it could be that way with film.
I mean, after all, the big Oscar winner this year went to a film that's in black and white and silent.
You can't get any more retro than that.
Yeah, yeah.
Then again, you know, the Oscars, and I'm not sure if that's any more a gauge of a film's quality or not.
Not to knock the film at all, but it's just that we know that the Oscars sometimes can be more political than anything else.
It's really a mutual fanny-patting session for actors and people in Hollywood.
Yeah, it's really just sort of a vanity event.
But, you know, serious filmmaking, you know, it requires a very deft touch and a lot of finesse to really make it right.
I mean, I was certainly never a great filmmaker or commercial maker for that matter.
But, you know, I do understand that the better the finesse in a film, the better the people respond to it.
And, you know, that's, you know, I think that starting this out with that understanding, there could be some really great films that come out of this.
Well, you know, certainly.
In our movement, I meet people with talent all the time.
And I think we've got to find a vehicle for these people to showcase themselves.
I travel around to some of these conferences and retreats.
And a lot of people have approached me personally, and they say, you know, there's 15 authors there selling books.
And most of these, in fact, all these authors are generally smarter than I am.
But yet I've got people approaching me and saying that they relate to my film.
And, you know, I hate to say it, but the truth is it's a lot easier to sit down and watch a movie than it is to read a book.
It's a sit down and actually think about the concepts in a book.
Sure, it's a lot easier to sit down and have someone entertain us in a film.
But so I like to bear that in mind that people today, even though we've got some great, great materials that are available in writing that we've never really had before thanks to the internet.
But still, film really has that power.
So yeah, if we can capture spontaneous events and people really questioning things like we did, we got lucky enough to get in a conversation about race.
That's where the value is.
A film like 300, for instance, I don't know if you saw that film about the, you had to have seen that.
Oh, of course.
That's a film that has great power.
And of course, it had a certain racial aspect to it as well.
But of course, the budget on a film like that would be out of the reach of any filmmaker that we're talking about or any kind of film that could be made, at least right now.
What kind of budget do you think it would take to make another conversation about race?
Well, I mean, honestly, we could make another conversation about race for about $25,000.
But, you know, like I said, a lot of people have criticized the conversation about race because it is so stark and minimal.
But so I think that a lot of times in Hollywood we hear stories about these movies costing $100 million.
And just to put that into a short version, it's kind of a scam that those guys run where they inner office building, they end up making all this money on the movie and saying, oh, no, we never made a dime on this movie.
So all you investors are screwed.
But yet all these departments are furnished and then all this to so.
So I think it would be very hard for me to try to find a way to spend $100 million making a movie.
I mean, how many spaceships would you have to blow up?
Spaceship Earth in our case, I guess.
But yeah, the old Hollywood accounting is infamous, that no film ever made a dime that came out of Hollywood.
And I know that one of the people who got burned really badly by Hollywood using that accounting system was Winston Groom, the author of Forrest Gump.
He really took a beating from Hollywood with what he got from the film.
It never made a dime, by the way.
And we have, by the way, Craig, you want to take a caller?
Sure.
We got Rocky from Florida.
Rocky, you got a question for Craig Buttaker.
Rocky, are you there?
Adrienne.
Hello, Rocky.
You still with us?
Well, I guess Rocky conked out.
And I'll be cute if we get any more callers.
But $25,000, it doesn't seem that particularly for somebody who might have a daughter that wants to be in films, would shy away from that.
That's not that much money to raise, really, for a quality.
You know, if you're going to make a documentary or a film, the quality of a conversation about race is really not a lot of money.
You wouldn't think so, but I guess the truth is a lot of people that they get into this movie business because, yeah, they want to make money.
And you couldn't call a conversation about race a financial success.
I mean, over four years, yeah, it's made a little money, but now it hasn't made the millions that people think of when they think of Hollywood movies.
So, yeah, I guess it depends what the goal is.
