- anteontem
Neste documentário, o público aprende sobre a vida de Philip K. Dick, incluindo seus primeiros trabalhos como romancista de ficção popular, sua carreira de sucesso em Hollywood e sua obsessão por inteligência artificial. Amigos e especialistas relembram o homem, sua importância no mundo literário e as psicoses que impulsionaram sua obra. Ouça trechos de Dick falando sobre sua própria obra.
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00:00O que é o que é o que é o que é o que é?
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01:43sobre o presente e o futuro.
01:55Como muitas pessoas, eu become um fan de simplesmente
01:57por ler um dos seus livros.
01:59Você read um dos seus livros, você tem que ler todos os seus livros.
02:03Então eu escouria os livros dos livros do Bay Area
02:05e com um grande problema de dificuldade,
02:07eu encontrei todos os livros, ou pelo menos de todos os livros
02:09e os livros de sua história.
02:10Eu escrevi todos os livros, e eu escrevi um livro
02:14sobre o livro sobre o livro de Phil.
02:16E ele me ligou um dia, eu peguei o telefone e disse
02:20''Hi, isso é Phil Dick''.
02:22Ele me disse que ele gostou do meu livro e eu pedi o meu peça.
02:25E eu pedi ele se perguntar se eu puder me entrevistar.
02:30Então eu fui para Santa Ana, California.
02:33Nós conversamos sobre o seu livro e sobre o seu livro.
02:36Foi um ótimo conversa.
02:40Eu nunca acreditava que a ciência foi mais valor do que a literatura.
02:50Na escola, eu estava trabalhando com a ciência de ciência,
02:52que eu ainda tenho.
02:54Então eu estava em um lugar curioso.
02:56Eu tinha leído ciência de ciência de ciência
02:59desde que eu era 12 anos.
03:03E eu estava muito amado a ler.
03:06Eu meiai, eu apenas meiai.
03:07E eu também estava ler o que a gente intelectual
03:12de Berkeley era ler,
03:14como Proust, por exemplo, e Joyce.
03:17Então eu ocupava dois mundos lá que normalmente não interessa.
03:22E eu fui para o seu livro.
03:28Quando Phil Dick estava escrevendo o seu livro,
03:30ciência-fici foi um popular popular.
03:33People wrote for a penny or two a word.
03:38Phil would have been happy to get two cents a word
03:40for a lot of the fiction that he wrote in the 1950s and 60s.
03:44It was written on pulp paper,
03:46which is why they call it pulp science fiction,
03:48and had lurid covers of bug-eyed monsters,
03:51or BEMs, as they were called,
03:52attacking beautifully scantily clad women.
03:55And this is where Phil found a venue for his thoughts,
03:58for his feelings about the world.
04:03I went from high school to a full-time job
04:07in a record store and radio shop.
04:09And working six days a week,
04:12I didn't get a chance to do much writing.
04:14I got married when I was 19.
04:16And I suddenly began to feel that science fiction was very important.
04:20I had a mysterious quality in the universe,
04:23which could be dealt with in science fiction.
04:28I realize now that what I was sensing
04:30was a kind of a metaphysical world,
04:33in an invisible realm of things half-seen,
04:37with supernatural powers.
04:39That was a Kupfer and Reed record store,
04:46and he worked there in the early 1950s.
04:52And he froze up.
04:53He had, you know, he had sort of like a panic attack,
04:56or an agoraphobic attack,
04:57and that's what decided him,
04:58I have to write full-time.
04:59That got him out of selling records.
05:01That got him into writing fiction.
05:03I mean, it's been a long road,
05:09but science fiction offered me a route
05:12by which I could publish
05:14the kind of thing that I wanted to write.
05:18I was reading Martian Timeslip the other night.
05:21Now that is exactly what I wanted to write,
05:24the invasion of one person's world
05:26by another person's world.
05:28Phil began writing copious quantities
05:32of science fiction stories,
05:34and he sent them off,
05:35and he sent them off,
05:36and he got return, return, return,
05:38but eventually one sold.
05:40Ruge, I believe that was his first
05:42science fiction story that he sold.
05:47Ruge, my first story,
05:48is a perfect example
05:49of what I was trying to do,
05:52and that was Jung's idea, not mine.
05:53I was showing each person
05:56with a different world
05:58and the contents of that world
06:00consisting to a large degree
06:02of material from his own mind
06:04in which he did not recognize
06:05as his own mind
06:06coming back at him from outside.
06:08Now this is an idea
06:10that never left me.
06:16Now if you look at Philip Dick's writing,
06:18you see he repeats things
06:19from novel after novel,
06:20but he buries them.
06:21Sometimes it's a talking suitcases
06:23as a psychiatrist.
06:25Sometimes it's a machine
06:26you put coins in
06:27that's your psychiatrist.
06:28Sometimes the door
06:30gives you rough therapy.
06:32The door refused to open.
06:33It said,
06:34five cents please.
06:36He searched his pockets.
06:37No more coins.
06:38Nothing.
06:39From the drawer beside the sink,
06:41Joe Chip got a stainless steel knife.
06:43With it, he began systematically
06:45to unscrew the bolt assembly
06:46of his apts money-gulping door.
06:49I'll sue you, the door said.
06:50as the first screw fell out.
06:53Joe Chip said,
06:54I've never been sued by a door,
06:56but I guess I can live through it.
06:59A lot of his work
07:00is really, really funny.
07:02There's some really hilarious things
07:03in various Philip Dick's novels.
07:06He never tried to write for popularity.
07:08He never tried to write
07:09a bestseller of any sort.
07:12He just wanted to write
07:13what he wanted to write.
07:14Although he aspired
07:16to write literary fiction,
07:17he tried endlessly
07:18to write literary fiction.
07:19He wrote 11 literary novels
07:21in the 1950s
07:23that were unpublished.
07:24No one would touch them.
07:25When I purchased
07:26my first published story,
07:29somebody said to me,
07:31do you read that kind of stuff?
07:34And I said,
07:35madam, I not only read it,
07:37I write it.
07:38and people would say to me,
07:40well, why don't you
07:41write something serious?
07:43Why do you write science fiction?
07:45Write something serious.
07:47By that, they meant important.
07:49Nevertheless,
07:49I did as well as I could.
07:51I wrote the most profound,
07:55the most imaginative novel I could
07:58and just floated it out
08:00into the world
08:01and hoped that eventually
08:02it would receive an audience.
