The hormone gastrin is released from the anterum of the stomach. In the anterum actually there are certain cells known as D-cells which release the gastrin hormone and as we are telling that it is the hormone that means it is released into blood from these D-cells and via blood it travels and reaches to the fundus part of the stomach where the parietal cells are present. So let's see the details of this. See actually the mucosa of the stomach dips little deep and the opening of this dip in the mucosa on the lumen of the stomach is known as gastric pit. Okay one thing before we proceed to further we have certain questions at the end of the video which are more clinically oriented and we'll see that by understanding the physiology whether you are able to solve those questions or not which I think that you will be definitely able to do. So let's continue. So now our gastric glands are present here. So some of these are mucous cells, there are stem cells and there are G-cells also here which secrete our gastrin. So what are these D-cells? These G-cells are flasks shaped cells and their epics is thrown into folds which we call as microvilli. So this apical portion of the cell is thrown into fold. So this forms a microvillain. So what happens this exposes these G-cells to the gastric contents. Now why it is important to know is that these G-cells on their surface have certain receptors. So there are receptors for amino acids, there are receptors for peptides. There are also receptors for H-plus ions. So these chemicals can act on the G-cells and affect its function. So let us see what are the stimuli for the secretion of the gastrin from G-cells. So as I already told that there are receptors for amino acids and peptides and these basically stimulate the secretion of the gastrin from the G-cells. Now once you understand the function of gastrin you will realize that actually it's very important that these chemicals stimulate the secretion because this G-cell will release a gastrin which in turn will cause the release of the ethyl and pepsin in the stomach and these are the ones which are important for the digestion of the peptides. So it's basically food is itself causing its own digestion by called stimulating the release of the hormone. Okay apart from that what happens that when we eat there is gastric distention and this gastric distention causes the stimulation of the vagus nerve causing release of gastrin-releasing peptide. So there is again presence of receptor for this gastrin-releasing peptide which can act on G-cells and stimulate the secretion of gastrin. So there are local stimuli then there are neural stimuli plus there are certain stimuli from blood as well. So this basal portion which is near to the blood vessel actually epinephrine which is released from sympathetic neurons and calcium they can act on the G-cells and cause release of the gastrin. So since the gastrin is important for the secretion of HCl that is the reason that when there is a lot of stress and activation of the sympathetic activity this epinephrine you see stimulates the secretion of the gastrin and HCl secretion so stress can lead to increased acid secretion in stomach. Okay so these are the stimuli for secretion of gastrin. Local neural and some mediators from blood as well we can say humoidal but these are all the stimuli for secretion what we want is there should be some inhibitor of secretion also. So basically as I told you that H plus ions can also act on these G-cells so these H plus ions basically inhibit the secretion of gastrin from the G-cells. So in short let's see how the regulation of gastrin secretion occurs. So there can be multiple modes of stimulation of the G-cell which we said amino acids, peptides then now due to gastric distinction they can be vagus or from blood they can be epinephrine. So various stimuli can be present which will ultimately lead to the secretion of the gastrin. Now this gastrin goes and acts on the parietal cells present on pundas. So there are certain receptors on these parietal cells known as C-C-K-A receptors even though they are gastrin receptors they are known as C-C-K-A receptors. Now this causes release of hydrogen ions from the parietal cells into the gastric lumen causing a change in the pH in the gastric lumen. Now it's important that when adequate pH is reached it should not be like that G-cell continues secreting gastrin. So what happens that there is a negative feedback of operating that these H plus ions actually inhibit G-cells from secreting the gastrin. So you see the end product is being fed back and it is inhibiting the secretion of gastrin from the G-cell. There is another method also by which these hydrogen ions act. Basically they cause increase of secretion from the D-cells which release somatostatin and somatostatin acts on these G-cells causing the inhibition of the secretion. So we have seen that what are the stimulators of secretion of gastrin and what are the inhibitors. Now let's see what are the functions of gastrin. For remembering functions of any gastric hormone there is some fundamental which you should remember. If you remember this then I'm sure you will be able to actually guess the function of the hormone. So gastrin basically helps in digestion at the site where it is released and then moves the contents forward. It also maintains the site of secretion. Now if I ask you that what can gastrin do to helping digestion at the site. So obviously it should release the contents of the gastric juice that is the HCl and pepsin. Then how will it move the contents forward. It will move the contents forward by increasing the GI motility and this one maintaining the site of secretion that means it is trophic to the site of action that is maintains its growth. So yes these are the functions of the gastrin. Stimulation of gastric acid and pepsin secretion. Increase of gastric motility and it is trophic to gastric mucosa that is causes gastric mucosal growth. Okay so based on this let's solve certain questions. So your first question is there are two statements given. First is the assertion second is the reason and you have to choose between the options. So assertion says that in pernicious anemia there are elevated gastrin levels in blood. So you should know what is pernicious anemia. Actually pernicious anemia is basically a trophic gastritis where there is a loss of the parietal cells. So if parietal cells are not there what will happen is that hydrogen ions will not be released. So first statement is in pernicious anemia there are elevated gastrin levels in blood and second statement says that negative feedback inhibition of gastrin secretion does not occur in pernicious anemia. So what is your answer? The answer here is first one. Both A and R are true and R is correct explanation for A. Why? Now you see that pernicious anemia I told that there is loss of the parietal cells. So if parietal cells are not there hydrogen ions will not be produced and if hydrogen ions will not be produced we said that these hydrogen ions are having a negative feedback inhibition on G cells. So if hydrogen ions are lost the negative feedback on the G cells is lost causing increase in the levels of the gastrin. So yes first statement is correct in pernicious anemia definitely there are elevated gastrin levels in blood which is known as hyper gastrinemia and what is the cause of that? The second one negative feedback inhibition of gastrin secretion does not occur. So that's what our question is saying both A and R are true and R is correct explanation for A. Okay let's go to second question. Second question says that administration of proton pump inhibitors. Proton pump is basically hydrogen potassium ATPase which is present on the parietal cells and is responsible for the release of the HCl. So if we give proton pump inhibitors for two months that means we are blocking the production of HCl it can cause rebound increase in gastric acid secretion when the drug is stopped. Now it looks very complicated and here we are asking that whether this statement is true or false. Now this is used clinically actually if you see that a patient who has given proton pump inhibitors for two months we generally see a rebound increase in gastric acid secretion when the drug is stopped. Why is this occurring? See when HCl is not produced this proton pump inhibitor is actually a very powerful drug and it blocks this hydrogen potassium ATPase kind of completely. So HCl is not produced at all then what happens? Obviously there is increased gastrin levels as I told you before that if HCl is not there negative feedback is lost and it will cause increased gastrin levels. Now you see the functions of gastrin. One of the function of gastrin is that it is trophic to gastric mucosa that means if there are high levels of gastrin it will cause hyperplasia in the stomach. So what happens that whatever cells are there they proliferate so obviously the mucosal growth is occurring. So this gastrin whatever gastrin is there it acts on increased number of parietal cells. Getting the point so it's a little round about answer. So because of proton pump inhibitors gastrin has caused growth of the gastric mucosa what we call is that it is trophic and later on normal levels of gastrin are acting on increased number of parietal cells causing increase in gastric acid secretion. So and this is used in practice actually this drug if it is used for one or two months actually it should not be suddenly stopped. It should be either the dose should be decreased slowly or when we are stopping the drug we should switch to some other drug like H2 receptor blockers which suppress the secretion of the gastric acid as well. So yes this statement is true. Stopping the drug will cause increase in gastric acid secretion and I have explained you why this is true. Okay before finishing let's come to question number three. Gastronoma is a gastrin secretion tumor. Sorry this spelling is wrong it should be tumor and the secretion stimulates the secretion of gastrin from gastronoma. Again let us see whether it's correct or not. Yes gastronoma is a gastrin secretion tumor and a tumor which causes hypergastronomia we call it as Zollinger-Eleson syndrome the plethora of symptoms which occur we call it as Zollinger-Eleson syndrome. Now the secretion which we did not see till now what happens the secretion is released from intestine that you'll see in the video on secretion. Actually this secretion also inhibits the secretion of gastrin from the G cells. See secretion is released from intestine and its main function is to maintain pH in the intestine. So if lot of acid is being secreted acid enters into the intestine as well. So this secretion basically neutralizes that acid in the intestine and also decreases the production of acid in the stomach. Anyways the question says that secretion stimulates the secretion of gastrin from gastronoma. So yes what we have discussed physiologically actually secretion inhibits the secretion of gastrin from G cells but when it comes to gastrinoma secretion actually stimulates the secretion of gastrin from gastronoma and these gastronomas mostly these are present in pancreas. So this is known as secretion stimulation test. So you see here both statements are true gastronoma yes it is a gastrin secretion tumor secretion does stimulate the secretion of gastrin from gastronoma though physiologically it actually inhibits the secretion from G cells. Okay so in this case answer is both A and R are true but R is not the correct explanation for A because these are two correct statements which don't have any relationship to each other as far as the reasoning is concerned. Okay that's all for the hormone gastrin for now thanks for watching the video if you liked it do press the like button share the video with others and don't forget to subscribe to the channel Physiology Open. Thank you.


