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The Joe Rogan ExperienceThe Joe Rogan Experience

Joe Rogan Experience #1198 - Derren Brown

Derren Brown is an English mentalist and illusionist. He has a new special called "Sacrifice" streaming now on Netflix.

Joe RoganhostDerren Brownguest
Nov 9, 20182h 10mWatch on YouTube ↗

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  1. 0:022:33

    Wildfire evacuation vibes and LA’s fragile fire season

    1. JR

      Four, three, two, boom. What's up, man? How are you?

    2. DB

      Hello.

    3. JR

      Thanks for being here.

    4. DB

      I'm pleased, uh... Well, I'm pleased, uh, to get here. It's a, kind of a strange day in this part of LA, isn't it?

    5. JR

      This is as strange as it ever gets.

    6. DB

      Yeah.

    7. JR

      The, the big concern in Los Angeles has always been, according to a firefighter that I talked to once, that the right wind catches a fire and it takes it all the way through Los Angeles down to the coast.

    8. DB

      Yeah.

    9. JR

      It's not quite that. It didn't go through Hollywood. It didn't go... They think one day it's gonna happen-

    10. DB

      Yeah.

    11. JR

      ... and with the right wind, they're not gonna be able to stop it, but-

    12. DB

      Jesus, yeah.

    13. JR

      This is pretty bad. This is about as bad as I've ever seen. It happened all in one day.

    14. DB

      Yeah. It was extraordinary driving down the road to get here. Just these huge just p- (laughs) just huge, pillowy, the... I thought it was just, you know, mountains, and I thought it was a strange cloud formation, but it was just simply-

    15. JR

      Smoke?

    16. DB

      ... smoke, yeah. Terrifying.

    17. JR

      Yeah, it looks like a giant gray mountain-

    18. DB

      Yeah.

    19. JR

      ... in the distance.

    20. DB

      Yeah.

    21. JR

      It's, it's insane how bad it's gotten. I've, I've had it happen, um, three... This is the third time I've been evacuated-

    22. DB

      Wow.

    23. JR

      ... since I've moved here 20 plus years ago.

    24. DB

      Wow.

    25. JR

      Yeah, it gets rough, but this is the roughest I've ever seen. Jamie and I were doing the podcast yesterday, and when it was over, I had like five text messages from friends that live in my neighborhood saying how bad it was. And then when we got home, the wind was just crazy and it just, it's just... It's humbling. You know, I mean, it's super unfortunate for all the, the people that are, uh, losing their homes and, and losing their, you know, losing their property. But the reality is, this is, um, it's nature. You know?

    26. DB

      Mm-hmm.

    27. JR

      This is just something that you just can't avoid.

    28. DB

      Mm-hmm.

    29. JR

      There's nothing you can do about it. It gets dry like this, and I don't know what started it. I hope it wasn't a cigarette.

    30. DB

      Hmm.

  2. 2:334:52

    Why Derren is in LA: Netflix promo, culture shock, and the city’s scale

    1. JR

      So what's up, man? What are you doing in town for?

    2. DB

      Shoulders back, chest out.

    3. JR

      Yeah. There you go.

    4. DB

      Torben would be proud.

    5. JR

      There you go. (laughs)

    6. DB

      I'm here... Yeah, I'm here doing, uh, I'm here for a week. I've been, uh, I've got a show on Netflix that's come out, so I'm just kind of generally here to, uh, talk about it, I guess, and, uh, seeing a couple of friends and it's been a really nice, really nice week.

    7. JR

      Yeah, this is a good way to end it too, with a giant fire that's just saying-

    8. DB

      Yeah, the giant fire.

    9. JR

      ... "Darren, get the fuck outta here."

    10. DB

      (laughs)

    11. JR

      "Quickly. These people are crazy living here," with no water and it never rains.

    12. DB

      Yeah. It'll be, it's very different back home. It'll be a, it'll... Yeah, it's, uh, it's, it's, it's amazing just at this time of year leaving England and coming to somewhere like... I mean, I'm sure, I'm sure you don't take it for granted, but you know, it's... It is amazing just for a-

    13. JR

      The weather? Yeah.