08:03Phil wrote 35 novels,
08:1140 novels,
08:11something like that.
08:1235 of them
08:13are good to excellent.
08:17Five of them are duds.
08:19All right.
08:19You know, okay, sure.
08:20You know,
08:20that's a pretty good ratio.
08:22Now they're rioting.
08:23It's barbarism come back again.
08:25If they smash up that infernal gun
08:26then honor is satisfied
08:28and you needn't go.
08:29They won't smash the gun.
08:33One of the depressing things
08:37about cheap science fiction
08:39is it always shows the future
08:41either a dystopia
08:43or an apocalypse
08:44or whatever new thing has happened.
08:48You only look at a few people,
08:51the great big brother
08:53and the protagonist
08:55fighting the enemy.
08:57You never look at common people
09:00and how their lives have changed.
09:04But Philip K. Dick
09:05was different.
09:08He liked to see
09:09how average people,
09:11how their lives would be changed.
09:14Philip K. Dick
09:15didn't write horror
09:19as much as he wrote
09:22about
09:22the creepy sensation
09:26that all certainties
09:30stand upon sand.
09:34Phil Dick
09:47was not afraid
09:48of
09:50exploring
09:51his fears.
09:53This was a man
09:55who had real fears.
09:57He lived an American
09:58middle-class life.
10:00But we all know
10:03that that's no guarantee
10:04against
10:05the sensation
10:08that there's a monster
10:09under the bed.
10:11There's a monster
10:12in the closet.
10:13Some of the great
10:14science fiction authors
10:15like Ray Bradbury,
10:17Stephen King,
10:18Isaac Asimov
10:20all had this notion
10:22things are too good.
10:24The worries
10:27in my head
10:29are as powerful
10:31as any invading army.
10:38How real is that?
10:40I think we have
10:41the central question there.
10:44It would explain
10:45my sensation
10:45of passing my hands
10:47through matter,
10:48through the dashboard
10:49of my wheel
10:50as I did.
10:51That very unpleasant
10:53sensation
10:53that nothing around me
10:55was substantial.
10:57That I inhabited
10:58a world of shadows.
11:15You know,
11:16I've always said
11:16he wrote like gold,
11:18but unfortunately
11:19he lived in
11:20just the opposite.
11:21I don't want to keep
11:23this PG rated,
11:24but you know,
11:26his life was just
11:27a mishmash
11:29of just seemed
11:30like one crisis
11:31after another.
11:32He has, you know,
11:33the books to go home to,
11:35to write, to escape,
11:36you know,
11:38which is, I guess,
11:39a luxury for most people.
11:41In hindsight now,
11:42I could say
11:42he really doesn't fit
11:44the American
11:45diagnostic criteria
11:48because he had
11:49a little bit
11:49of everything.
11:50He certainly had
11:53a large depressive
11:55part of him.
12:00And then he had
12:01the creative side.
12:03At night in his condo
12:05writing,
12:05he was in control
12:06of his world.
12:08But when he came
12:09out of that world
12:09and had to deal
12:10with just the mundane
12:11catch a bus,
12:14you know,
12:14go to a restaurant,
12:15those are things
12:16he couldn't do.
12:18Definitely an agoraphobic
12:20tendency.
12:21I mean,
12:21he could just stay
12:22in his apartment
12:22if he was left alone.
12:26Welcome to the jungle.
12:27Hey, Matthew.
12:33His apartment
12:34was his escape.
12:37That was the last
12:38fortress of Phil Dick.
12:40And, you know,
12:41he didn't want
12:42to come out.
12:46He's a person
12:49that lives
12:50inside his mind.
12:52He's a person
12:53who has,
12:54over the years,
12:55built up
12:55this protection mechanism
12:57because he doesn't
12:58necessarily understand
12:59the world outside.
13:05It's again
13:06this person
13:07moving away
13:07from society,
13:09observing society,
13:10not being part
13:11of society.
13:16You know,
13:24he struggled a lot
13:25and yet
13:26he produced a lot
13:27during this period
13:28of time.
13:29The writing
13:30was really
13:30sustained him.
13:40One of the novels
13:41that he wrote
13:41very, very quickly
13:42as far as I understand
13:43it was
13:44as the Three Stigmata
13:45of Palmer Eldridge
13:45because he wrote it
13:47again in this hovel place
13:49at the bottom
13:49of his garden
13:50and in it
13:51he not only
13:52downloaded
13:53very, very quickly
13:54the idea
13:55of the storyline
13:56and everything else
13:56but he also
13:57had experiences
13:58like he did see
13:59a huge eye
14:00in the sky
14:00when he was
14:01walking back
14:02one day
14:02and he then
14:03put that
14:03in his novel.
14:04So literally
14:04he was incorporating
14:06these experiences
14:07as they were happening
14:08actually into the novel.
14:14and I think
14:17this is how
14:17Phil wrote things
14:18that just came to him
14:20and that's why
14:21his read writing
14:22is so enthralling
14:23because you're with him
14:24as he's experiencing
14:25and discovering
14:26the book
14:27he's writing
14:28in front of him.
14:29He would
14:30almost imagine
14:31the novel
14:32and he didn't know
14:33where he was going
14:34with the novels.
14:35This is why
14:35some of his novels
14:36are very, very confusing.
14:37In the early 1960s
14:47Phil was married
14:48to Ann Dick
14:49and Ann had
14:50three daughters
14:51from her previous marriage
14:52and the little girls
14:53who were old enough
14:54played with Barbie dolls
14:54and he observed
14:56their play
14:56with Barbie dolls
14:57and he used
14:58that play
14:58with Barbie dolls
14:59to inspire
14:59the way
15:01that people
15:01would play
15:02with dolls
15:03in his future world
15:05of Three Stigmata
15:06of Palmer Eldritch.
15:07You make me feel
15:09my Barbie doll
15:13is really real
15:15The colonists
15:16on Mars
15:16used drugs
15:17to translate themselves
15:18into a virtual reality
15:20of living
15:21as dolls
15:22and it was a way
15:23that the
15:24Martian colonists
15:26escaped
15:26from their miserable lives
15:27by playing at dolls.
15:29Beautiful Barbie
15:30I'll make believe
15:34that I
15:35am
15:36new
15:36We do know
15:43that Phil
15:43used to take
15:44a lot of
15:44illicit drugs
15:45but mostly amphetamines.