CHAPTER XIX The Sands are numbered that make up my life, Here must I stay, and here my life must end. Time is the king of man, for he is their parent, and he is their grave, and gives them what he will, not what they crave. During the years 1614, 1615, and 1616, Shakespeare sauntered about for pleasure and business among the Bohemians and nobility of London, Oxford, and Stratford, piecing and renewing his personal and real estate for the benefit of his two daughters, Susanna and Judith, and thus making every preparation for that eternal sleep that never fails to shut down the pale and bloodless eyelids of meandering melancholy man. The spectacular play of King Henry VIII was given at the Globe Theatre on the evening of the 29th of June, 1613. It had been largely advertised as a royal historical dramatic treat, and the nobility were there in great force. William and myself, before leaving London, occupied a private box as spectators on the left of the great stage. The audience numbered nearly two thousand, Pitt, Gallery, and Cockloft, being filled to overflowing. During the third act of the play, a cannon was fired, giving a grand salute to the mimic King Henry and his royal train as they appeared before the assembled multitude. Part of the gun-wadding fired by the mock cannon was thrown on the open roof of the Globe and immediately ignited the thatch, spreading flames around the top rim of the great octagonal playhouse. Shakespeare saw at once the danger of stampeding the audience through the two great high doors, and with his natural calmness and imperial courage rushed in front of the footlights and said, Ladies and gentlemen, there is no danger if you be calm and brave and file out of the building in good order. Those near the right and left doors will please go out slowly, and all the actors will remain on the stage until the people disappear. At this juncture, at the suggestion of William, the actors were ordered to sing God Save the King, and every mortal escaped unhurt from the building. Yet two hours after it was a mass of blazing cinders and ashes. Burbage, Johnson, Fletcher, Drayton, Condell, Hemming, and Peel continued to furnish rare sports and masks for theatrical and court edification, but the brilliant star that had shown with undimmed luster for thirty years on the dramatic stage of London was only glowing with a lambent light, throwing its last rays over the world as it went down in crimson glory over the western hills of Warwickshire. Yet, while the great poet and dramatist himself would never again tread the play platform or throw his sonorous magic voice over a London audience, the great children and characters of his matchless brain would hold the dramatic boards and thrill the heart and soul of mankind as long as human nature laughed and suffered on the globe. Shakespeare had more self-control than any man I ever met, and his reason was ever-holding court in his conscience. He who reigns within himself and rules his passions, desires, and fears is ever king. For thirty years of a wandering battle with dame fortune, testing her griefs and glories, it is a sweet consolation for William and myself to drift back to the scenes of childhood and tread again the streets, roads, fields, and hills that blessed our boyhood hours. In the spring of 1614 William and myself wandered over the fields and ridges to Coventry and visited Warwick Castle. The young Earl of Leicester gave us a hearty welcome for the praise that William had received at court and the light that dazzled from his lamp of literary fame made him an honored guest in Cot or Palace, strewing about his pathway the flowers of faith and affection. Returning to Stratford one evening in May we stood on the same old hilltop beyond the Clapton Bridge, looking at the sparkling spires and steeples of the town, and all seemed as natural as when we left them in the morning of life. The hills and fields were blooming as of old, the Avon-wounded serpentine course to the sea, the song of the plowmen and shepherd swelled from the veil, the lowing of cattle strolling homeward for the night echoed among the hills, the blackbird, thrush, and vagrant crow sang and croaked as they hastened with their mates to their feathered families, and the daisies, wild roses, hedgerows, hotthorn bushes, and grand old elms and oaks bloomed in their everlasting garments of variegated beauty. As the cardinal colors of the dying day threw their last rays over the placid bosom of the Avon, and the murmur of laughing voices floated up from the town to mingle, as it were, with the curling smoke from glistening chimney tops, William and I scampered down the hill over the bridge, on by the old mill, and entered the open gate of new place as Judith, his intellectual daughter, welcomed her famous father with exuberant affection. Here was rest indeed, for like whether beaten mariners or soldiers of fortune, each of us had been buffeted by the billows of fate, and yet with all the scars she gave we never knew a day, though cloudy and stormy, that we could not see rifts of sunshine breaking through the entanglements of adversity. Our mind a kingdom was in every climb, with souls triumphant over tide and time, and though the world might frown upon our way, we believed in God and sunshine every day. The strolling players, literary guild and traveling nobles, never failed in passing through Stratford to visit Shakespeare at his beautiful and comfortable home at new place. It was Liberty Hall to every guest that passed the threshold of the retired bard, where like a full-rigged ship on a summer sea, he moved down in peace through the sunset beams of a brilliant life, accompanied by his friends and affectionate daughters, into the harbor of rest beneath the walls of old Trinity Church. Susanna, his oldest daughter, had married Dr. John Hall several years before the poet's death, and occupied the old Shakespeare House on Henley Street, and her mother lived with the family, a solace to her daughter and beautiful granddaughter, Elizabeth Hall. Mrs. Shakespeare, the buxom Anne Hathaway of vanished years, was entirely subdued and found consolation in her devoted daughters and religious duties. She could be found at every prayer meeting and Sunday sermon in the Shakespeare Pugh of Trinity Church. William seldom attended Puritan meetings, Episcopal conclaves, or papest masses. He paid formal respect at long range to all sacerdotal ceremonies, not bothering himself about dogmas, creeds, and bulls put forth by little, cunning men for earthly power and financial benefit. He believed in God and in himself, ignoring those who lived for pelf, and through his age and verdant youth he ever worshiped naked truth. Judith, the beautiful and intellectual daughter, kept house for her illustrious father, and entered heartily into all his social and business schemes for the improvement of the town of Stratford. Thus days, weeks, months, and years were passed in pleasant conclave with literary and neighboring friends until the winter of 1615 and 1616 when a severe throat trouble afflicted the bard in conjunction with acute pains in the head that prevented the solace of sleep and which turned into chronic insomnia. In January, Shakespeare, in anticipation of his temporary exit from this world, determined to make his will and bequeath his property in detail to his daughter, relatives, and friends. He called in Francis Collins, a solicitor of Warwick, who drew the important document, but it was not fully signed and witnessed until the 25th of March 1616. William, knowing that his wife would inherit legal dour, one-third of his real property, and being cared for by her daughter Susanna, only bequeathed to the former Anne Hathaway the personal gift of his second best bed. I asked Shakespeare one evening about a month before his death if he intended the piece of bed furniture for his wife as a rebuke or a compliment. He replied, Jack, if you were not so inquisitive you would not have so much knowledge. I thanked him for his lucid explanation and let the incident go at that remark. As he was in a good-natured, facetious mood, I asked him why it was that in all his dramatic plays of forty years' composition he had never placed on the boards a great Irish character, although he had created Egyptian, Grecian, Italian, French, German, Danish, Scotch, and English representatives that would go down the ages in eloquent glory.  Well, Jack, you know as well as I do that the eloquent, brave Irish rebel against monarchy and tyrannical power has been the sharpest thorn in the sides of the English royalty, and that with the enmity of Henry VIII, Queen Elizabeth, King James, and the London Protestants, a great lofty Irish Catholic character would not have been popular and ministered to our daily desire for pence, shillings, and pounds. Yet posterity will notice the brave wit and greatness of the Irish race by their absence from my business plays. While writing for the sake of truth from my wild, daring earliest youth, you knew I never acted rash or failed to fill my purse with cash. Or, after all is passed and told, among the foolish, wise, and old, the plot of life is to unfold within your grasp imperial gold. On the 10th of January 1616 Judith impulsively married Thomas Quincy without the publication of the Church Bands to the scandal of the community, but love cared not for rules or creeds when nature stood as monitor. Seated one April morning in his private apartment, looking over his beautiful garden of vegetables, fruit, flowers, vines, and waving elms, margined by the murmuring waters of the river Avon, I asked him if he had any special message before leaving life to communicate to the ages.  