    14. DB

      Just for a bit. Do you like, but do you like LA as a, like, as a place and a home and a, and a... Does it... I mean, you've got an amazing sort of setup here. Is it just a, is it a just a dream place to you? L.A.?

    15. JR

      It's, uh, it's a love-hate relationship-

    16. DB

      Yeah.

    17. JR

      ... certainly.

    18. DB

      Yeah.

    19. JR

      The, the, the real problem is the population is just so insane. There's more than 20 million people, plus who knows people, you know, how many... They, they really don't have no idea how many people have snuck in.

    20. DB

      Mm-hmm.

    21. JR

      You know, it's, it's just a chaotic place. There's-

    22. DB

      And no public transport. It just hit me the other day.

    23. JR

      (laughs)

    24. DB

      There's like, there's no, there were no trains. There's no infrastructure of, uh... So everyone's driving these huge-

    25. JR

      Yeah.

    26. DB

      ... huge vehicles. Yeah.

    27. JR

      Everyone has an Escalade or-

    28. DB

      Yeah.

    29. JR

      ... a Tesla or something. Yeah, it's, uh, it's just a strange place. There's... The highways are massive, you know, you have five, six lanes on each side and they're jammed solid where nothing's moving either way. And if you can see it from... The really... When you realize how preposterous it is when you're flying into LAX and you see the 405 highway in the distance and it's all stopped for as long as you could see, miles one way and miles the other way, just complete parking lot.

    30. DB

      Mm-hmm.

  3. 4:528:16

    Private creativity: painting, street photography, and balancing public life

    1. JR

      Yeah, your Instagram is interesting, you know, it's, it's surprising.

    2. DB

      I... Well, yeah, I mainly put... I paint and I do a lot of street photography, so those, those... I only got into Instagram recently and I've just been putting, putting that stuff on there, which I don't know how, uh, interesting it is generally to the world.

    3. JR

      It is interesting.

    4. DB

      But it's a nice place to put that kind of stuff. I, I paint like these big portraits and they just end up sitting around my house. No one wants to buy it. No one wants to, you know, buy a giant picture of my mother, so they...

    5. JR

      (laughs)

    6. DB

      I don't really sell them, so they just sit around. So actually, yeah, putting them on, but at least putting them online.

    7. JR

      Yeah, there's your-

    8. DB

      Oh, there you go. That's not my mother, just for clarity.

    9. JR

      Your stuff is really good.

    10. DB

      Well, thank you. Well, these are old caricatures that I used to-

    11. JR

      The Tom Waits one is excellent. It's, uh, surprisingly good. You know, I mean, you think someone is really good at something like magic and you say, "Well, that's about as good as he's gonna get. It's not like he's gonna be that good at something else." But you are-

    12. DB

      (laughs) Oh, yeah, you're literally flicking through my Instagram. It's great.

    13. JR

      Yeah. I mean, you're, you're a really good artist.

    14. DB

      Thank you very much, uh-

    15. JR

      Have you done this your whole life?

    16. DB

      Uh, not yet. Um, yeah, pretty much, like as a, as a kid I used to draw and, and paint a lot and, uh, always faces like I'm, you know, no, no good anything else. But, uh, faces has always been my thing. So I used to do like these kind of, you know, caricatures and now I paint more sort of-... straight pictures, I guess. But it's nice. If you do something that's kind of, you know, public, it's nice to do something that's private. And, uh-

    17. JR

      Yeah.

    18. DB

      ... it's that thing of something bigger than yourself to throw yourself into and to lose yourself in. And it's great, you know?

    19. JR

      Mm-hmm.

    20. DB

      Days, weeks of, you know, just being in my studio is, is just, is lovely. It's a great thing.

    21. JR

      Do you, you find that stuff like that clears your mind for your other work?

    22. DB

      I think it's, it's just the sheer contrast. You know, one of my favorite parts of the year is touring, and I, I get to do the shows in the evening, and then the days are free. And I'm like, I'm not in London, I'm in some other city, so no one c- (laughs) no one can, like, get me in for a meeting or anything. I just-

    23. JR

      Right.

