Written by Ingrid Rimland Zundel, Ed.D.

 

 

 

 

1. Both your husband and you are known as international pioneers promoting the scientific discipline of Historical Revisionism.  You recently announced a brand new and somewhat uncharacteristic direction for your outreach – the production of a wide screen motion picture called THE EXPATS.

 

Making a  movie  you describe as  “contemporary  political drama depicting our history during troubled times” of the kind you aspire to will take a lot of energy and money.  Does that mean you have abandoned traditional Historical Revisionism as the main focus of your work?

 

Ernst and I don’t see our new direction as “abandoning” our previous efforts and political activism.  We see it as broadening and refocusing Historical Revisionism with the help of new outreach tools:  Modern Visual Arts in a compressed yet emotional package.

 

We need to make use of a new medium,  namely film for the large screen, that is now accessible to real grassroots talent.  Young generations, used to “sound bytes” to convey political messages, no longer read fat books or feel enticed by stale charts and abstract statistics.  Young people want drama, emotions, color – talking images.  They want quick answers – NOW!

 

Think “Gone with the Wind” – how many have read that magnificently written novel by Margaret Mitchell?  It was excellent work from a stylistic point of view, right for its time.  The complex love story of Scarlett O’Hara and Rhett Butler played against the American Civil War that ripped the Americn Continent apart.  In order to understand America today from a racial point of view it is necessary to understand the background of the times that set the Black slaves free while disowning and maligning previous pioneers who built America.

 

How many of today’s young people have actually read “Gone with the Wind”?  How many know what the Civil War was really all about – and how it affected both Whites and Blacks at a personal, emotional level?  Those earth-shaking events have left scars in the South that are still with us today, that shape Americia’s attitudes and policies in our era.  Had it not been for David Selznick’s monumental production and David Lean’s brilliant direction that put the Civil War “in flesh and blood” right on the silver screen – how many would know about it today?  The book was good – but the film brought a story to life.

 

Same with Dr. Zhivago – a Boris Pasternak novel, censored in Russia for years.  It brought to life the everyday joys and hardships of people in a movie that impacted the hearts and souls of movie goers world-wide.   How many have read that ponderous book - meritorious as it was for its time?  Not very many.  Yet who can forget the heartrending scenes of two lovers who lost each other forever in the havoc of the Russian Revolution?  Does not Lara’s haunting score bring tears to our eyes to this day? It evokes such deep emotions no printed text on paper ever could.

 

So it will be with THE EXPATS - an epic motion picture of our era for generations to come, illustrating the all-important issue of Freedom of Speech – the right to be politically incorrect in defiance of the wealth and power of entrenched elites.   Is Freedom for sale to the highest bidder?  Is a false history, written by the victors, acceptable if it destroys borders, if it kills the reputations of generations and nations, if it sets parents against children and creates barbed wire fences in our minds?

 

In THE EXPATS, these and many other topics will be portrayed by the personal, heartrending fates of three German women confronted with politically incorrect thought  spearheaded by a young German Expat firebrand who turns himself into a “David” versus a “Goliath” by taking on  the mightiest mind-warping global forces who like to operate in shadows with falsified narratives destructive to the human spirit.

 

 

2. What credentials can you claim in an area where no one outside Hollywood has ever made any substantive inroads?  No matter how brilliant the script of THE EXPATS might be,  no matter how dedicated a film crew you might put together, your film will not gather promotional mileage because of the financial control and promotional transmission belts of Hollywood.

 

These past ten years, times have changed drastically in favor of introducing huge numbers of Internet surfers to  independent talent.  A film such as THE EXPATS, professionally produced, would easily have carried a Hollywood price tag of $ 200 million even a decade ago.  It can now be independently produced at one-hundreds of the cost - $2 million ? – and it can be promoted at pennies on the dollar on the Internet.  Producing a film for $2 million is still a lot of money – but not for a potentially unlimited global market.  There are 220 million Expats and descendants of Expats strewn all throughout the world of German descent alone.  There are the descendants of other European countries in addition to that number who experienced World War II and its aftermath.  That’s our market, waiting to be tapped.

 

Let’s do the math. Can we get every tenth Expat to donate one measly little dollar?  Can we get one in a hundred to make a one-time donation of $10.-? See what we mean?  The sky is not the limit if talent and dedication are thrown into the equation.   And let me add that our potential Expat market is not the only one out there.  There is the UFO market – since UFOs are an important sub-plot in this film.

 

 

3.  What are your cinematic credentials for such a historical departure from previous historical revisionism work?

 

Give us two years – and judge us by the results.  Ernst is a graphic artist of renown who sold stunning original paintings all over the world for very good money even in his youth. He understands the use of light.  He has a keen eye for visual impact.  He has had experience with having done promotion for huge commercial enterprises.

 

I have earned my accolades as an award-winning author with five books – four of them novels - and countless articles and columns.  I am sharply aware of the impact of words on the mind.  As a novelist of note I understand the use of plot in suspense.  I  have written this screen play of The Expats, and professionals in the industry have read it and described it as having strong characters portraying political issues from complex points of views.