Do you want the goal to educate people and to really kind of open up their minds?
Or do you just want to take them for a good ride for $13 or something like that?
And obviously, I know that Hollywood isn't going to entertain my visions.
So, yeah, I don't do it for the money.
That's why I pray that I can find another good idea, like a conversation about race that kind of basically wrote itself.
Now, you know, you say, I mean, one of the things perhaps that would need to be part of the development of a film studio, basically what we're talking about, or a film production company, would be distribution and promotion and that kind of thing.
How would, you know, for instance, do you see the possibility of a film like A Conversation About Race showing in a little cinema in New York or in Colorado or California and also being promoted in a way that would get a larger audience, which brings up another cost, which is very promotion and distribution is very expensive as well.
In some cases, it's more than the production itself today.
So it's scary that you think that you spend all your time and budget and you finally make the piece that you want, but then you find out in the business model, you don't have a complete picture because you have no distribution.
And so that's what I did with the conversation about race.
I just said, I'm going to make it, and I'll worry about that problem when it comes.
And so now I would be, I mean, if I wanted to spend more money, it would be a much larger problem.
But luckily, I've got a little bit of an audience today.
And thanks to Facebook and thanks to you guys and thanks to the internet, it's not as hard to find this kind of stuff anymore.
And I think more people are willing to look for it.
You know, I can tell you, of course, obviously, having a radio show, we've learned that you've got to be a little bit entertaining as well as informative to build an audience.
And let me mention really quickly, too, the chat room at cfcc.org is open, and there are just lots of people on there chatting it up.
And we look forward to expanding that.
And by the way, you need to be chatting to your friends about the National Citizens League.
But, you know, given a budget of, let's say, $100,000, if you could raise $100,000, how would you spend it?
Well, ideally, I'd like to do a drama.
I'd like to make a feature and tell a story, a normal story from a beginning to a dramatic arc through the end, and tell a story that represents our position.
Maybe a story of one person, maybe a story of a few people.
And that's the idea where drama, where fiction has so much power because you're free.
You're free to do anything you want with it.
And so we could take all these ideas that we've kind of wished we could capture on a video in a documentary and actually apply them to a dramatic piece.
So I think, yeah, if I had $100,000 to shoot right now, I would love to find a script for our cause and shoot it.
I think I could come up with a nice watchable product for $100,000 and maybe have some change left over.
Well, that would certainly be a goal.
One of the problems in our movement, and it has been a problem for years, is basically a lack of capital and an inability to raise money.
And one thing is that films can make money.
I keep thinking about the Blair Witch project, which I think was made on a few thousand dollars and ended up grossing, I think, $350 million.
We're coming up on a break, Craig.
Stay with us.
We're coming up to the last quarter of the hour and to be joined shortly by James Edwards.
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The political cesspool, guys.
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And here's the host of the political cesspool, James Edwards.
James Edwards couldn't make it tonight, so Bill Rowland is holding his seat for him and sort of just taking up the space till he gets here.
But James Edwards will be joining us very shortly for the third hour.
He's on his way now.
Landed at the airport, jumped in his car, and headed this way.
But I've got one Trump card on James tonight.
I've got a great guest, Craig Barterka.
had an outstanding conversation about a new project he's working on called the National Citizens League.
And certainly you want to go visit that website, which is National Citizens League NCL.org.
NCL.org is the National Citizens League website.
Craig, we've got a few minutes left.
Some thoughts on movie making that we've been discussing.
I think show a lot of promise.
There's a new sort of way films are being shown now that actually people who make films get a bus and they load up a bus with film and projectors and screens and so forth and just show up in parking lots and show films and pass the hatch.
Is that something you'd kind of like to do?
I like that.
I think that's organic.
And yeah, I could get behind something like that.
Maybe show up at the Burning Man.
Oh, yeah, Burning Man, that would be cool.
Well, let me ask you something.
If you want to sort of put out your dream catcher here for a second, what movie stars would you like to see in your films?