    24. DB

      ... have the days free and I can write, or I had a book on happiness that I wrote, which I wrote while I was on tour. And it was just this amazing routine of just finding a coffee shop, spending the day writing. And then if that does get a bit, you know, a bit boring or a bit s- you know, sad or something, if it's not quite coming together, you then, you then get to go out and be this amazingly (laughs) charismatic, well-rehearsed version of yourself on stage, which is, you know, full of adrenaline and lovely. So that, that's an amazing routine. I think that's my favorite, favorite thing. So, yeah, the, the painting and all that. Photography's an interesting one 'cause you, you, you find yourself on the one hand kind of slightly... 'Cause I do street photography, so it's kind of, you know, out taking pictures of candid moments, I guess. So you're, you're a step out of it, but you're also very open and engaged, and, and that feels like a really prime state. That's a, a very kind of porous, lovely state to be in. And having been used to keeping my head down out in public, 'cause I, I realize I'm not known here at all, but in the UK I am a bit. So I, if I, if I was out in public, I generally kind of naturally kind of hunkered down-

    25. JR

      Tried to stay low-key.

    26. DB

      ... yeah, hunkered down a bit. But now it's the opposite.

    27. JR

      Yeah.

    28. DB

      It's, uh, totally changed, uh, that relationship. So-

    29. JR

      That's interesting.

    30. DB

      ... it's all good. Yeah, it's nice.

  4. 8:1611:06

    Shyness, insecurity, and the path from university hypnosis to stage work

    1. JR

      Were you always shy, or did you become more shy because of becoming really famous?

    2. DB

      I was always ... Well, not always. I th- I, I think I grew quite, um, I was probably quite insecure as a kid. I was very charming and very, um, uh, quite bright and quite, like, socially, you know, that was, that was all good. But I think, like, inside, I was, um, I was very intimidated by the kind of sporty kids. You would have terrified me-

    3. JR

      (laughs)

    4. DB

      ... as a, as a, as a child. Um, and, uh, I-

    5. JR

      Athletic kids, like kids who played sports.

    6. DB

      Yeah, just ... Yeah, yeah, just that exact, 'cause I really didn't fit in-

    7. JR

      Yeah.

    8. DB

      ... with any of that. Um, and so, like, when I first started ... I'm l- Like, I started my career as a hypnotist, and I, I saw this guy performing at university, and I, uh, I just thought, "I'm gonna, I'm gonna do that." It just... I, and I didn't realize at the time all these boxes that it was ticking, you know, performing, that sort of, you know, need for affirmation and, and, and love and center of attention, and also the control aspect of it, you know? The kind of, um, uh, yeah, the control aspect. And also, the kind of people, particularly the sort of guys that would respond well to hypnosis and come up on stage and, you know, uh, and respond well to it tended to be exactly the kind of guys (laughs) that would have really intimidated me before. So that was, like, at a, at an unconscious level, uh, and I hope I've grown out of that now m- m- mainly. But, uh, yeah, it ticked a lot of, it ticked a lot of boxes. So th- that, that was, that's how I started, and yeah, it was definitely driven by insecurity. 'Cause any s- any sort of magic, which sort of followed for me, on from the hypnosis, you're basically ... It is the quickest, most fraudulent route to impressing people. That's, you know-

    9. JR

      (laughs)

    10. DB

      ... the subtext is only, you know, "Look at me. Aren't I great?" Which is not that interesting after a, after a while. So I've tried to, you know, as I've, as I've grown up, I've tried to move it into a different area, and one that's a little more resonant than just showing off.

    11. JR

      That's fascinating that you started out doing a, a hypnosis show. Was it a comedy show? Like-

    12. DB

      No, it was sort of, um ... I would mainly perform at, like, uh, colleges, and I'd do a demonstration and then have questions and after, uh, questions and answers afterwards. And I wasn't making people look stupid. It was an entertainment show, and I guess it was kind of, you know, funny. But it was, um, it was, uh, it's just a really interesting thing. And the-

    13. JR

      Yeah.