These precepts I enjoin. The love and truth that in my plays abide shall teach the lesson of equal justice. Nothing that's wrong can prosper on this earth, and though your crime's secret be hid in mounts of adamant kissing loftiest sky, the worm of detection and exposure shall nod its way through rugged granite ribs and blow your foul wickedness around the world. Men, states, and empires rise and flash like bubbles on the rolling ocean of existence, and then like the false shimmering vision of a dream passes into nameless oblivion. The hours, days, years, and ages lost and gone are only a moment from the ticking clock of eternity, and all future time, incalculable as drops of ocean or leaves of grass, come and go incessant like the balmy airs or whistling winds that blow o'er a tropic or arctic lands. I know and feel that myriad spirits peeple the vast circumambient air, and as my soul within knocks at heart and lips for exit from this crumbling house of corruption, me thinks I see and hear a chorus of angel spirits beckoning my tired soul onward and upward to omnipotence. Every blade of grass and flower beautiful, every star that twinkles in the moonlit sky, every white crested billow of the sea, every child that dreams, laughs, and sings in glee, every thought pinioned with eternal hope guarantees assurance of immortality. On the thirteenth of April, 1616, ten days before the death of Shakespeare, Burbage, Johnson, Drayton, Florio, Field, Condell, Hemming, and Joe Taylor came down from London by special invitation to enjoy the hospitality of the bard. Burbage made every preparation for their social entertainment, and the new place was a blaze with hospitality and dramatic glory for a week. I shall not enter into the pleasant and eccentric details of these authors and actors, but leave it to the imagination of the intelligent reader to know what a crowd of brilliant bohemians might do in the evening of life talking, laughing, drinking to the memory of friends and days that are no more. Three days before the death of the great luminary of dramatic and poetic letters, he called me into his bedroom. He was resting in a reclining-chair by an oaken desk, looking out on his garden, while the birds of spring were chirping, singing and courting among the blooming bushes and trees of his beautiful home. Addressing me in the old familiar way, he said, Jack, my throat and head give me great pain. I long to rest beneath the walls of old Trinity Church, never again to gaze upon its glinting spire through sunrise or sunset beams. You know, I feel a horror at the thought of having my poor old bones tumbled out of their grave in future years by vulgar sextons, and to prevent disturbance I scribbled off a few weeks ago these poetic lines that I wish you would place above my remains. Promise me this last request, and I'll die in the hope of immortality. Gazing intently on the melancholy dying man, my eyes filled with tears, I made the sacred promise, and more than that I here give the manuscript imprint of the original epitaph. Stratford, April 1st, 1616. For Jesus' sake good friends pass by, while here in peace I lowly lie, disturb not these cold, tongueless stones that shield my bleaching, crumbling bones. In life I took dame nature's part, exemplifying soul and heart, and all my plays were heaven sent to be my lasting monument. In the morning of the twenty-third of April at six o'clock Judith came rushing into my room and said that her father was dying. I jumped into my clothes and quickly knelt by his bedside where I found Dr. Hall, Susanna, Mr. Quincy, Mrs. Hart, Ben Johnson, and Michael Drayton. I grasped his hand as he made dying lurches, and asked him how he felt, and then opening his great bluish-gray eyes for the last time on earth I could hear only his death-gurgle expression, God, Truth, and Country, thus passed away the noblest and greatest man that ever graced this earthly globe. The news of his death spread like a prairie fire among the people of Stratford and the surrounding villages, and on to Oxford and London, where the melancholy wail of his obsequies resounded in the halls of the highest court circles, and found the deepest sorrow and regret in the heart of King James. At twelve o'clock on the twenty-fifth of April, the remains of the bard were followed to Trinity Church by an immense concourse of mourning humanity, and there, under the north wall of the old cathedral, he was buried, seventeen feet below the surface, and left forever with his earthly glory and his God. That very night, as the sun went down, Drayton, Johnson, Burbage, and myself bade farewell to the daughters and personal friends of the bard, going by fast mail-car to Oxford and London. It was one of the saddest nights I had ever experienced, for my dearest friend and lofty teacher could no more humor my lunatic impulses, or guide me in the even, broad road of universal truth. With his voice and form forever gone, there was nothing left to me but to wander over the cheerless, mighty world as a literary pioneer and soldier of fortune, using my pen and sword wherever love and liberty display their banners. In the great literary whirlpool of London life I drowned for a season my soul felt sorrow in the enchanting fumes of the wine cup and its consequent allurements of variegated fantastic society. My destiny of a thousand years of life from birth looked alternately bleak and glorious, yet fate being my master and being endowed with an irrepressible forgiving, laughing, and progressive disposition, I called up the spirits of the air one midnight hour at the boar's head tavern, and exacted from them a promise that wherever I wandered over the earth to witness the rise and fall of men and nations, like bubbles on a stormy sea, they would strictly obey my command. Ariel, Puck, and Oberon lent me their wings to sail upon over the land and stormy sea to aid the cause of liberty. A thousand years from date of birth, destined to wander over the earth, I'll roll with the ages brave and free till I round the capes of eternity. I have witnessed the greatest events of the centuries in Europe, Asia, and Africa, and on the spiritual wings of truth, rapid as the lightning flash, I have sailed, and fought the battles of the people in every land and climb, being the compere and critic of the most illustrious poets, philosophers, statesmen, and warriors for the past three hundred years. I move forward for the liberty of man. Before leaving old Albion for my investigating flight of centuries, I was a painful witness to the decapitation of my great friend Sir Walter Raleigh, whose heroic conduct at the block melted the spectators into tears and brought down loud maledictions on the corrupt head of Lord Bacon, who was the principal villain in the final destruction of the great navigator, warrior, and philosopher. I listened to the great Raleigh on the 29th of October, 1618, standing by the block, addressing the executioner and the multitude when handling the shining axe, to his sharp medicine but a sound cure for all diseases. Lying down and fitting himself to the block, the executioner asked him to alter the position of his head when he replied, It is no matter which way the head lies, so the heart be right. Why dost thou not strike, strike man? And then, quick as a flash, the glittering axe split the head from the shoulders of one of the noblest men of England. I turned away from the gloomy precincts of the terrible tower, and cursed the falsehood and iniquity of Elizabeth, James, and Lord Bacon, jealous plotters against growing illustrious men. Raleigh, in his poem, The Soul's Arendt, pictures thus this lying world. Go, soul, the body's guest, upon a thankless errand. Fear not to touch the best, the truth shall be thy warrant. Go, since I needs must die, and give the world the lie. Go, tell the court it glows and shines like rotten wood. Go tell the church it shows what's good and doth no good. If church and court reply, then give them both the lie. Tell men of high condition that manage home and state, their purpose is ambition, their practice only hate. And if they once reply, then give them all the lie. Disgusted with the growing cruelties of monarchy and state reformers, I joined a band of Puritans who proposed to leave Old Albion and find in North America a home and country where they could worship God in their own way and secure freedom for themselves and children for a thousand years to come. I stood on the prow of the Mayflower as the sun rose over the harbor of Plymouth on the 17th of September, 1620, as the good ship sailed away from England to the west with 101 passengers filled with the great spirit of religious and material liberty. After a very stormy passage of 63 days touching at Cape Cod, we made final anchor at Plymouth Rock on the evening of the 16th of December, 1620. That rock-bound, stormy, snowy, forest coast filled with fierce animals and fiercer red men gave the lonely immigrants a cold and terrible winter reception. The breaking waves dashed high on a stern and rock-bound coast, and the woods against a stormy sky their giant branches tossed, and the heavy night hung dark, the hills and waters o'er, when a band of exiles moored their bark on the wild New England shore. Amidst the storm they sang, and the stars heard and the sea, and the sounding aisles of the dim woods rang to the anthem of the free. I stood behind the screens of the Royal Palace on the 30th of January, 1649, in the presence of the cruel Cromwell, Irritin, and Bradshaw in the fanatical Milton, and saw their glee when the acts of the executioner severed the head of King Charles I for the delectation of the beastly and vulgar multitude that howled approbation of the bloody scene. And yet, only twelve years after, I saw the crumbling, dead, naked bodies of Oliver Cromwell, his son, Irritin and Bradshaw, trundled along the streets of London, grappled by parliamentary order from their graves, and hung on the gallows of Tibern, their broken bones buried at the foot of the scaffold, while their withered, rotten hands were placed on the southern coping of Westminster Hall. Thus the compensating balances of life and death, right and wrong, forever tipped the beam of justice. The prince and the pauper, the serf and the slave, are equal at last in the dust of the grave. I saw the wonderful Muscovite monarch, Peter the Great, as he rose out of the huge, brutal giant of Russian force, flash on the world like a zigzag meteor, lighting up his imperial dominions with barbaric splendor. At the age of twenty-six, sixteen ninety-eight, I saw him working with hammer, chisel, saw, and ax, as a common ship carpenter at Amsterdam and Deptford, entertaining ambassadors and kings, while he sat on the cross-trees of a new-built ship. I met him again on the barren swamps of the Neva and icy shores of the Baltic, giving orders for the building of his new capital, St. Petersburg, in May 1703. And in June 1708, watched the compact columns of the Great Tsar rush down upon Charles XII of Sweden, and on the plains of Poltoa scatter forever the hitherto unconquerable hosts of Scandinavia, and then after a great rain he crowned the peasant girl, Catherine of Livonia, emperors of all the Russians, the most energetic and remarkable female ruler since the days of Samaramis, Isabella, and Elizabeth. I watched the star of Napoleon, as it first flickered over the rock-rimmed island of Corsica, foam-fringed by the green waters of the Mediterranean. I sighed glitter over the mathematical charity scholar of France, the puss in boots at royal receptions, the artillery officer at the bridge of Lodai, the general of the French Italian army, scaling the cloud-kissing alps in mid-winter, bearing the eagles of liberty over the plains of Lombardy, on to Milan and Rome, until the tramp of the unconquerable Frank echoed through the streets and halls of the Caesars, and re-echoed in the lofty aisles and arches of the Vatican. I beheld again the star of this man of destiny shine in glorious splendor at Meringo, Wagram, Osterlitz, Gena, Leipzig, and Aum, and then as First Council and Emperor, sweeping with his unconquerable columns over the sands of Egypt and snows of Russia, until at last the fires and smoke of Moscow edimped the horizon of his glory, and lit up the funeral pyre of five hundred thousand of the best soldiers of France led to their doom by the crazy ambition of a selfish tyrant. Again I saw him escape from Elba, bear his breast to the guns of his former legions, and rout royalty from its palace portals, and sweeping for a hundred days over the vine-clad hills of France, he finally on the 18th of June, 1815, marshalled his magnificent army around the plains and hills of Waterloo, defying the Austrian, Prussian, Russian, and British allied armies to the death grapple of the century, and went down to irretrievable defeat. And then, after five long years of an exile imprisonment on the barren isle of St. Helena, I heard his last gasp, head of the army. With no friend but his sword and no fortune but his talents he rushed in the lists where rank and wealth and genius had arrayed themselves, and competition fled from him as from the glance of destiny. A professed Catholic he imprisoned the Pope, a pretended patriot he impoverished the country, and in the name of Brutus he grasped without remorse and wore without shame the diadem of the Caesars.  