If you could pick a cast for a film, who would you like to have?
Isn't that a question?
Boy, I should have given that one something.
You should have told me that one beforehand.
But if I was going to think of, because I was just saying to my wife the other day about, you know, how men liking movie stars are just sort of gay.
And I don't mean anything wrong.
I'm just saying that the fact that a guy said, I like this guy as an actor, you know, it's kind of gay, even though there's nothing wrong with that.
I'm just saying it is kind of gay.
But having said that, so the actor that I kind of like, Jesus, wouldn't you know none exactly comes to mind right now.
I mean, you got to like guys like Paul Giamatti, of course.
But then again, he's got a lot of work.
He's got plenty on his plate.
We need, we need, I don't know, I apologize.
I don't remember the actor or the character, the guy who plays Thor, good-looking, blonde-haired guy.
Yeah, his name escapes me.
I don't think I ever knew his name, tell you the truth.
We need more guys like him.
We need strong white guys in movies because there aren't any.
Movies and TV, all the white guys are nerdy with glasses and wimpy, and all the strong characters are non-whites.
And I just think we've got to get over that.
We need some good, strong, white characters again.
Well, of course, we could get Sonny Landham.
He's available to us.
But, of course, he's an American Indian, so that's that kind of, I don't know, you know, I'm sure you'd be glad to do it.
But, you know, I tell you, I'm impressed with Robert Downey Jr.
Of course, again, we're just, this is all fantasy.
But I will tell you, Robert Downey Jr. became extremely conservative after he spent time in prison.
Imagine that.
This is true.
There's a quote from him on the internet about that.
He said something like, you don't go from the Waldolf Astoria to a prison cell and not come out rethinking how things are in this world being a conservative or being a liberal.
He said he gave up his liberalism in prison.
And I don't think he was talking about events in the Middle East either.
Or economics that changed his mind.
But this is certainly good news, I think, to hear that there's an organization or a project being put together to get people involved in films because films are such an attraction to people.
Not only going to films, but being in films, being part of films.
My daughter recently got a chance to audition for a little film being made here in Memphis.
And she didn't make it to that.
But she got excited about that.
And a bunch of kids show up to participate.
And I think a lot of them would work for free.
And their parents would throw money at you.
Couldn't agree more.
Well, certainly the website's a good start.
And to all the audience out there, if you go to the National Citizens League website at ncl.org, the content will increase.
Leave Craig a message.
Get involved with this because it sounds not only like a great project, it sounds like a lot of fun.
And I'm all for fun now.
You know, we've got to have some fun in this in this movement or it's going to dry up and wither and look like the grumpy old man living on the corner.
And we don't want that.
We want it to be vibrant.
We want it to be effective and we want it to be exciting.
And if you capture that fun on video, it's like lightning in a bottle, and that's how it really works.
So, yeah, if somebody has some interesting ideas for me or an audition or something, you can contact me through the Facebook page as well.
Well, you know, I've got an idea for a comedy and another in another movie, and we'll talk about it sometime where we could chat.
Good.
But certainly, once again, a fantastic project.
And, you know, again, are you going to have a way for people to send you some video ideas?
Is there a link or is there a way to upload anything on the website?
Or should people just upload it on YouTube and then provide you with a link?
How would you go about it?
Wait, put it on your own YouTube page and let me see it from there.
Yeah, exactly.
Don't waste your time on technic stuff because, boy, I would be an immediate failure if I had to go through anything about setting up videos or anything like that on a website.
But, you know, besides the NCL, what are you working on?
What else have you got going on, Craig?
Well, as I mentioned, I've been kind of going around the country to some of these retreats and workshops where people have been selling books and talking and just kind of listening to people and getting some ideas and trying to educate myself a little bit because I've got my way of looking at the world, which I've developed over 50 years' time.
And it's good for me to get out and listen to other people sometimes and hear some other points of view from people that I respect.