    14. DB

      ... trouble with doing it on stage is, of course, it gets mixed up with people just kind of playing along and stuff. So it, it, it's ... But if you take that out of it, it's just a really interesting area. And I've done this stuff for, you know, 20 years back home. And I'm not, I don't think of myself as a hypnotist. That was just kind of where I, where I started. But the, the, the suggestion-based techniques of that is something I've continued with and brought into different areas. And I still don't fully understand it, you know, now. It's, there's ... You can never quite climb in, you know, inside someone's head and know what they're experiencing. Like, I used to do, in

  5. 11:0613:26

    What hypnosis looks like from the inside: compliance, acting, and subjectivity

    1. DB

      the, when I used to do these, like, stage hypnosis shows, the last thing I did was to ... I'd tell these people on stage that I was invisible, right? And I'd, I'd float something through the air, right, like this bottle I've got here. And, uh, it was normally something bigger, like a chair. And they'd be freaking out and, you know, running off stage and so on. But afterwards, when I'd have this kind of Q&A, I'd, um, I'd ask them, "Well, what was your, what was your actual experience? Like, like, the show's over now, be honest, what were you, what were you experiencing?" And you'd get some people that would say, "Well, yeah, you were obviously just floating that. You were just holding it, but I kind of felt like I had to play along." And then you'd get this interesting area in the middle of, of like, "Well, I kind of ... I, now when I think back, yes, of course it was you, but I, it was, and I sort of knew it was you, but I e- emotionally just completely, I could only experience it as a terrifying floating bottle," or whatever it was. So that's a bit like an actor, like, getting caught up in a role, I guess.

    2. JR

      Mm-hmm.

    3. DB

      Like, they know, they know they're on stage and it's a character, but nonetheless emotionally committed. And then the other extreme people that would not accept that it was me floating it, just they, "That must've been on a wire or something. There's no, there's no way that I can drop you back in the picture in my memory of that thing." So, how do you, you know, how do you, how do you judge what that experience is when there's ... And, and are those people that are saying-... know you were really invisible? Are they just saying that 'cause they wanna be, like, the best subjects in that-

    4. JR

      Mm.

    5. DB

      ... in that group? I mean-

    6. JR

      Right.

    7. DB

      ... how do you, how do you tease it all apart? It's, it's-

    8. JR

      That is the, is that, that must be a real issue, right? The people that just wanna please you-

    9. DB

      Mm-hmm.

    10. JR

      ... and are playing along. How, can you tell when, if you were hypnotizing people?

    11. DB

      I can tell, yeah, I can tell. But I, the way I use it now is kind of, I use it quite sort of subtly in the show. I don't, like, overtly, you know, hypnotize people. Um, so that means, well, it can mean one of two things. It either means it, it, it just, I'm not interested in people playing along because I'm not just trying to create the effect of someone hypnotized. They need to genuinely be responding to this thing in order for the next bit to work, uh, in which case I have to filter out anybody playing along. But occasionally, occasionally it doesn't matter. Like, a lot of the time, like, I'll get people up on stage and I'll shake their hand, and there are the, there's a rapid handshake induction that the guy just, you know, just falls to the floor. Um, and there are times that that matters and they have to be, that has to be a really honest response. Other times I can tell they're sort of half into it and they're just a bit intimidated, and, but for the 2,000 people looking, that might look, it kinda might look like the same thing, and then it won't matter so much.

    12. JR

      So what, what, exactly, how does that, exactly does that work?

  6. 13:2631:02

    Pattern interrupts and ‘handshake inductions’—plus a bizarre self-defense story

    1. DB

      The handshake induction?

    2. JR

      Yeah.