A wreck of ambition deserted alone, he rode o'er the bones of mankind to a throne, the star of his destiny sunk out of view, eclipsed in the blood of the famed Waterloo, a marvelous meteor that flashed o'er the wave to darkle at last in the gloom of the grave. Vain-vain, o'er the pomp of Napoleon's pride, brokenhearted, alone, disappointed he died, and left to the world but a sound of his name, the fool of ambition, the football of fame. I sat at the second-story corner window of a wine-house in Paris on the 14th of July, 1789, and gazed on the infuriated, surging mob of a hundred thousand Frenchmen, as they stormed the Bastille, and struck a grand and lasting blow against the cruel minions of monarchy, raising the banner of equal right and God-given liberty for all mankind. Five hundred years of royal wrong and imperial lordly wickedness were avenged in an hour, and the liberty cap of the people thrown high in the air of freedom to bid defiance to government by tyranny. Then for four bloody years the surging sea of wealth and power against the common people, muscle and manhood defying royalty, I saw thousands of heads go to the block, the executioner of today being the executed of tomorrow, until a river of blood drenched the gutters of Paris, with the people at last on top and triumphant as they shall ever be down the circling ages. I stood near the guillotine of Louis XVI, as his head went off on the 31st of January, 1793, and then, alternately, royalist and commoner were imprisoned and killed by the Committee of Safety. Marie-Antoinette, Charlotte Corday, Marat, Madame Roland, Danton, Robespierre, and one hundred thousand other mortals, rich and poor, went down in the insane frantic effort for equal rights and eternal justice. The French Revolution, following so soon upon the great American Revolution, shouldered the people's cause ahead more than a thousand years, and was worth every drop of blood spilled in the triumphal march of freedom. The blood of the martyr has always watered the roots of the Tree of Liberty, and in a few more years the devilish hordes of divine right robbers and murderers will be swept into the rubbish heaps of oblivion. God grant their speedy destruction, wolves devouring the preventer of the people. On the 22nd of February, 1732, I saw a rise out of the rolling hills of Virginia, a glowing light that sparkled and spread, as it shone in the heaven of colonial advancement. Washington, first in war, first in peace, and in the hearts of his countrymen, was the God-given vedette of American freedom, and from the time he took command of the Continental Army at Boston on the 3rd of July, 1775, until he laid down his commission, after nine years of trial and blood, with Cornwallis and King George defeated forever, he was the same great and good man and president without a stain on his sword or character. Standing at his bedside at Mount Vernon on the 31st of December, 1799, I watched his great soul as it took flight for heaven and heard his last words on earth, tis well. Like some grand mountain shining from afar, or like the radiance of the morning star, spreading its silver light throughout the gloom, it guilds the glory of his classic tomb. Mount Vernon keeps his loved and sacred dust, an urn of grief that holds a nation's trust, where pilgrims bend along the waning years to gaze upon his grave through pearly tears. His monument in coming years shall stand, a mecca for the brave of every land, and while Potomac waters flash and flow, the fame of Washington shall gain and grow, a down the ages through the aisles of time, a patriot forever in his prime. Age after age will sweep its course away, the work of man will crumble and decay, yet on the tide of time, from sun to sun, shall shine the glory of our Washington, and all the stars that in their orbit roll, around the world from pole to pole, shall keep his name and fame as true and bright as yonder sparkling jewels of the night. The greatest pioneer of colonial patriotism and independence, the Demosthenes of the American continent, was the eloquent orator Patrick Henry, whose meteors of thought dazzled the nations and made tyrants tremble on their thrones. How well I remember that March morning in 1775, as he rose in the legislative halls of Virginia and uttered that impassioned aeration against tyranny and the minions of King George. Even now those eloquent phrases sound in mine ears, and waft me back to the scenes and men that made the Republic. I have but one lamp by which my feet are guided, and that is the lamp of experience. I know of no way of judging of the future but by the past, and judging by the past, I wish to know what there has been in the conduct of the brutal British ministry for the past ten years to justify the hopes with which gentlemen have been pleased to solace themselves and the House. Our petitions have been slighted, our remonstrances have produced violence and insult, our supplications have been disregarded, and we have been spurned with contempt from the foot of the throne. The battle, sir, is not to the strong alone, it is to the vigilant, the active, the brave. Our chains are forged, their clanking may be heard on the plains of Boston. The war is inevitable, and let it come, I repeat it, let it come. Our brethren are already in the field, why stand we here idle? What is it the gentlemen wish? What would they have? Is life so dear or peace so sweet as to be purchased by the price of chains and slavery? Forbid it, Almighty God. I know not what course others may take, but as for me give me liberty or give me death. The patriotism of the Cavaliers of Virginia was fermenting to overflowing, while that of the Puritans of Massachusetts was boiling with intense heat as the stamp stampers and teetossers of Boston prepared for a deadly reception to the robbers and murderers of King George on the plains of Lexington and Concord on the 19th of April, 1775. Never can I forget the midnight ride I took with Paul Revere on beholding the two lanterns displayed on the belfry of the Old North Church. I told the tale to Mr. Long Fellow, and he forthwith immortalized the heroic Paul. A hurry of hoofs in a village street, a shape of the moonlight, a bulk in the dark, and beneath from the pebbles in passing a spark struck out by a steed flying fearless and fleet. That was all, and yet through the gloom and the light the fate of a nation was riding that night, and the spark struck out by that steed in his flight kindled the land into flame with its heat. You know the rest in the books you have read, how the British regulars fired and fled, how the farmers gave them ball for ball from behind each fence and farmyard wall, chasing the red coats down the lane, then crossing the fields to emerge again, under the trees at the turn of the road, and only pausing to fire and load. So through the night rode Paul Revere, and so through the night went his cry of alarm to every middle sex village and farm, a cry of defiance and not of fear, a voice in the darkness a knock at the door, and a word that shall echo forevermore. For born in the night wind of the past, through all our history to the last, in the hour of darkness and peril and need, the people will waken and listen to hear the hurrying hoofbeats of that steed, and the midnight message of Paul Revere. How my soul thrills with recollection when I think where I stood in Carpenter's Hall, Philadelphia, on the 4th of July 1776, among the signers of the Declaration of Independence, and heard that grandest of human productions proclaimed to the world. Each of the 56 signers was a modern Moses in himself, and today their heroic statues in imperishable bronze should stand aloft on the shining marble copings of the national capital. The glowing features and earnest eloquent tones of Hancock, Jefferson, Franklin, and Adams come back to me now in the sunlight and zenith of Republican glory. And as the old bell in the tower rang out liberty to all the people of the land, the city of brotherly love took up the acclaim, while on the wings of the wind it echoed and reached from the St. Lawrence to the Mississippi, and from the lakes to the Gulf of Mexico, sounding across the seas, and reverberating among the sparkling halls of royalty, shivering the idols of divine right, enforcing the plain common people of the world into their long-neglected heritage of freedom. And there, side by side with Franklin and Jefferson, sat one of the secretaries of the Continental Congress, Tom Paine, the great deist, patriot, and philosopher, whose elementary proclamations, the crisis, rights of man, common sense, and age of reason, did more for the promulgation of freedom during and after the American and French revolutions than any other utterance of man. The logic and philosophy of the great deist and agnostic was worth more to the colonies and did more injury to King George and his murdering minions than all the perblind, bigoted, sap-head pulpit thumpers who ever preached for ready cash. The 17th and 18th centuries produced no nobler or better man than the brave Tom Paine, the personal and political compere and friend of Washington, Jefferson, Franklin, and Adams. The Declaration of American Independence was the greatest event in the history of mankind since the creation of Adam and the birth of Christ. It was a lofty and true indictment against the crimes of monarchy and was the entering wedge in splitting the rotten log of robber royalty. These words and phrases keep ever-sounding in my soaring soul. We hold these truths to be self-evident that all men are created equal, that they are endowed by their creator with certain inalienable rights, that among these are life, liberty, and the pursuit of happiness. The history of the King of Great Britain is a history of repeated injuries and urcipations, all having in direct object the establishment of an absolute tyranny over these states. The King has plundered our seas, ravaged our coasts, burned our towns, and destroyed the lives of our people. The road to happiness and glory is open to us. We will climb it apart from the British government and acquiesce our eternal separation and hold them as we hold the rest of mankind enemies in war in peace, friends. And for the support of this declaration with reliance in divine providence we mutually pledge to each other our lives, our fortunes, and our sacred honor. Moving along with the martyrs who have died for progress and liberty, I stood in the English