15:48Now I believe
15:48the concoction
15:49of drugs
15:50he was taking
15:51and the medication
15:52he was taking
15:53and the vitamin C
15:54that he was taking
15:55all facilitated
15:57the opening
15:58of his mind
15:59to see
16:00the world
16:01behind the world.
16:01I never thought
16:03of him
16:03in terms of
16:04whether
16:04there was
16:05some brain damage
16:06I just didn't see
16:07any of the clues
16:08that I would
16:09normally look for
16:10Phil got there
16:11all on his own
16:12he didn't need
16:13LSD to get there.
16:14I was being paid
16:16so little per book
16:18that I had to turn
16:19out a very large
16:20number of books
16:20I turned out
16:20and I think
16:21I published 16 novels
16:22in five years
16:23at one point
16:24and I had
16:25an extremely
16:26expensive wife
16:27extremely expensive
16:29children
16:30and I just wrote
16:32like mad
16:32and the only way
16:33I could write
16:33that much
16:34was to take
16:35amphetamines
16:35and these were
16:36prescribed for me
16:37I mean
16:38I did
16:3860 finished
16:40pages a day
16:41I finally
16:56stopped taking
16:56them
16:57this is not
16:58something that
16:58I used to say
16:59in the 60s
16:59when drug taking
17:00was more popular
17:03like I used
17:03to talk
17:04like I was
17:06really into acid
17:07but the fact
17:07of the matter
17:08is I took acid
17:09two times
17:10Phil was 43
17:22and I was 18
17:23but to me
17:25he looked like
17:26a little lost puppy
17:27and he pretty much
17:29was
17:30he was broke
17:32on his own
17:34no really
17:37close attachments
17:38and hundreds
17:41of miles
17:41from the Bay Area
17:43where he had
17:44expected to spend
17:45his whole life
17:46Phil and I
17:50were pretty much
17:52stuck together
17:5324 hours a day
17:557 days a week
17:56and very soon
17:59stuck together
18:00with a baby
18:0224 hours a day
18:057 days a week
18:07frankly
18:09it's really
18:11difficult
18:11to live
18:13with a man
18:13who never
18:14leaves the house
18:15and since
18:17he worked
18:19alone
18:19as a writer
18:20he didn't have
18:21any contacts
18:23at work
18:24he just sat
18:25there at his
18:26typewriter
18:27there's just
18:33the TV image
18:34after all
18:34the illusion
18:36of the media
18:36and behind it
18:38behind her
18:39another group
18:41entirely rules
18:42a corporate body
18:44of some kind
18:45but who are they
18:47and how did
18:48they get power
18:49how long
18:51have they had it
18:51will we ever know
18:53we came so far
18:56we almost seem
18:57to know
18:58what's really
18:58going on
18:59the actuality
19:01behind the illusion
19:02the secrets
19:03kept from us
19:04all our lives
19:05he was impossible
19:09to live with
19:10but so am I
19:11so I guess
19:13that was
19:13a perfect match
19:14women were
19:16important to Phil
19:17in the sense
19:17that he kept
19:18going back to them
19:19but he kept
19:21picking
19:21you know
19:22dying women
19:24very ill women
19:25flawed women
19:28you know
19:29classically
19:30we'd call that
19:31the rescuer
19:31the lifeguard
19:34is trained
19:35to go out
19:35and save
19:36the drowning person
19:37but if you resist
19:38the lifeguard
19:39is also trained
19:40to hit you
19:42across the jaw
19:43and knock you out
19:44Phil in some ways
19:46was the lifeguard
19:46but he hadn't
19:47been taught
19:48that last step
19:49you know
19:50when the person
19:50still pulls you under
19:51I want to put him
20:07next to his dad
20:08let's see
20:11find a good one
20:12just put a beard
20:16on Edgar
20:17and you have Phil
20:18he was
20:21he had been a Marine
20:22in the 5th U.S. Marines
20:23and he came back
20:25and then when I was
20:26a little kid
20:27he used to show me
20:28his military equipment
20:29including his gas mask
20:32and his eyes would
20:33disappear
20:34and his face
20:34would disappear
20:35and he would tell me
20:36about the battle
20:37of the Mar
20:37the horrors
20:39that he went through
20:40he would tell me
20:41about men
20:41with their guts blown out
20:43and he was telling
20:43a little 4 year old child
20:45what it was like
20:46to fight
20:46in World War I
20:49but in the brief instant
20:58Ted Walton's face
20:59lost all familiarity
21:00something alien
21:03and cold
21:03gleamed out
21:04a twisting
21:06wriggling mass
21:07the eyes blurred
21:09and receded
21:10as an archaic scene
21:12filmed over them
21:13the ordinary look
21:16of a tired
21:16middle-aged husband
21:17was gone
21:19Phil and I both
21:25wanted to disconnect
21:27from our old friends
21:29and from our families
21:31there was too much
21:32dysfunctionality
21:34in these people
21:35who were close
21:38to us
21:38and
21:39in particular
21:41Phil had
21:43a problem
21:44with his mother
21:45that went
21:46back to early
21:47childhood
21:48in some sense
21:52he felt
21:52that she blamed him
21:54for the death
21:54of his twin sister
21:56Phil throughout
21:57his life
21:58felt that he was
21:59only half created
22:00in the sense
22:02that part
22:02of him
22:03had died
22:03and that part
22:05of him
22:05had already
22:06been buried
22:06and was already
22:07in the grave
22:08now what is
22:10intriguing about
22:11this is that
22:12he would have
22:13known that there
22:13was a grave
22:14on a hillside
22:14in Colorado
22:16waiting for his
22:18name
22:18because the
22:20original grave
22:21that Jane
22:21was buried in
22:22in 1929
22:24actually had
22:25her name on it
22:27and underneath
22:28it was waiting
22:28for Phil's name
22:29and ultimately
22:31when Phil died
22:32he was buried
22:34with his sister
22:35it's a common
22:38theme in my
22:39writing
22:39that a dark
22:42haired girl
22:43shows up
22:44at the door
22:44of the protagonist
22:47and tells him
22:49that his world
22:50is delusional
22:51that there's
22:51something false
22:52about it
22:53well this did
22:54finally happen
22:55to me
22:55I even knew
22:57that her hair
22:58would be black
22:59I had an actual
23:00complete sense
23:04of what she
23:04would look like
23:05and what she
23:06would say
23:07I saw
23:10a little heart