    3. DB

      Okay. Well, it's, it's a, uh, (laughs) I take no responsibility for explaining this to your tens of millions of listeners and viewers. Um, but, uh, it's, it's, you're, you're interrupting a, an automatic process, right? This is the, this is the key to it. It was made popular by, um, made popular by, I guess, Richard Bandler, who's the guy behind NLP and so on. Um, I don't know if he kind of created this thing, but perhaps, uh, perhaps Erickson did before him. I don't know. Anyway. You, you, you take an automatic process and you interrupt it in the middle. So like, when you're shaking hands with somebody, that's a, such a familiar process that when you start, you're not thinking, okay, I'm gonna grip this person's hand now, and I'm gonna move my hand up and down with them a few times. Then I'll take my hand away. You just kind of do it automatically. Um, and there's something about interrupting that that leaves people f- really flummoxed and, and bewildered, 'cause they're really, uh, really caught off guard. Like, if you imagine somebody comes up to you in the street and says, "It's not half past seven," you know, your reaction isn't to go, "Yeah, yeah, I know. It's, uh, 20 past nine." Your reaction is t- is to sort of, you, you think like you've missed something, like you're trying to make sense of it. It's a strange, uh, kind of puts you on the back foot. And at that point, if you t- if you've got somebody who's fairly suggestible and people coming up on stage, it's such an odd moment for them anyway, they're naturally very suggestible, that a clear instruction to sleep or whatever you wanna give them tends to be taken very deeply. And very often then you'll see I'll shake hands and I'll, I'll break the pattern of the handshake, so I'll, I'll often take their hand and lift it up to their face and say, "Sleep," and show them their hand like that. Or, or-

    4. JR

      And they just sleep?

    5. DB

      And, well, it's not sleep, but it's-

    6. JR

      (laughs) But they-

    7. DB

      ... a kind of, um, y- it looks like... I mean, they, they'll do anything from eyes closed, head drops down, to just drop like a, like a dead weight on the floor. You know what I found that's most interesting actually, was, um, like, applying this in slightly more useful everyday situations, was as a sort of, um, like a self-defense technique. I was walking, uh, between... So I was like, must have been like 20 or something, and I was at a magic convention. And I was walking from one hotel to another, and I'm dressed in, like, a three-piece velvet suit.

    8. JR

      (laughs)

    9. DB

      I was this skinny British lad. I might, might as well have, you know, "Punch me in the throat" tattooed across my face. (laughs)

    10. JR

      (laughs)

    11. DB

      And this guy comes up and he's like a, he's drunk, uh, it's about 3:00 in the morning, drunk, aggressive, he's with his girlfriend, clearly looking for a fight. And, uh, he sort of, he comes up to me and he says, "What, what are you, what are you fucking looking at? What are you looking at?" And because I'd spoken about this, how to deal with this sort of thing, but I'd never found myself in this situation, I kind of had it all mentally rehearsed. So I said to him, I said, "The wall outside my house isn't four foot high." And-

    12. JR

      (laughs)

    13. DB

      ... I guess there's an equivalent to this with a sort of adrenaline dump, I think it's called in, uh, in martial arts. But there's a, it, it just, like, he's got all this adrenaline, and then a thing like that from me, which is just out of context, like, it makes sense. I'm not, like, talking gibberish.

    14. JR

      Right.

    15. DB

      It makes sense, but it's just out of context.

    16. JR

      Right.

    17. DB

      So now suddenly he's thinking, "I've, what? I've missed something." So now he, he was sort of, he went, "What?" And I said, and then his, his girlfriend walked off, and I said, "The, the wall outside my house isn't four foot high. I spent some time in Spain. The walls there were very high, but if you look at the ones here, they're, they're tiny, they're nothing." (laughs) And then he just sort of broke down. He sort of went, "Wah." And, uh-

    18. JR

      Started crying?

    19. DB

      Well, you know, he, no, it wasn't quite crying, but it was just, it was like all the adrenaline and everything just, just flooded out of him. And he sat down-

    20. JR

      (laughs)

    21. DB

      ... and I end up sitting next to him on the, uh, like, you know, on the roadside, um, asking him, you know, so what... I was, the plan was I was gonna try and stick his feet to the floor, and I had this whole plan, but he just kind of collapsed and sat down. So I, so I just-

    22. JR

      You were gonna stick his feet to the floor with hypnosis? (laughs)

    23. DB

      I was gonna stick his feet... Yeah, that was the, 'cause I knew it'd be like this highly suggestible state. And like either way, the, the moment of aggression-

    24. JR

      Oh.

    25. DB

      ... had passed. But I ended up, ended up weirdly sitting with him asking him what had happened that evening, and his girlfriend had, I think she'd bottled somebody or something horrible had happened.

    26. JR

      Oh, Jesus.