Court September 20th, 1803, beside the heroic Robert Emmett, and heard him hurl these javelins of defiant patriotic eloquence against the brazen brutality of British judicial tyranny. When my spirit shall be wafted to a more friendly port, when my shade shall have joined the bands of those martyred heroes who have shed their blood on the scaffold and in the field in defense of their country and virtue, this is my hope. I wish that my memory and name may animate those who survive me while I look down with complacency on the destruction of this perfidious government which upholds its dominion by blasphemy of the most high. The blood which you seek is not congealed by the artificial terrors which surround your victim. It circulates warmly and unruffled through the channels which God created for noble purposes, but which you are bent to destroy for purposes so grievous that they cry to heaven. Let no man write my epitaph. For, as no one who knows my motives dares now vindicate them, let not prejudice or ignorance espers them. Let them and me repose in obscurity and peace, and my tomb remain uninscribed until other times and other men can do justice to my character and memory. When my country shall take her place among the nations of the earth, then and not till then let my epitaph be written. Again in my parapetetic tour of nations seeking and aiding the hosts of liberty, I stood with General Andrew Jackson, the greatest Irish American citizen, soldier, and president, behind the cotton bales and swamps of New Orleans, and on the 8th of January, 1815, I saw him hurl more than two thousand red coats into eternity, with only a loss of seven men, three killed and four wounded. Kentucky and Tennessee bushwhackers, with a lot of New Orleans shopkeepers, armed with squirrel rifles, killed and defeated General Packenham, and the veteran troops of John Bull in their raids over the globe for land, loot, and human blood. And still moving across the Gulf of Mexico to Vera Cruz, and by land to Buena Vista, with Scott and Taylor, I heard the scream of the American Eagle as it swooped down on the tyrant troops of Santa Ana, and with the stars and stripes waving in the breeze, beheld the United States soldiers charge the castellated heights of Chapultepec, and the next day, the 17th of September, 1847, saw General Scott plant his colors over the National Palace, with his conquering army marching in glory through the city and halls of the Montezuma's. Yet, with all the woes of Mexico, I saw it in after years rise out of the toils of foreign monarchy, when General Juarez, the native liberator, captured and killed the Archduke Maximilian, the representative of the Little Napoleon of France. The Monroe Doctrine triumphed in the death gurgle of Maximilian. Six Semper Tyrannus, treason to tyrants, is truth to the people. Off with the heads of Charles I, Louis XVI, and Robes Pierre. I stood by the side of General Beauregard on the 12th of April, 1861, at the city of Charleston, South Carolina, and heard him give the order to fire on the flag at Fort Sumter. Slavery and state rights threw down the gauntlet to freedom and national rights. A million of men were destroyed in the Great American Rebellion, and after four years of the bloodiest civil war in history, the stars and stripes arose in all its glory at Appomattox and fluttered again over the fort in Charleston Harbor, so nobly defended by the illustrious Major Anderson. Alternate successes and defeat came to the Union Army and the Confederate forces. Bull Run, Donaldson, Shiloh, Entitum, Stone River, Vicksburg, Chickamauga, Missionary Ridge, Spotsylvania, Fredericksburg, the Wilderness, and Gettysburg are battle milestones of the republic that shall never be forgotten so long as valor and manhood find allegement in the human heart. Gettysburg is the mausoleum of the Great American Marathon and the Thermopylae of Liberty. The grandest heroes of the world died there. They fell devoted but undying. The very gales their names seem sighing. The waters murmur of their name. The woods are peopled with their fame. The silent pillars, lone in gray, claim kindred with their silent clay. Their spirits wrap the dusky mountain, their memories sparkles, or the fountain. The meanest rill, the mightiest river, rolls mingling with their fame forever. What soldier at Gettysburg will ever forget the terrible battles of the 1st, 2nd, and 3rd of July, 1863, when General Mead and General Lee, with 200,000 Americans, met in deadly conflict for the salvation or destruction of the Great Republic. The veils and rills and rocks and hills for 20 miles around trembled with the onslaught of the contending hosts, and from Culp's Hill to Cemetery Heights and Round Top, the smoke and blaze of the rifle and the cannon lit up the bloody scene with the concussion of an earthquake and volcano, and the climax charge of Pickett's division punctured the bravest and most unavailing assault ever made by heroic soldiers. And although these warriors in gray were doomed to defeat by the defenders of the Union, they deserve a crown of unfading glory for imperishable American valor. Standing by the side of President Abraham Lincoln, on the Heights of Gettysburg, on the 19th of November, 1863, I heard him deliver before a multitude of people the following eloquent and philosophic address in dedicating the Great National Cemetery. Four score and seven years ago, our fathers brought forth on this continent a new nation conceived in liberty and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war testing whether that nation or any nation so conceived and so dedicated can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that the nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate, we cannot consecrate, we cannot hallow this ground. The brave men living and dead who struggled here have consecrated it far above our poor power to add or detract. The world will little note nor long remember what we say here, but it can never forget what they did here. It is for us, the living rather, to be dedicated here to the unfinished work which they who fought here have so far nobly advanced. It is rather for us to be dedicated to the great task remaining before us that from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion. That we here highly resolve that these dead shall not have died in vain and that this nation under God shall have a new birth of freedom and that government of the people by the people and for the people shall not perish from the earth. I saw General Grant at Appomattox on the 9th of April 1865. I hear again these phrases of the silent soldier to General Lee. I am equally anxious for peace with yourself and the whole north entertains the same feeling. The terms upon which peace can be had are well understood. By the south laying down their arms they will hasten that most desirable event, save thousands of human lives and hundreds of millions of property not yet destroyed. The officers to give their individual paroles not to take up arms against the government of the United States until properly exchanged and each company or regimental commander sign a like parole for the men of their commands. The surrender of all munitions of war will not embrace the side arms of the officers nor their private horses or baggage. Each officer and man will be allowed to return to their homes not to be disturbed by the United States authorities so long as they observe their paroles and the laws in force where they may reside. Still marching onward in my mission of my love for freedom and keeping close and quick step to the music of the Great Republic, I rose again in soul, heart and pride as I stood on the deck of the Olympia, fronting Manila in the Spanish Navy, and heard the great Admiral George Dewey say, when you are ready, fire gridly. In an hour the Royal Navy of Spain was at the bottom of the sea, and over the citadel of Manila waved the stars and stripes, a hope and a blessing to the Philippine Islands. I stood on the turrets of Morro Castle, Havana, as the devilish whaler sailed away from the beautiful Queen of the Antilles and wondered that the cruel infernal tyrannical wretch was not ignominiously slaughtered by some of the victims of his starvation reign. A rattlesnake cobra tarantula human deformity. It is not the plutocracy of wealth or the aristocracy of learning, but the democracy of the heart that makes the world better and greater. Selfishness, cupidity and greed lead to tyranny and tyranny finally destroys itself. Down with the villains who would enslave the people. Dose them quick with lead and pills, only cure for tyrant ills. And on the heights of San Juan I beheld the American troops white and black shoot the cruel Spaniard into defeat, and last but not least I stood on the prow of the Oregon and beheld the most destructive naval engagement of the century. Santiago was a captain's fight and, as Admiral Schlay said, there is glory enough for all. Schlay, Sampson, Cook, Clark, Evans, Taylor, and Wainwright shall be remembered down the ages with Paul Jones, Decatur, Porter, and Farragut, and with them the great arctic hero Admiral George W. Melville. The monarchy of Spain that once ruled the western world has been swept off the seas and does not own an inch of land on the American continent. I personally participated with my soldier comrades in the inauguration ceremonies of the Lofty Lincoln, the glorious Garfield in the magnamius McKinley, and heard their burning words of patriotism delivered from the east front of the national capital. And again it was my melancholy duty to march with the Grand Army of the Republic in the funeral train that took their assassinated remains to lie in state under the dome of the capital for the last view of the people upon the calm countenance of these illustrious Americans. The greatest characters of earth vanish away and are forgotten like the mists of the morning. The boast of heraldry, the pomp of power, and all that beauty, all that wealth air gave, a weight like the inevitable hour, the paths of glory lead but to the grave. And now be striding the isthmus beneath the stars and stripes with my right foot at Cologne and my left at Panama, I watch the digging of the inter-ocean canal, with the high priest Roosevelt joining the Atlantic and Pacific Oceans in eternal wedlock, where the commerce of the globe shall float equal and free forever. Congregated at the world spirit St. Louis, the grandest exposition of the globe, I see passing and review the men and women of all nations, where art, science, letters, manufacture, commerce, and government power reveal the wonders of man's handiwork. And now, navigating the circumambient air of an electric ship, I'll sail away to the island of immortality and dream a season from my multifarious labours. I'll go swinging around the circle through six hundred future years, with the roses and the myrtle growing in celestial spheres, and sweet freedom, heaven slated, round my footsteps night and day, when I am incarnated, shall still hold its deathless sway. And great Shakespeare then shall meet me to renew our former youth, and exclaim with honest fervor, Jack, you always told the truth.