23:11heart shaped
23:12face
23:12with a widow's
23:14crown
23:14black hair
23:15and due to
23:16her odd
23:16makeup
23:17eyes outlined
23:18in black
23:19a harlequin
23:20effect
23:20an almost
23:21purple lipstick
23:22the whole
23:23color scheme
23:24made her appear
23:25unreal and doll
23:26like
23:26lost somewhere
23:28back behind the
23:28mask
23:29which she had
23:30created out of
23:30her face
23:31in his mind's
23:33in his mind's eye
23:34she was the
23:35dark haired girl
23:36and Phil
23:38throughout his
23:38life had the
23:40search for what
23:40he called the
23:41dark haired girl
23:42and if you look
23:44at the women
23:45in his life
23:46they were a very
23:48much of a similar
23:49type
23:49and this is the
23:51type that he
23:51imagined Jane
23:52would have been
23:53so he was
23:54searching for Jane
23:55all his life
23:56he was searching
23:57for this
23:58lost sister
23:59this emptiness
24:01in his life
24:02and it must have
24:02made him feel
24:03instinctively lonely
24:05in some novels
24:08she's Rachel
24:09in other novels
24:12she has other
24:12names but she's
24:13the same
24:14pattern
24:15the same
24:16template
24:16the same
24:17woman
24:18my sister
24:21is everything
24:22to me
24:22I am damned
24:23always to be
24:24separated from her
24:25and with her
24:27in an
24:27oscillation
24:28I have her
24:29in me
24:30and often
24:30outside me
24:31but I have
24:32lost her
24:33she did appear
24:35she was a
24:36total stranger
24:37and she did
24:38inform me
24:39of this fact
24:41that some
24:43of my
24:44fictional works
24:45were in a
24:46literal sense
24:47true
24:48a couple of
24:48times I pushed
24:49him on
24:50family issues
24:51his you know
24:52growing up
24:52childhood
24:53I got some
24:55stuff his
24:56mother was a
24:57communist
24:57they lived in
24:58Berkeley
24:58and if you
25:01reached a point
25:01it just
25:02he stopped
25:03and it was like
25:04no I'm not
25:05going to talk
25:05anymore
25:06and it was
25:06very clear
25:07he had some
25:08very strong
25:09boundaries
25:10in some areas
25:12and then in
25:12some others
25:13he was just
25:14all over the
25:15place
25:15kind of loose
25:16like a
25:18Rubik's Cube
25:18in a way
25:19you just keep
25:20flipping up
25:21new sides
25:22we are living in
25:34a computer
25:35programmed reality
25:36and the only
25:38clue we have
25:39to it
25:39is when
25:40some variable
25:41is changed
25:42and
25:43some alteration
25:45in our reality
25:46occurs
25:47we would have
25:48the overwhelming
25:48impression
25:49that we were
25:50reliving the
25:51present
25:52time and time
25:54again in Phil's
25:55writing
25:55you get this
25:57simulacra
25:58you get
25:59somebody discovering
26:00that they're a
26:01machine
26:02not knowing that
26:03somebody's a
26:03machine
26:04there's a classic
26:07sequence in
26:08Martian timeslip
26:09where one of the
26:10characters is talking
26:12to the personnel
26:12manager of his
26:13mind that he's
26:14working in
26:14and suddenly he
26:16realizes this man
26:17could be a machine
26:18that he could
26:19almost see the
26:19cogs working
26:20now this was based
26:21upon an incident
26:22in Phil's childhood
26:23when he suddenly
26:24thought that one
26:25of the teachers
26:26was an automaton
26:27I was looking at
26:34her one day
26:34and she was
26:35rattling away
26:37in this high-pitched
26:38clacky-clack
26:39shrill voice
26:40and suddenly I had
26:41the impression
26:42that she was not
26:43a human being
26:44but a mechanical
26:46creature
26:47and that all of a
26:48sudden her head
26:49would fall off
26:50and the spring
26:51would be visible
26:52and once the idea
26:55got into my mind
26:56I couldn't get rid
26:56of it
26:57Who are you?
27:03What is the essence
27:04of you?
27:06At least a dozen
27:07Philip K. Dick
27:08novels
27:08dealt with this
27:10question of
27:11what are the
27:12boundaries
27:13of the individual?
27:16So actually
27:17you know
27:17this android
27:18has the
27:18silicon skins
27:19and
27:20we also
27:22have some
27:23mechanism
27:23for making
27:24the facial
27:25expressions
27:26and
27:27then
27:28we have
27:30software
27:30very special
27:31software
27:31that's what
27:32is
27:32you know
27:33to control
27:36the lip
27:36movement
27:37what is it
27:38to be human
27:39what is it
27:40is it empathy
27:41that makes us
27:42human
27:42and of course
27:43in Do Androids Dream
27:44of Electric Sheep
27:45we find that
27:46in fact
27:46the people
27:48that kill
27:49the replicants
27:49are in fact
27:51less human
27:51than the replicants
27:52in many many ways
27:53because they don't
27:54show empathy
27:54and his androids
27:56in many ways
27:58had more soul
27:59than some of the
28:00humans
28:00in his novels
28:01these androids
28:03were not
28:04strictly speaking
28:05mechanical
28:06most of them
28:07were organic
28:08as in
28:09Blade Runner
28:10which was based on
28:12Do Androids Dream
28:13of Electric Sheep
28:15Blade Runner
28:28is not about
28:29androids
28:29not at all
28:31not at all
28:32it's about us
28:33and that's
28:35so clever
28:36take another look
28:41at yourselves
28:42as a mankind
28:42and you know
28:43what's the answer
28:44who do you
28:45think you are
28:45and how cute
28:46you are
28:47and how lovable
28:48and how brilliant
28:49what's the most
28:51ugly part
28:51of your body
28:52is the brain
28:53in our heads
28:56that's where
28:57we are human
28:57heart
28:59yes okay
29:00heart okay
29:00stomach
29:01yes okay
29:02dick
29:02yes
29:03Mr. Dick
29:04okay
29:05but
29:05in the mind
29:07that's where
29:07we are like
29:08extremely stupid
29:09or extremely
29:10interesting
29:11the three-dimensional
29:15projected backdrop
29:16was utterly
29:17convincing
29:18or was it
29:20the projected
29:20backdrop
29:21how could he
29:22be sure
29:23good god
29:24Kroenberg
29:25you realize
29:26this may be
29:27nothing but
29:28an exhibit
29:28you
29:29and everybody
29:30else
29:30maybe you're
29:32not real
29:32just pieces
29:35of this exhibit
29:36the production
29:42company