    27. DB

      So he'd got out with all this aggression. But it's a, it's a good one, isn't it? If you just have like, um, it could be just a song lyric or just some, some weird kind of thing that you can just go into in, in those situations that... I mean, if someone's running at you with a knife, it's a bit difficult, but the, you just, you, you're kind of strangely taking control of a situation. Otherwise, what are you gonna do? If they say, "What are you looking at?" Y- you can't, y- there's no way you can answer that without being on the back foot.

    28. JR

      Right.

    29. DB

      So it just kind of nicely kind of inverts the situation and puts them on the back foot, which anyway, it worked. It was, uh, it was kind of fun.

    30. JR

      Uh, isn't there, like, a process required to hypnotize someone? You could just do it that way and saying it, just talk them through some sort of a program that makes them think their foot is stuck to the floor?

  7. 31:0233:35

    Placebo, faith healing, and the mind’s role in pain and recovery

    1. DB

      There's no mechanism, no. It's... What, what I found works really well is, I've done a few shows on placebo, is... For me, I find the key is, the person gets to absolve any responsibility for the change themselves. So they... I've done a couple things where... This new show I have on, uh, Netflix now called Sacrifice, a guy thinks he's got a microchip implanted in him, which is doing all the work. Uh, another show I've done is, was, uh, placebo injections they were getting, so they feel the i- the drug is doing the work. But the key is, they don't have to... They, they, they don't think, they don't think they're doing any work at all. "This thing is taking care of that for me." And that's really powerful, 'cause suddenly it's, it's, um, that thing of, "I, I don't have to do... I don't..." Th- the person thinking, "I don't have to make this happen myself, there is no onus on me, I don't have to do any- anything. This, this magic formula is somehow doing it," is hugely powerful. Um, so that, yeah, that's a, that's a, that's a... I think that's a big, a big part of it, which is why a lot of the... when we, when we, when we did the placebo program, we created this whole, like, um, fake, uh, pharmacological building. We had a building, we just, you know, k- filled it out with actors and equipment and stuff to just create this environment that was gonna be convincing before the injections were even given, and these were on people that had various, like, fears, or problems, or things that we're just gonna just investigate and see how well the placebo worked. And, uh... Yeah, it did. But that, that, that's a helpful thing, ha- feeling there's just something in you making it, making it happen.

    2. JR

      Yeah, almost like a subconscious optimism or something like that.

    3. DB

      Yeah.

    4. JR

      I've, I've wondered if that sort of mindset that allows you to experience a beneficial result of a placebo, if that, s- in some way, transfers over to everyday life events, if having this, uh, maybe unfounded sense of optimism or this, uh, biz- bizarrely positive outlook, or this, uh, almost undue confidence-

    5. DB

      Mm.

    6. JR

      ... actually can have some sort of a beneficial, tangible result in the real world, in terms of actual events that take place. Whether it's because of the way you interact with other human beings-

    7. DB

      Mm.

    8. JR

      ... that they are being influenced by your positive attiti- attitude and energy, and then confidence and enthusiasm, and then therefore things go smoother-

    9. DB

      Mm.

    10. JR

      ... or whether it's really some sort of a factor of the way you interchange with reality itself, and that your attitude actually has an effect on events.

  8. 33:3539:55

    Strategic pessimism vs. ‘The Secret’: goal myths, luck, and toxic self-blame

    1. DB

      I think it gets vastly overrated. I'm a big advocate of strategic pessimism. I think the, the problem with that kind of, um... the problem with unwavering self-belief- (laughs)

    2. JR

      Yes.

    3. DB

      ... is that it just doesn't, that doesn't quite map into how life works, right?

    4. JR

      Right.

    5. DB

      I think, like, I think the Greeks had this down. So if you imagine a kind of, a graph. So you've got your, your... is it the Y-axis going up here? Of your aims and things you want to achieve. And then your X-axis is just what they used to call fortune, stuff that life-

    6. JR

      Mm-hmm.

    7. DB

      ... throws back at you that you have no control over, no control at all. So, we are told a lot nowadays that you just, you know, set your goals, believe in yourself, visualize this. And as if we can crank up the sort of, the line that we're living-

    8. JR

      Yes.

    9. DB

      ... right up in line with our goals and our, you know, aims and so on. The reality is, there's always life, like, pushing back.