 

 

4. Realistically, where will your financing come from?  What will make people want to contribute to you?

 

It will take a focused, sustained campaign.  In the olden days, films were mainly made in Hollywood with the help of independent investors, out of reach to non-Hollywood talent.  That left ideological control to a small handful of financial sharks who allowed only one slant to be portrayed of important contemporary historical issues. More than 500 of anti-German films have been made.  Can you think of even one pro-German film?  Expats world-wide did not have a say in themes of importance to them.  They were “hit cold”, so to speak, with ethnically harmful ideas.  Just think of Quentin Tarantino’s “Inglorious Basterds” – misspellings and all.  Is that how 220 million Expats of German descent care to be portrayed?  We can change that – with finely crafted docu-dramas that give another point of view.

 

To be more specific, with the advent of the Internet, “crowd funding” has become the vehicle allowing political and artistic expression described as “out of the box.”  We will focus our fundraising campaigns on two potentially receptive audiences:  The above-named 220 millions of Expats all over the world - and the millions of UFO aficionados.

 

 

5. UFOs are a contentious subject.  Do UFOs belong in what you describe as serious. responsible historical drama?  Do UFOs not introduce a ribald if not irreverent tone into an otherwise serious topic – the struggle for Freedom of Speech?

 

Not at all.  Just ask any UFO aficionado.  UFO books, films, seminars and workshops were censored for years, belittled and dismissed.  Not any more.  We are living in times where speech censorship is savagely applied to all kinds of forbidden topics – including the government-censored topics of so-called UFOs.

 

In THE EXPATS, UFOs have a small but important place in a sub-plot to illustrate how they are used as a weaponized tool to silence politically incorrect speech.  It is a topic that adds hilarity and spice to otherwise somber themes of widespread social disquiet and abuse.  And do not forget that this sub-plot will open additional markets.  Huge, untapped markets, amounting to millions of viewers.

 

 

6. Do you intend to work with traditional talent most commonly found in Hollywood in order to increase your visibility?  Let’s say an actor or an actress of name recognition and artistic renown would offer to lend glamour to what you are trying to do?

 

 

It would be surely nice to discover politically incorrect actors in the traditional film industry willing to risk a career.  That would be wonderful and make our job much easier.  However, we don’t need Hollywood.  We don’t need traditional means of production.  We have vast, untapped talent all over the globe.  We will do our own careful talent search and sponsor and promote our own celebrities.    Once we announce a casting call, we very  much encourage fresh talent to apply in hopes of future stardom.

 

 

7. What made you strike out in a direction nobody on the “AltRight” has ever done before?

 

We are living in untraditional times – where our world has been turned upside down and inside out, and where new challenges are offering themselves we need to be aware of – and cognizant of how to use those challenges to our people’s benefit.

 

It is imperative to take control of our own media.  Alternative voices  are fairly entrenched already in Talk Radio and have made important inroads with video documentaries.  But I am not aware of any impactful political drama – except, perhaps, the film called Amerigeddon, produced by a former Texas governor. We haven’t seen it yet, but we understand it was a a fine first try – but strictly an action film.   We have a more complex film in mind that will speak to the inner emotions, not just thrill the senses with excitement and suspense.

 

 

8. How can you find the sponsors and supporters you will need?

 

They will find us.  Both Ernst and I have carved for ourselves a respectable place as responsible and knowledgeable representatives of a True World Order – Not a New World Order.   We bring no lightweight answers to the scene of bucking false and harmful history.  We have many friends in AltMedia who will be asked to join us in promoting this new infotainment genre – the politically relevant film of our times. By our people. For our people.  For the sake of generations to come.

 

 

9. What pre-production preparations have you made so far to give such an ambitious project a realistic head start?

 

A relative cost-effective physical infrastructure already exists in the Smoky Mountain area of Eastern Tennessee.   We have initiated our dream with concrete projects that will save time and money.  For specifics, read our Prospectus, available at the Soaring Eagles Studios homepage.

 

 

10.  In summary, what is your overall aim in launching such a unique artistic and ambitious project?

 

The Diaspora Europeans are far more self-assertive and understand the topics discussed much better than people still living in Europe – as is visible with Trump’s election campaign where, by sheer force of personality, he took on the politically correct multitudes with his own politically incorrect slant – and won the approval of millions!

 

The aim is to help shape the direction of quality entertainment away from all the shallowness and smut of Hollywood.  We have in mind a new awareness of who the EXPATS are and what is important to them.   EXPATS, too, have a story to tell.  The film that we envision will help to strengthen European identity and our rightful place in the community of nations.   We believe that Ancestry is Destiny.  As our EXPATS website proclaims:

 

"The future of Europe is not within Europe.  It is within the hearts and minds of the Great Diaspora – those European-descent people all over the world who have awakened to the spirit and souls of their ancestors.  We are many.”