Okay. Community Matters. I'm Jay Fiedel. This is Think Tech. And the handsome young fellow is David C. Farmer. He's a lawyer and he's the president of the Screen Actors Guild. That is something local. And so we're talking today about filmmaking in Hawaii after COVID. This is a very important discussion because it has a lot to do with Hawaii's economy. Welcome to the show, David. Thanks so much, Jay. Great to be with you. So there was an article in the advertiser a few days ago that was really, really interesting and provocative about the notion that although we suffered greatly in terms of filmmaking and film, I want to say income to the state over the over the time of COVID. At some point, I guess in the summer, September of 2020, it all changed. And instead of being afraid, Hollywood came to us as never before. Can you talk about that? Well, yes, like the visitor and hospitality industries worldwide, entertainment, performance, live, taped, whatever was totally decimated by COVID-19. It was destroyed. And, but, you know, speaking domestically, there were early efforts to on the one hand from the performers point of view, make given the COVID situation to make safe sets a priority and to examine more of the streaming portals for getting the product over to the public. And, you know, there's that Jim Morrison song about, I think it's Writers on the Storm has that lyric about an actor all alone and the basic, there's this pent up demand to consume this stuff. But when you think about all of the actor energy in this globe on this globe, what does it perform, you know, to be otherwise an actor all alone is got with no audience, nothing, right? So there's a pent up demand on both sides of the screen. And it would not be denied. Well, it's interesting, you know, you mentioned that and immediately what comes to mind is Broadway, Broadway, a juggernaut of acting and performance and with audiences and a like Broadway and incredible experience. I'm sure you feel the same way about it, but what is what is really regrettable is that in, you know, in the case of Broadway, you have people who left the industry. Yes, careers were destroyed. Yeah. Yeah. Does that happen in in making films too. It hasn't been as dramatic because I think they're, you know, Broadway is a one live theater is just a whole different deal. There are ways in in film to kind of adapt I think a little easier as a performer and you know the fact of the life of life is in performers of all kinds is it doesn't matter how successful they are. But one of them is waiting for the phone to ring between gigs. You know, and so unless they're locked into a long term tell tell tell series or if they're lucky enough to hit a franchise film vein. But basically, it's the most insecure industry, most insecure job that anybody can have. And if you look at producers directors, what do you call it middle middle management and production of movies. Once you are anointed once your talent is recognized. A, you're pretty sure you're going to get jobs, and B, you're pretty sure you're going to make really good money. Isn't it true it's it's not the same kind of what do you want to call it on again off again experience that an actor has. That's that's true. And, you know, I think actors and professional athletes share similar economic realities. You know, and there's there's no, you know, sometimes for a performer as for an athlete there's no coming back from basically stepping in the, in the mud. I would say, you know, the number of, you know, Spielberg's at all, still, you know, count on a hand on one hand. And, you know, all the people in sports and in showbiz, no matter how successful they are, they really need to plan carefully their money, because it's it's not necessarily an old, never ending tap.  But I'm just wondering if, if you have been affected in your potential of having acting gigs here during the off again on again experience that the industry had in 2020. Well, I have been, I had an audition for Magnum PI. I had an audition for film, you know, and so much has to do with your agent of being proactive. And, and I have a good agent who sent me up. Here's the thing, this, you know, this is going to sound a little bit like whining, but, you know, I whine, but is that it's especially when you, when take Magnum PI just for example, Magnum PI has been described as Baywatch with detective, you know, that and if you're, if you have a hard body and at 23 years old right in the bikini, man, you probably got plenty of work. Also, frankly, there's a demographic issue for not that I don't do background work, but I don't quite look like the national idea of somebody who lives in Hawaii. So, both age as well as ethnicity is not a doesn't open a lot of doors for me. And, and, and, you know, and actually in Hawaii, our members are primarily of what used to be called extras, but now are called background actors. And they, for the most part, don't have lines, they don't, they don't really, and they're, they're happy with their it's, it's widely viewed in Los Angeles, that we have hobbyists here, we don't really have professional actors, and it's kind of true. What can we do about that, you know, there's a lot to talk about he will never finish in an hour, but but you know what I know people you know people who've been pulled in on these gigs gigs.  He was on the screen for 30 seconds and he got paid well for that. And that was the no lines, the extent of his acting. And I'm saying this is this is an industry make. What can we do to train actors. What can we do to get jobs for actors. What can we do to build productions that will, you know, enjoy local actors. We on the road for that or we just, you know, tagging along behind whatever Hollywood wants to do. A couple of things.  And I think, you know, if you compare the Korean soft Korean film industry to Hollywood product of the last I would say 10 years. It's so head and shoulders they've taken the best of Hollywood production values, and they've crafted. They're not heavy duty they ain't Shakespeare, but they are compelling. They are. They have a heartbeat. And that's something that's been sorely missing in California, Hollywood productions. It's it's it's go boom boom boom boom it's it's it's action stuff.  So that and the other factor is that the industry for an actor exists in two places, California and New York. Now, filming is done all over. Right. But the heartbeat the nerve centers of the industry are in those two places.  And if, on the other hand, you are happy and there's, I'm happy. Look, I jumped I jumped out of New York City in 1967. Number one, because it was a dirty filthy city and it was dangerous and it wasn't had no quality of life. I visited Hawaii the year before. And I said, I'm going back there. So, so that's, and I, at that point I willingly and gladly gave up aspirations of being a working actor, you know, and in Hawaii I've done, I've done television, I've done film, I've done theater. I've been able to do everything of the product itself that drives you to be a performer. And I haven't had to put up in New York City or Los Angeles. So, you know, it's a trade off and I think that doesn't mean that locally written scripts about Hawaii aren't possible and necessary. But that's, that's always been a kind of dream. And it's, it's been close to it, but, but not and certainly not in volume this item. I don't think Hawaii will ever be a, you know, competitor to New York or Los Angeles. Why not? Let me, let me offer some thoughts and she would say, you know, I'm the George Clooney movie. You know, it was, it was pretty good. It didn't accurately capture what happens here and the rule against perpetuities, you know, for landowners and what have but but you know it was one of those thousand stories that define Hawaii. That was our story. They did it. They brought some names in, you know, they, they brought in some production values and they did it. We have a thousand stories like that or at least 999 left. And we have, we have, you know, a fabulous melting pot of ethnicities and cultures here. It is of interest. It is of interest. And we could do that. We have the camera people. We have the technology we have, we have the appreciation of values. I don't know about script writers, maybe that's something that has to be learned or focused on. Why can't we build an industry here that can make first class movies that compete with the best of them? Why can't we do that? You would know the difference and maybe you could contribute some of that heartbeat. So again, the business is the business and it is reality still is these are productions put together by committees with casting dependent upon name recognition and what kind of box office they're going to draw. It's all the reality of American products. And, you know, what you're talking about is a whole different, different, you know, it's the, and you're lucky if you get any quality in that kind of a system. And you mentioned descendants because Clooney directed David Straithorn in Good Night and Good Luck and whatever it was about Edward R. Murrow. And it turns out that David is part of why it and why he didn't cast David rather than George in that role comes down to a very simple reason. Because Clooney and name recognition and potential box office. Simple as that. Yeah. Well, and also the guys with potential box office, they know how to act usually. Yes. And acting really does help. I mean, you know when I watch cable and I want to get to that. These days of my first question is are these people capable of acting. Yes. And so, and frequently these days you find that they're not. Anyway, so bottom line is, I want to ask you, you know, how things have changed in COVID, cause of cable.  And it seems to me there's, I'm flooded, I'm covered, I'm bombarded with movies now from every place in the world. You saw a Russian movie the other day called Silver Skates. It was excellent. And it was all Russian. My goodness gracious they and they rose up to the level of high production values. Acting good story, good sets. The whole thing was really marvelous. And I'm saying to myself, this is sort of like the house of the flying daggers, you know, back when when China showed us that it could do high production value. It's all over the world. It's every country you can think of. Yeah. And there's a lot of competition. It's outside of Hollywood, don't you think. And people are watching that stuff because they are tired of the pope fiction. They want to see something else they want to travel they want to open their minds because they're stuck at home. So I think it's changed the viewing audience don't you. I do. And I think it'll be interesting to see how much theatrical attendance. We see going forward. The movie chains have been as stressed as every other segment of the business. And, you know, I think for me and my wife, even before COVID, we didn't go to movies very much at all. Because there was such rich content available in streaming, even though, even though the experience of watching a film on a screen versus watching it on a little screen is night and day. It's a totally totally different experience. But whether or not when this, you know, fog clears, and we have a healthier environment. It'll be interesting to see, you know, how much and again, what what's more convenient about watching on television besides the breadth of content you're talking about is you can pause it. So shishi, get your nice beverage.  