29:43brought him up
29:44to Los Angeles
29:45and he actually
29:46visited the set
29:47and he was blown
29:47away by the set
29:48you know
29:48and they showed
29:50him some footage
29:50of the film
29:51and he said
29:52oh this is
29:52fantastic
29:53because they took
29:54a slideshow
29:55of my brain
29:56or words
29:56to that effect
29:57I wonder
30:04how success
30:04would have been
30:05I mean
30:06it was so close
30:06to his stroke
30:09and the opening
30:09of Blade Runner
30:10he was supposed
30:11to go in the limousine
30:12with Harrison Ford
30:13that night
30:14talk about
30:15poetic justice
30:17in a way
30:18and it's
30:19if he had been
30:20the normal writer
30:21seeking fame
30:22and fortune
30:22but I don't think
30:24that was Phil
30:24he wrote for
30:26like I said
30:26a different
30:27reasons
30:28that balances
30:29life out
30:30I can only
30:34imagine
30:35you know
30:35just the
30:35had he
30:37survived
30:38how he would
30:39have handled
30:40fame
30:40Philip Thicke's
30:42dystopian
30:43world view
30:43of a society
30:44where technology
30:45is not positive
30:46and not cheerful
30:47can be seen
30:49to inspire
30:50many films
30:52that have been
30:52made since
30:53his death
30:54Blade Runner
30:55which is an
30:55official adaptation
30:56of a Philip Thicke novel
30:58inspired
30:59many other
31:01tech noir
31:02as they're sometimes
31:03called films
31:05such as
31:05The Terminator
31:06or The Matrix
31:07in which technology
31:08is seen as a dark
31:10force
31:10something that people
31:11have to struggle
31:11against
31:12and many many many Hollywood
31:13films have come out
31:14since the 1980s
31:15that portray
31:16that darker view
31:17of technology
31:18quite different
31:19from the cheerful
31:20upbeat presentation
31:22of technology
31:22that we find
31:23at the time
31:24that Philip Thicke was
31:25actually writing
31:25he was a dissident
31:26in the world
31:27of techno utopias
31:29America's first attempt
31:31to launch a satellite
31:32a six and a half inch
31:34sphere weighing
31:34just over three pounds
31:35was checked out
31:36by scientists
31:37and declared ready
31:38a great wave
31:39of advanced publicity
31:40focused attention
31:41at Cape Canaveral
31:42Florida
31:42for the launching
31:43of test vehicle
31:44three
31:44of Project Vanguard
31:45if you look at
31:47the popular literature
31:48and the popular television
31:49you see
31:51the triumph of technology
31:52celebrated
31:53well
31:54Phil had nothing
31:55nothing to do
31:55with that
31:56that was not his world
31:57something had gone wrong
32:10with an automatic
32:11defense system
32:12out in space
32:12and it was acting out
32:14its cycle this way
32:15and no one could
32:16halt it either
32:17it was war
32:21and death
32:22yes
32:23but it was error
32:24it lacked intent
32:25he did not feel
32:27any hostility
32:28from the forces overhead
32:30they were not vengeful
32:31or motivated
32:32they were empty
32:34hollow
32:35completely cold
32:37it was not policy
32:40it was breakdown
32:41and failure
32:43chance
32:45science fiction
32:58science fiction
32:58was badly named
32:59it should have been
33:00speculative history
33:01because we're
33:02constantly obsessed
33:04with how history
33:05might have been different
33:06or extending it
33:07into the future
33:08and so
33:10it should have been
33:11speculations
33:12about us
33:14our great story
33:15how it extends
33:16as a people
33:18and as a species
33:19or as individuals
33:21Philip K. Dick
33:23was one of the best
33:25at this
33:25he would
33:27always explore
33:28the alternatives
33:29what if something
33:31was different
33:32what if the Nazis
33:34and Japanese
33:35had won World War II
33:36for example
33:36in his famous book
33:38The Man in the High Castle
33:40one of Philip Dick's
33:41most famous novels
33:42and certainly in his lifetime
33:43his most successful novel
33:44was The Man in the High Castle
33:46by the year 2014
33:50we were all used to
33:52alternate worlds
33:53alternate stories
33:54alternate histories
33:55in which something happens
33:56and then everything changes
33:57and we're living in a different universe
33:59well
33:59at the time
34:01that he wrote that book
34:02in the early 1960s
34:04this was much rarer
34:05the period he wrote in
34:07from the early 50s
34:09to the early 80s
34:10it was a great period
34:11of American ascendancy
34:12in the world
34:13America seemed unchallenged
34:15in terms of world dominance
34:17if we're going to be true
34:19to our destiny
34:20of being the great defender
34:21of freedom
34:21in these dangerous times
34:23then the United States
34:24must build its strength
34:25we are a great country
34:27but I believe
34:28that we can be
34:29a greater country
34:30Philip Dick presented
34:31in the United States
34:32it was defeated
34:33genuinely defeated
34:37and genuinely occupied
34:38it was not like
34:39the usual sort
34:40of occupation
34:42fantasies
34:43in which there's
34:44a resistance
34:45who are fighting
34:45against the evil occupiers
34:47which is something
34:48that we like to think of
34:49you know
34:50if the Nazis take over
34:51if the communists take over
34:53if the robots take over
34:54there's always going to be
34:55somebody fighting
34:56against the power
34:57in Philip Dick's world
34:59there is no resistance
35:00maybe the Goebbels government
35:03will fall after all
35:04he thought
35:05as he was ushered
35:06into the waiting
35:07SS Daimler staff sedan
35:08but what does it matter
35:10even if Dr. Goebbels
35:11is deposed
35:12and Operation Dandelion
35:14is cancelled
35:14they will still exist
35:16the Blackshirts
35:17the Partai
35:18the schemes
35:19if not in the Orient
35:21then somewhere else
35:22on Mars
35:23and Venus
35:24we can only hope
35:26and try
35:27we do not have
35:28the ideal world
35:29such as we would like
35:31where morality is easy
35:33because cognition is easy
35:34where one can do right
35:36with no effort
35:36because he can detect
35:38the obvious
35:39he wanted to show