I may differ with them, but it's good to know that there's people that I respect that we can still differ and we can still agree on the major cause, what's important to us.
Exactly.
I see some suggestions from our chat room at cfcc.org that apparently shotgun likes Liam Neeson, Russell Crowe, and Bruce Willis.
I'm okay with Russell Crowe.
Liam Neeson just announced he may be converting to Islam, so I'm not so sure he's in our tribe anymore.
We could find plenty of willing-to-work guys from our own group that aren't so spoiled with multi-million dollar salaries and assistance and all.
I think we could find plenty of local talent if we look for it.
Oh, I think so too.
You know, there was a film made here in Memphis that won an Oscar.
You know, it was called, I can't remember the name of it.
It was about a black high school with a white coach, you know, so it played directly to the Hollywood sentiment.
But nevertheless, you know, this was made local here.
And, you know, there's a filmmaker named Brewer, I can't remember his first name right here right now that made a couple of films that made it big.
So, yeah, there's the opportunity to make films locally is certainly there.
And, you know, it just takes imagination.
And really, you know, truthfully, the equipment has gotten cheaper overall.
Oh, no question.
And you mentioned the movie like 300, and yes, they have a big budget, but think about what they really did.
It's a bunch of guys jumping around in loincloths in front of a green screen.
You know, so when they say movies like that cost hundreds of million dollars of dollars, I really question that because green felt just doesn't cost that much money.
And, you know, you can do a whole landscape with greenfelt for about $100,000.
And so when they say that it costs so much to produce $300,000, I'm thinking, where, just in the talent?
You know, maybe.
The post work, you know, okay, you know, a couple hundred grand.
But the fact is, green screen work today makes everything cheaper.
And that's a benefit to us.
Well, in the software to edit film, and I have a relative who does this for a living, but the software to edit film is much simpler, much easier to use, and really costs almost nothing.
I mean, if you think about the days when you had to splice film and you had to have an editing room and all that, those days are gone.
If you buy a new Mac today, the new Final Cut Pro has everything you need to produce a Hollywood quality movie, every editing feature you need, including the music, the shaker and everything, just by buying a new Mac.
So I don't mean to be a plug for Mac, but you're right.
As far as the equipment and the hardware, I remember you had used to be $50,000, $60,000 worth of stuff just to make a two-minute video, but not anymore.
And that's the good news about filmmaking.
So it really comes back to talent and the ability to put something up that people are going to watch.
Right.
And what about cartoons?
I mean, there's the future, right?
You don't have to worry about actors and if they object to your script.
Or egos, yeah.
A cartoon character is going to obey your every command.
There's no doubt about it.
Yeah, yeah.
But so, you know, I think this is, once again, you know, something that not only is a great idea in terms of getting out the message, but a great idea in terms of getting people involved in something that they would love to do and to, you know, participation, participation, participation.
The left learned this lesson a long time ago, that the more you get people to participate, the greater their loyalty and the more their interest as well.
Yeah.
Couldn't agree more.
Well, Craig, you know, it's been a, I've had more fun doing this interview, I think, than I have in a long time.
And, you know, I'm going to, it's been great fun for me because I like films and I like talking about films and especially like the idea that you know our people are going to be making some or can get involved in making some films and you know putting their ideas out there.
And certainly you know if, if we're going to revive our civilization and our culture and we're going to bring people back to a right way of thinking, we've got to have talent and a method of persuasion that is effective.
And certainly people have been writing books about this problem ever since I can remember and I think I've read all the books I could possibly read about it.
But in any case Craig, it's great having you on the show and remember once again, the organization is the National Citizens League and it's Ncl.org.
Craig Bottaker, my guest.
Thanks again, Craig.
Great to have you.
We'll have you on again, don't worry.
Believe it or not, there's a third hour of tonight's installment of the political cesspool coming your way, right after these messages.
The cold rising sun and it's been the ruin of many a poor war.