The downside, of course, is that, like with for us, we're addicted to these Korean tele series and films who they're marvelous and you started, you know, at nine o'clock at night and next thing you know it's three o'clock in the morning. And so it's nuts. It's totally nuts. But it's certainly become a part major part of our consumption. And it also, you know, I think we've yet to have anything like a sustained series in the in the sense of like Game of Thrones or other cable, you know, I look forward to hopefully someday soon getting a product like that, because those kinds of formats allow deeper development character, they allow. I mean, one of the things in the Korean stuff is you'll get the characters they're like, they'll be standing looking at each other for an extended period of time. When's the last time you saw that on five over Magnum PI, you know, did no time and so anyway that's that's my that's my hope as far as new initiatives going forward is to get something in here that's got a got legs to it over an extended period that the Korean stuff is either like 16 episode hour episodes, or one we just watched 32 hours. I mean, it's started to chunk my life I can't get back because I watched that thing, but I know exactly what you mean because it's the same life experience that has taken a good part of my life over the past year and I love it I enjoy it I it's a discovery whenever you find one and sometimes you find it completely by accident. And there it is it tumbles into your life, and it changes your way of thinking it's, you know every movie is an education of some kind and I feel that you're getting educated as never before. And taking all of that. It seems to me that you can't help but making a buck these days in filmmaking. So, after the first six months of coven when these film producers were looking around for locations, and they found that Hawaii had good numbers and effectively speaking, and the mainland was, you know, going a little nuts in major cities, they come out here, and that's what led them out here that it was as simple as providing a safe set. And they, and they, I guess they talked to each other they all came out here all at the same time and laid work all over the state. And that's quite remarkable but at the same time that I was happening cable is becoming more popular. So we're watching it so my guess is that a given production raised more money with the cable providers, then it would have before all of this happened. And so there was, you know, with the money was all over the place and it was worthwhile, you know, coming to Hawaii just so they could make lots of movies, and they have my question to you though is, you know, is this sustainable. There's more going on now. Nani Dawson in that article and Tracy Bennett in Maui very clearly believe that you know these are the good times. But you know anything could happen we live in a fragile world both in terms of health and politics and policy and government in general query, is it sustainable for Hawaii, can you count on it say a year from now. Well, I would say that any predictions about this very strange business called show business are our fraught with with uncertainty, because things do change. One of the things we did enjoy, and it counts for a much of this new and vibrant activity has to do with our nationwide good numbers on the covert side we're like number four or five in terms of top top top here. Getting getting through it.  People are bailing from California, big time. And of course, we're the realtors and we are bracing for the Asian invasion for more investors. And so, you know, and also to there's another aspect to it, which is that CBS, going back to certainly the old the original 50. And it has really allegiance to Hawaii. And now NC is is yet another one that. So, we have been incredibly blessed by in terms of continuity and sustainability, because of the Columbia broadcasting system. And I don't see that going diminishing and of course NC is and opens another door and we're all hoping that it will be like the other jurisdictions NC is has a long and fruitful life. So, the whole the whole was an NC I think is very popular city by city. And we're a great candidate for providing an interesting background on the, you know, the NC I kind of bought. And I think you know that really that one will really last. So we're talking before the show about the differentiation between those kinds of productions that will last and keep providing value for the economy of the state, and those kind of productions that are one off. That distinction for us. Well, I, the example I gave was, we had a John Travolta Bruce Willis of least partially filmed on Maui that they came and went for pretty quickly. It's the nature of feature films, big or small, that they're one offs. The continuity, interestingly enough the continuity here in Hawaii are the crews. Speaking of, we were talking about a friend of yours or not. It was on 50 and killed without words. I, my last five oh my last five oh gig was scripted with with dialogue and I spoke it and had multiple scenes and anyway it turned out to be totally and I was paid as a as a talking actor, thank God. And so I still get residual, but it turned up in the final edit as being almost what you described, which is the guy comes in to do you beat beat and then boom gets hit back ahead and he's dead. So, and it was all described by the lady, the Canadian actress who was walking talking about it. So, you know, that's, you know, that's, that's Hollywood, right. It's, you know, you work and work and you wind up on the cutting room floor that's that whole thing. But I've sort of lost thread about not well with your question. The difference, the difference between the one offs and the, and the serials that are likely to last for a while. Well, okay, yeah, because of the nature of the beast. I guess the the other good super order of why is a destination to do films is is the rock. He he's done, you know, he did I think the, the one of the last films in fact they recruited a lady who was an usher at the signature of, and she was marvelous, you know, and they shot on Hawaii.  And now we're like over 1100. So we're, you know, we're seeing we're seeing the jobs, you know, again, mostly background jobs, but nonetheless, she's a rare exception to that but but yeah, the film. It's their one offs. There are the film credits have go in, besides our healthy COVID numbers, the film credits play a part in it. And because you know, again the business part of it is how much is going to cost and how much we're going to make, you know, sure.  And maybe you see a lot pushed into the future, or the past something different. And what I see different in my own experience I wonder about yours is that I'm really not so interested in violent movies anymore. I know there are a lot of people out there that are. And if you look at the number of movies on cable that are violent it's extraordinary. It must be 90%. On the other hand there are art films, and there are feel good films and there are comedy films that are really very good. I'm thinking of that Korean. What was it. parasite. That was excellent. The other one was about this family, the Korean family that settled. Minari. There's a very interesting film and there's no violence in there to speak of. And you say to yourself, well this is, it makes me think you know this educates me shows me things I haven't seen before. And it's not that hope fiction kind of hope violent fiction kind of thing you know with a vengeance plot and we're going to get even and the mob versus you know and the prosecution and the police and, you know, haven't we had enough of that. It seems to me that emerging from all of this mix that we have seen in the new mix that we've seen in the past year, we may have genres that are emerging that will change the industry somehow. Do you agree. There's the problem, and it's not just in the United States. I can tell you. There is a perception of in some countries in their industries of a basic dumbing down that they believe they need to make the product they need to make the car chases and the car bang ups and all, because that's the only thing that's going to get them in the seats. And that means in my view is is guilty of that and most of that most of their product is, is either violent, or is violent and, you know, I mean, and, and the, and it's a fundamentally different audience viewpoint about what they want. Now, you know, I think you and I probably have a view of something. Sense and sensibility was a film that was still lingers in my memory as being a nonstop heartbeat filled film. It just it just there was no dead air there was it was just and and and telling a story that has a human heart to it is is still a rare commodity. And, and the only excuse for the industry not doing more of them, because they don't see there's there's an any profit in them.  And also, it reflects a level of sophistication or lack of sophistication with our audiences. You know, and again, Joe business right theater, the roots of theater go back, you know, in, in this country to the director and Bogart wrote an essay about the very first reported decision relating to theater had to do with they performed in a tavern in Virginia. And, and they got busted for doing blasphemy, right. It was blasphemous. So the whole thing went up to court, and that there's a still trial transcript of this and this we're talking in the 1600s right. The judge ruled that no, no, no, it wasn't blasphemous. It was entertainment. And so Bogart makes this point that that is the root of our theater and industries right entertainment industries entertainment. Now entertainment doesn't have to be the car chases and the violence, but some it's a segment of our audience. And so I think as long as we have audiences who respond to that, and are eager, or the other, the other things that violence things is these these these oversized sort of CG effect load loaded, you know, futurist and the marvel the whole the thing some of them obviously it's not bad but but I think, again, it's of a scale so beyond a human level, a human sized story that leaves me flat, but you know, I'm, I'm just an old dude, you know, wasting away in paradise so so I'm with you, David. But I really can't watch that stuff so much anymore. And I wonder, you know, wonder, you know, you say the movie maker looking at the bottom line and they make decisions on that basis is trying to meet a market he's trying to satisfy a market. And then the market, it seems to me changes everything changes as the market changes and and people are looking for an old fashioned escape. This is escape entertainment. This takes me away from the humdrum of being locked up in my house or for that matter locked up in my job or locked up in a life that doesn't really give me extension.  