35:45that what the Nazis
35:47did in World War II
35:50was not unique
35:51and it could happen
35:52anywhere at any time
35:54and more specifically
35:56in the United States
36:00after President Kennedy
36:02was assassinated
36:04Phil was a very empathic
36:11human being
36:11and unlike most of us
36:13when something bad
36:14happened
36:15he reacted to it
36:15very strongly
36:16and he understood
36:18the impact
36:20with Kennedy's assassination
36:22with Sadat's assassination
36:24he recognized
36:25that blood would flow
36:26anti-war demonstrators
36:28protest U.S. involvement
36:29in the Vietnam War
36:31in mass marches
36:32rallies and demonstrations
36:33Central Park
36:34is the starting point
36:35for the parade
36:36to the U.N. building
36:37the estimated
36:38125,000 Manhattan marchers
36:40include students
36:41housewives
36:42beatnik poets
36:43doctors
36:43businessmen
36:44teachers
36:44priests
36:45and others
36:45Phil was very much
36:51against the actions
36:53in both Korea
36:54and Vietnam
36:55they were called
36:58police actions
37:00because they were
37:00not declared wars
37:02but they were wars
37:03and they were hell
37:05and he signed a petition
37:07in Ramparts magazine
37:09promising not to pay
37:11any income taxes
37:13till our troops
37:14came home from Vietnam
37:15and that might be
37:17why he came
37:18to the attention
37:20of certain authorities
37:21who did not
37:22like him very much
37:24anybody like me
37:27who grew up
37:28and was part
37:30of the Berkeley
37:30counterculture
37:31became a marked man
37:34during the Nixon administration
37:36it is impossible
37:38to tell
37:38how much of our fears
37:40were justified
37:41not seeing anything
37:45in slogans
37:46and organized parties
37:47and beliefs
37:48and dying
37:48can be a belief
37:49worth dying for
37:50in itself
37:51I thought
37:52I was without a creed
37:54now I realize
37:55I have a very strong creed
37:57Philip Dick
37:59was not
38:00an activist
38:01in the sense
38:01of someone
38:02who was going out
38:02in the street
38:03and demonstrating
38:03and protesting
38:04Philip Dick
38:04was very aware
38:05of the injustices
38:06of America
38:07but Philip Dick
38:08did what he could
38:09as a writer
38:10writing away
38:11in his little room
38:12all by himself
38:12pecking away
38:13writing his novels
38:15writing his stories
38:16police once told me
38:17that I was a crusader
38:18and they had no use
38:20for crusaders
38:21but unfortunately
38:23they didn't tell me
38:24what I was crusading for
38:26I was afraid to ask
38:29what it was
38:30I was a crusader for
38:31and they told me
38:33that if I did not
38:34get out of the county
38:35I would be shot
38:35in the back
38:36or worse some night
38:37and I merely
38:38took their advice
38:39I left the United States
38:41and went to Canada
38:42for a while
38:43but I never found out
38:44what I was crusading for
38:46it may have had
38:48something to do
38:48with my writing
38:49I don't think
38:49he was overtly paranoid
38:51but highly suspicious
38:52he didn't trust
38:53the government
38:54he had gone through
38:56a police raid
38:57I guess with the
38:58Black Panthers
38:59in Oakland
39:00and was walking
39:01the far left wing side
39:03during the
39:04or leading up
39:05to the war
39:06so he had some
39:07real concrete reasons
39:09to not be
39:10especially in terms
39:11of the government
39:12Phil and I
39:13had a poster
39:14at one time
39:15that said
39:16just because I'm
39:17paranoid
39:18doesn't mean
39:19you are not out
39:20to get me
39:21and
39:23in a sense
39:25that's quite true
39:26you just have to
39:27read his novels
39:28it's always
39:29somebody trapped
39:30and there's all
39:31these machinations
39:32going on
39:32that this person
39:33is being influenced
39:34by
39:34that it's out
39:35of his control
39:36my house
39:42was broken into
39:43my files
39:44were blown open
39:45my papers
39:46were stolen
39:47I've seen
39:48my CIA file
39:49I've seen
39:49my FBI file
39:51except that
39:52in the house
39:53when I check
39:54the storage drums
39:55of the holoscanners
39:56I'll pretty well
39:58know pretty soon
39:59what everyone
40:00in my house
40:00is doing
40:01and when
40:02they do it
40:02and probably
40:03even why
40:04myself included
40:05I will watch
40:07all the rooms
40:08on a 24 hour
40:09basis
40:10make sure
40:17they don't have
40:17a closed circuit
40:18TV surveillance
40:19system
40:19you'll find
40:20cameras are
40:21usually located
40:21over each entrance
40:22you'll find them
40:23in other areas
40:24too
40:24like where
40:25expensive articles
40:26are on display
40:27Phil
40:28did seem
40:29to be warning
40:30us
40:31through his writing
40:32about the control
40:33of the state
40:33and how the state
40:34is controlling
40:35us more and more
40:36how we are being
40:37watched all the time
40:38Phil was giving
40:38warnings
40:39now the question
40:40is did Phil
40:41know that he was
40:42given warnings
40:43there or was he
40:44a form of cipher
40:45in my recent novel
41:09A Scanner Darkly
41:10a narcotics agent
41:12winds up reporting
41:13on himself
41:14turning over
41:15information on himself
41:17to his higher ups
41:20Philip Dick
41:20presented a world
41:21in which all
41:21authority figures
41:22lie to us all the time
41:23so you see that
41:25in novel after novel
41:26in story after story
41:27and I think he was
41:28trying to warn us
41:29you know
41:30he was sitting away
41:30in his little room
41:31typing away
41:32and he was giving us
41:33a warning
41:33he was giving us
41:34a sending
41:34he was giving us
41:35I guess the equivalent
41:36of an I Ching reading
41:37of our future world
41:39and saying
41:39folks
41:40don't do this
41:41Philip Dick
41:51were alive
41:51in writing today
41:52I think he'd be
41:53appalled
41:54at how much
41:55of his dark vision
41:56of the future
41:56had come true
41:57what with
41:58the surveillance society
42:00what with
42:01the collapse
42:02of the ecology
42:03in
42:06the penultimate truth
42:07he presents a world
42:08in which humanity
42:09is hiding underground
42:10humanity has been told
42:12that an atomic war
42:13is broken out
42:13people are kept
42:14underground
42:15to make robots
42:18not as soldiers
42:19to fight the war
42:21which ended after
42:24a brief battle
42:25but actually
42:26to have robot servants
42:29for the elite
42:30who live above ground
42:31in vast landed estates
42:33because the world
42:35is not really polluted
42:37and it's a lie
42:38the big lie
42:39is that the atomic war
42:40is broken out
42:41and that the world's surface
42:43is an ash heap
42:45and everyone has to hide
42:46and live underground
42:47well you have the big lie
42:49of the Iraq war
42:50you have the big lie
42:51of all the lies
42:52that are being poured out
42:53constantly by our government
42:54and other governments
42:55around the world
42:55down to the present time
42:56the gravity of this moment
42:57is matched by the gravity
43:00of the threat
43:01that Iraq's weapons
43:02of mass destruction
43:03pose to the world
43:04someday he said to himself
43:22it'll be so hot
43:23that nothing will keep
43:24this place from melting
43:25he recalled the day
43:27his LP record collection
43:28had fused together
43:29in a lump
43:29back around 04
43:31due to a momentary failure
43:33of the building's
43:33cooling network
43:34now he owned
43:36iron oxide tapes
43:37they did not melt
43:39and at the same moment
43:41every parakeet
43:42and venusian ming bird
43:43in the building
43:44had dropped dead
43:45you and I can wake up
43:51and say wow
43:52that was a crazy dream
43:53or that was a bad dream
43:55well
43:55I'm not sure at times
43:58Phil separated
43:58dreams
44:00and dream states
44:01from non-dreams
44:02which would probably
44:06scare the hell
44:07out of the average person
44:08or you and I
44:09you know
44:09you're not sure
44:09whether you're dreaming
44:10or not dreaming
44:11look at me
44:13look at me
44:14positive for Howard Marks
44:20Mr. Marks
44:21my mandate
44:22of the District of Columbia
44:23pre-crime division
44:24I'm placing you under arrest
44:26for the future murder
44:26of Sarah Marks
44:27Donald Dubin
44:27that was take place
44:28today April 22nd
44:29at 0800 hours
44:314 minutes
44:31no
44:32I didn't do anything
44:33Sarah
44:34give the man his hat
44:35in Minority Report
44:39the government
44:40finds three
44:42precognitive mutants
44:45who get glimpses
44:47of violence
44:47in the future
44:48and say
44:50this person
44:51is going to commit
44:52this crime
44:53and off the police go
44:56and they stop
44:58the crime
44:59from happening
45:00can predictive crime
45:11become as accurate
45:14in real life
45:15as Philip K. Dick
45:16portrayed it
45:17there is a program
45:24called PredPol
45:25predictive policing
45:27in which cities
45:30police departments
45:31are analyzing neighborhoods
45:34and traffic patterns
45:36for any
45:37anything that might predict
45:40the arrival of crime
45:42and this has already
45:43worked very well
45:44in many cities
45:45they say
45:45social conditions here
45:47various other factors
45:49mean we should have
45:50extra police
45:52in this area
45:53this weekend
45:53and this has been
45:56a relative success
45:58when I implemented
46:01predictive policing
46:02for the last
46:0412 weeks now
46:05I've seen a steady
46:06decline
46:07in my actual
46:09property crime
46:10so it has demonstrated
46:12to me that
46:13there is efficacy
46:14in the predictive policing
46:16and it really is just
46:17focusing
46:18our enforcement efforts
46:20of all our
46:20police officers
46:21here at Sinat Pacific
46:22to be in those
46:23specific areas
46:24I truly believe
46:26this technology
46:27and further technology
46:29as it relates
46:30to crime reduction
46:31is really the future
46:33my God
46:42my life
46:43which is to say
46:44my 274
46:46374 experience
46:47is exactly the plot
46:49of any one of
46:5010 of my novels
46:51of stories
46:52even down to
46:54fake memories
46:55and identity
46:56I'm a protagonist
46:58from one of
46:58PKD's books
47:00jeez
47:02mixture of
47:05imposter
47:06joint and maze
47:07if not
47:08ubic as well
47:10Valis
47:20was warning us
47:22through Phil
47:23using Phil
47:25as a medium
47:25by which we could
47:26be warned
47:27about the outcomes
47:28of what we are now
47:29doing
47:30which is an interesting
47:31aside
47:31which would make
47:32him a prophet
47:32specifically a prophet
47:34downloading information
47:36from elsewhere
47:37to warn humanity
47:39of the way
47:40they should not
47:41go forward
47:41yet the last thing
47:43he told me
47:44you know
47:44this business
47:45with the
47:45psychoneutronic gun
47:46was going to
47:47save the world
47:48and the scientists
47:49are all getting together
47:50and they've invited him
47:52to Amsterdam
47:52he was convincing
47:55and I thought
47:56I bet if I open his bag
47:58there's a plane ticket
47:59in there
47:59and you're going
48:00to Amsterdam
48:00next week
48:01people claim
48:06to remember
48:07past lives
48:08I claim to remember
48:09a different
48:09very different
48:10present life
48:11I know of no one
48:13who has ever
48:14made this claim before
48:15but I rather suspect
48:16that my experience
48:17is not unique
48:18what perhaps
48:20is unique
48:20is the fact
48:21that I'm willing
48:21to talk about it
48:22Phil was
48:30fascinated by
48:32the idea
48:32of orthogonal
48:34time
48:35in other words
48:37a sort of time
48:39that runs
48:39perpendicular
48:40so we're
48:42on a line
48:43and this time
48:44is running
48:45perpendicular
48:46to ours
48:47and at some point
48:48they intersect
48:49they overlap
48:52just for a moment
48:54and he's
48:55apparently experienced
48:57something like that
48:59a contact
48:59with people
49:00in a timeline
49:02that was
49:03not the same
49:05they claim
49:07to be
49:07from our future
49:09trying to fix
49:12something
49:12that had happened
49:13in their past
49:14maybe he was lucid
49:17he was literally
49:18lucid
49:19in the sense
49:20he was seeing
49:20through