I get to hear foreign languages. I get to see all these things that make me feel that justice will out, you know, and violence may be the way to get there and so forth. And I think that that that is probably changing that there's a greater demand these days a greater frustration perhaps with the way things work in our lives, and therefore a greater demand for escape entertain. Don't, don't you agree. Well, let me put a real big wet blanket on all that. Just check out. Our polarization in our politics, the fake news, the, the, you know, it's ugly out there, Jay, and we're someone insulated from it here in Hawaii, although, you know, the homeboys were also January 6 present and counting for from Hawaii we had a contingent from Hawaii over there. That's the reality. And that's when you think about it. First of all, it's, they're too. There are two communities of, of audience. And I would say to you that though that, you know, schizophrenic world that we now inhabit in politics but also in our culture. So it's a real big question on any change that's going to come the way you are certainly hoping for. And I hope for two. So, you know, that's that's that's the killer. Well, let's let's talk about hope for a minute we're almost out of time here. And, you know, I hope, as I'm sure you have and many people in the industry and, and certainly the film offices in both city and state county and have hoped for job opportunities. And so, you know, the numbers in the star advertiser article are pretty impressive we, we are hiring a lot of people some of them are just serving lunch, you know, to the, you know, the production staff, but others are actually involved in the production. And my question to you is, you know, is this something that a local person say graduate of high school or UH or some college in Hawaii should focus on, not necessarily in, well, maybe in making the film in part, but more in supporting the film, handling all the logistics around the film, getting a job, getting a job. Is this something where there's a promising job market that a graduate of a local school, a Hawaii graduate should, should investigate, or is it better not to do that to go to Hawaii? You know, there's a real question, the article raised the real question about whether this is so important, what's happened with this increased amount of film work in Hawaii, that we should see it as a, as another, you know, as a, as a sector of innovation. Okay, which we haven't really concentrated on, or whether we should just, you know, spend our time and money and our futures and in the hospitality, hospitality industry. I mean, how significant is this in terms of diversification? Well, I will tell you, UH, ACM, the Academy for Creative Media, the state creative, and always bubble the name, but there are, we have local initiatives to support the growth of this industry. And that does become a significant part of our diverse, you know, opportunities. Speaking right now, again, one of the things that the last 5.0 I did reminded me how very special our local crews are. Now, again, these are like teamsters. They are also members of other other unions. But when you get the sort of the combined, and this is just for one episode, right, you get the combined back of the camera, local, an incredible aloha spirit. I mean, a real, real sense of family and, and, and of Ohana. And you get the granted mostly background actors. It's magic. It's absolutely magic. But, but, but as a growth industry, compare it to the number of jobs that the hospitality area is not, it's not going to happen. It's just, it's, there's not a specific gravity enough of opportunities. And again, if somehow, I mean, Los Angeles, initially in the filmmaking industry was an outlier right, it was all in New York and New Jersey, that's where all the film was done and then they fled to the sunnier climbs. It's not a pretty, you know, it's, it's like the Roman, the Italian studio that Fellini did all his film work in. It's, they've got a lock on it, and it's partly history. And it's partly it's a lot it's a lot to overcome to imagine that that center would ever migrate to Hawaii in any big, big way. We're one we're expensive, we're off shore that there's a lot of reasons for that. But, and, and you know, on the NCIS, I think we all of us are pulling for that series. I just hope I just hope that they can getting back to the script. They can really infuse some of that material with something that's legitimately Hawaiian in terms of there are realities here in Hawaii. Because it's there. That's a, that's great resource material. And it's been neglected for ever since. Yeah, yeah, neglected or, or worse. Yeah. Misconstrued, you know, this misstated. Well, David, we're out of time and I really appreciate you coming down. I hope we can do this again. This is really valuable to understand the industry and, and where it's going and what opportunities that offers for the state. Thank you so much. Well, thank you, Jay. It's always a pleasure to trade stories with you. Thank you, David.


What is going on guys welcome back to the channel critical overlord here So in this video, I just want to talk about what should happen when the or how Jeepers Creepers the franchise should in So for those of you who are familiar with the no with the series You know that Jeepers Creepers 3 was originally titled Jeepers Creepers Cathedral. It was going to have Jack Taggart Trish Jenner The sister from the first film and the father from the second film They were going to team up and they were going to take out the creeper That is not what happened in the third thing that we got we ultimately got a movie that was set in between the first and the second film but if They are going to wrap this up properly and put it and send the creeper off in a nice manner I think that what they should do is kind of yes stick to what they said they were going to do and pick up Where Jeepers Creepers 2 ended? It doesn't necessarily have to pick up immediately afterwards in that barn with the Taggart The film can start off showing us probably a little flashback or something that set in the early in the early Roman times period something that's old something has dated start Several centuries ago just to show how old the creeper is and we can see how he probably was around here in the Gladiator times a few other things he was probably here for several historical events and he was he was Around for all of this stuff, but just was never documented of course because he's all he's he just hasn't been able to get documented But it'd be nice to have a flashback or two of a few things that he did in the past or have him in like the wild wild West I think even that was a consideration at the point I think the movie should start off in setting the old times and then we should just jump ahead to 2024-2031 of those two years And then we should pick up and follow Some survivors from the second film as well as the first film including the Taggart's and Trish Jenner it shouldn't just be them solely And then since the Cathedral script did leak online the best route here to me would then be to rewrite the characters just rewrite new background characters come up with a few New characters to introduce the audience's bring back some familiar faces such as Giselle from the first film She could be a factor in the creepers demise We can learn more about Poho County East 9 we can learn a whole lot of stuff about what the creeper has done in That area since he's been there. How long he's been there. We probably can find out a little bit more about other areas He's been to or traveled to it'll just be very interesting to see What what could happen and what he's done in that area now if you're gonna bring back the truck again I'm honestly gonna say you need to ignore anything that happened in Jeepers Creepers 3 And in fact ignore Jeepers Creepers 3 entirely if you're gonna make Jeepers Creepers 4 I think the best bet would be to ignore the third film and render anything that happened in that film non-existent And just keep Jeepers Creepers 1 and 2 cannon Jeepers Creepers 3 you can add you can just ignore because Jeepers Creepers 3 has no connection to the first two films whatsoever outside of the fact that it starts off Right after the first and it's before the second But it really doesn't do anything to connect itself to either film It doesn't bridge right into the second film like many people claimed it did it does not bridge Directly into the second film it doesn't the first film doesn't really have that much of a connection to it at all either It starts off in that night and then it goes off and does its own thing and it starts doing something That's really out there by introducing a flop device that I kind of went on a rant on a few videos ago Which I will leave as a recommendation at the end of this one But I would ignore Jeepers Creepers 3 in its entirety. I would bring back Trish. I would bring back the Taggarts bring back any survivors from the school bus who may want to bring back any characters that you feel necessary and find people to Portray them all grown up from the bus anyone from the first film such as Sergeant Tubbs. He can come back I think that would be the only care I had to bring back from Jeepers Creepers 3 You can't even talk about Kenny Brandon anymore because someone brought this to to my attention Kenny Brandon was in fact an African-American male in the first film But in the third movie they portrayed him as a Caucasian male The reason that's an issue is because it's so tightly They say it's supposed to be directly set after the first film Well, if it's set directly after the first film, how can Kenny Brandon just all of a sudden be a white man now after he was just seen as a white as a African-American male when dairy found him. It's just not it's just not logistic. I wouldn't bring Kenny Brandon back I would make mention of the character still you can make mention of the characters But I wouldn't have any flashbacks or anything to do with showing him physically now Since we no longer have a complete definitive answer as to what he is He's he one second. He's black and now he's white. So As far as a character of dairy, I would try to get Justin long to come back if possible I feel like you could get a flashback out of him or two Even then you don't need Justin long to put him in the film. You could use footage from the first movie That's just how I would end it I I don't think we need to exactly find out what the creeper is either an entirety Just kind of dance around the topic and let people kind of come to their own conclusions Make it ambiguous if you will Find out some few more secrets about him find out He has a lot of other weapons up his up in his arsenal. Maybe find another layer Maybe he has more bodies stitched up around the walls down there. Maybe this layer is bigger That's what I would do. I would have the movie go out of the bang.  Let me know down in the comment section below if you haven't already make sure you're subscribing turn on post notifications So you never miss a video in the description. I'll have links on my social media accounts on Facebook Twitter and Instagram You can message me there to let me know if there's any movies news or reviews You would like me to cover in the future with all that in mind guys. I will see you in the next video