49:21this reality
49:22into another reality
49:24and literally
49:26by seeing
49:27that other reality
49:28it may have
49:30actually drove
49:30him slightly
49:31crazy
49:31but then again
49:32if we were
49:33perceiving a world
49:34that he was
49:35perceiving
49:36would you not
49:37also go
49:37as we would
49:38call it
49:39crazy
49:39sometimes I
49:40wondered
49:41whether he
49:41was testing
49:42out a new
49:42plot on me
49:43or maybe he's
49:45really crazy
49:46I just
49:47never quite knew
49:48so he kept
49:49me
49:50really on
49:51my toes
49:52at that time
49:54I had no idea
49:55what I was
49:55seeing
49:56it resembled
49:57nothing that I
49:58had ever heard
49:59described
49:59it resembled
50:01plasmic energy
50:02it had colors
50:04it moved fast
50:06it collected
50:07and then dispersed
50:08Phil became
50:09convinced
50:09that this voice
50:10in his head
50:11this manifestation
50:12that had been
50:13with him
50:13all his life
50:14was eventually
50:15to manifest
50:17itself more fully
50:18in his life
50:18during
50:19what he called
50:20his 2374
50:22experiences
50:23where he called
50:24it
50:25valis
50:26he called it
50:26artificial intelligence
50:28he called it
50:29Sophia
50:29he had many
50:30terms for it
50:31in 74
50:37there came
50:38upon me
50:40at the trough
50:42of my life
50:43at the point
50:43where I saw
50:44nothing
50:45but inexplicable
50:47suffering
50:48there came to me
50:49the beatific vision
50:50which calmed
50:52all my
50:53sense of horror
50:54at the world
50:55the divine power
50:57that I perceived
50:58as master
50:59of this world
51:00was
51:00either cruel
51:02wanton
51:03blind
51:05insensible
51:06destructive
51:08or evil
51:09yeah I think
51:12I got the call
51:13in the evening
51:14I'm thinking
51:16around 7
51:178 o'clock
51:17at night
51:18and
51:20he said
51:22he was being
51:22interviewed
51:23and
51:24his eyes
51:26his vision
51:26was failing
51:27and the fellow
51:28interviewing him
51:29was saying
51:29you don't want
51:30to see
51:30the truth
51:31or you don't
51:32want to see
51:33this
51:33whatever their
51:34topic was
51:35and that's
51:36when I said
51:37Phil you want
51:38to see the
51:38emergency room
51:39is what you
51:39want to see
51:40you know
51:40this is not
51:42something to
51:43intellectualize
51:44this is something
51:44to deal with
51:45in a very real
51:46way
51:47and he
51:47swore he'd go
51:48Tessa witnessed
51:49some of the
51:51extraordinary
51:51experiences that
51:52happened to
51:52Phil
51:53Tessa experienced
51:54the radio coming
51:55on when it was
51:56unplugged
51:56now Tessa could
51:58have been
51:58hallucinating as
51:59well but then
52:00if Tessa and
52:01Phil were both
52:02hallucinating we
52:03have a
52:03folie d'oeur
52:04here
52:04it was sort
52:06of the
52:07last bit
52:10of evidence
52:11that convinced
52:11me that this
52:12really was
52:13happening
52:13I am the
52:17infinitude of
52:18the void
52:19and you know
52:20me as I am
52:21do you believe
52:22what you saw
52:23do you accept
52:25that where the
52:25infinite is
52:26I am
52:27and where I
52:29am there is
52:30the infinite
52:30I said
52:31yes
52:32God said
52:34and your
52:35theories are
52:35infinite
52:36so I am
52:37there
52:38one of the
52:40most peculiar
52:41elements of
52:42evidence of
52:43Phil's
52:44precognition
52:44was a letter
52:47that Phil
52:48wrote in
52:49and I will
52:50confirm the
52:51date here
52:51on May
52:53the 9th
52:531974
52:54and in a
52:56footnote
52:57he writes
52:58the following
52:58I was up to
53:005am on the
53:01last night
53:02I did something
53:03I never did
53:03before
53:04I commanded
53:05the entity
53:05to show
53:06itself to
53:06me
53:07a sort
53:08of dreamlike
53:09period
53:09passed
53:10then of
53:11hypnagogic
53:11images of
53:12a stark
53:13single
53:13horrifying
53:14scene
53:15inert but
53:17not still
53:18a man lay
53:19dead on
53:20his face
53:20in a living
53:22room between
53:23a coffee table
53:24and the couch
53:25and that's
53:32how he was
53:33found
53:33the day
53:35the paramedics
53:36took him
53:37to the hospital
53:38where he
53:38died
53:39and I can't
53:43explain any
53:44other way
53:45than to
53:45say that
53:46he
53:46remembered
53:48the future
53:50I haven't
53:55gone to
53:55hospitals
53:56very often
53:57but
53:57when I
53:57heard
53:58the next
53:58day
53:59he had
53:59a stroke
54:00I got
54:01in the
54:01car
54:01and went
54:01to the
54:02hospital
54:02not that
54:03I knew
54:04what to
54:04do
54:04and I
54:04got
54:05there
54:05but it
54:05just
54:06seemed
54:06like
54:06the
54:06right
54:06thing
54:07you know
54:09and it's
54:09it was
54:10painful
54:10it just
54:11kind of
54:12like
54:12seeing a
54:13giant
54:13who had
54:13fallen
54:14and he
54:14just
54:14you know
54:15in a hospital
54:16bed
54:17with all
54:17the tubes
54:18and the
54:18wires
54:18and the
54:19beeping
54:19noises
54:20and just
54:20you know
54:22that's not
54:23you Phil
54:23you know
54:23where's
54:24the real
54:24Phil
54:25what
54:26bothers me
54:27the most
54:27is that
54:28he was
54:28unable
54:29to speak
54:30and he
54:31wanted to
54:32tell me
54:32something
54:33so I
54:34brought
54:35in a
54:35pen
54:35and
54:37and a
54:37pad
54:38of
54:38paper
54:38but
54:39they
54:40had
54:40his
54:41right
54:41arm
54:42on a
54:43splint
54:43so I
54:44have no
54:45idea
54:46what he
54:46wanted
54:46to say
54:47but he
54:49really
54:49wanted
54:50to say
54:50it
54:51after all
54:53you have
54:53to consider
54:54we're only
54:55made out
54:55of dust
54:56that's
54:57admittedly
54:57not much
54:58to go
54:58on
54:58but even
54:59considering
55:00I mean
55:00it's a
55:01sort of
55:01bad
55:01beginning
55:02we're not
55:03doing
55:03too bad
55:04so I
55:05personally
55:05have faith
55:06that even
55:06in this
55:07lousy
55:07situation
55:08we're
55:08faced
55:08with
55:09we
55:09can
55:09make
55:09it
55:37go
55:39go
55:39and
55:40go
55:41and
55:42go
55:42Legenda Adriana Zanotto
56:12Legenda Adriana Zanotto
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