    10. JR

      Yeah.

    11. DB

      So actually what we lead is an X equals Y line. That, that's a kind of more realistic, I think, appraisal of what our life is. So, actually kind of, sort of, I think, making peace with that, which allows for all the optimism you want, but also makes peace with the fact that at some point, that might let you down, you know?

    12. JR

      Mm.

    13. DB

      You can spend your life climbing a ladder and then realize you had it against the wrong wall, uh, to quote-

    14. JR

      (laughs)

    15. DB

      ... uh, Joseph, Joseph Campbell, you know. You can-

    16. JR

      Yeah.

    17. DB

      ... set goals that, they may just be the wrong goals, and, or you may achieve them, and then, like, you know, now what? I've got a, you know, a friend who, um, uh, spent a long time building up a company and selling it, and he'd been driven to do this all his life 'cause he f- like, needed to sort of achieve to feel like, you know, that he was, uh, um, kind of really worth something. That was it, he was all about achievement, and then he, he, you know, sells the company and achieves that dream. And then he didn't know what to do with his life, 'cause that, that urge was still there, and now it had nowhere to go, and actually he ended up in therapy because of it. It was such a strangely, uh, counterintuitive thing. So, I, you know, I'm the, all about changing the world for the better, but I think we have to make mental space for the fact that, um... You know, like when, when, uh, Freud created psychoanalysis, he wasn't trying to make people happy. He called it, he called it restoring, uh, restoring natural unhappiness. Like-

    18. JR

      (laughs)

    19. DB

      ... you know, life is basically gonna be unhappy sometimes, and he was trying to get rid of unnatural unhappiness as he saw it, like a sort of neurotic unhappiness, and restore a kind of, an easy relationship to life and fortune. So to me, that's, that's the case. I'm always a bit, I'm always a bit skeptical of the kind of, uh, just unwavering positivity.

    20. JR

      Yeah. No, I agree with you. I mean, I think that unwavering positivity is usually delusional.

    21. DB

      Yeah.

    22. JR

      Like, but, a certain amount of positivity.

    23. DB

      A scho- so yeah, of course, a certain amount, I mean-

    24. JR

      And a certain amount of-

    25. DB

      The, the danger is-

    26. JR

      ... the way you're attituded.

    27. DB

      ... it's like, it's like the, it's like the faith healers, right? So the-

    28. JR

      Mm-hmm.

    29. DB

      ... faith healing thing of, you go away, you don't take your pills...... and if this condition returns, which it's going to, it's your own fault because you didn't have enough faith, right?

    30. JR

      Right.

  9. 39:5547:24

    ‘The Push’: social compliance, engineered pressure, and ethical debriefing

    1. DB

      sense of how isolated we are, and we're not. We're clearly social, uh, creatures. I did a, there's a show on Netflix called The Push, uh, which I did, which was to see whether, if you create this environment, um, of social compliance, so it's a big party, right? There's one guy in it who doesn't know th- this is being filmed, that he's part of a TV show. Everybody else is an actor. And the plot was to see, could you get him to murder somebody?

    2. JR

      Pshew.

    3. DB

      To push someone off the roof to their death, as far as he's concerned. Obviously, it doesn't... No one really dies, right?

    4. JR

      Right.

    5. DB

      And it just starts with... He kind of gets roped into helping out at this event, and it's a big high-stakes event. Everyone's in, um, you know, tuxedos, but he didn't get the memo for the dress code, so he already comes in feeling a bit like, "Oh, fuck." And then he gets, he gets roped into helping out, and, like, the first thing he's asked to do is to label, um, meat-filled sausage roll snacks as vegetarian, right? Because they, the vegetarian ones haven't been delivered. So it's just like a little kind of foot in the door thing, and then it just builds and it builds, and, uh, it gets to this point when he's on a roof, having been through this really, like, d- dark, extraordinary, and sort of hilarious and massively anxiety-inducing journey. It's a lot of emotions you go through when you watch it. Um, and then faced with this massive pressure to, to, to kill this guy, and I don't wanna, I don't wanna spoil the ending 'cause it's a stonker, but, um, this is like... It's, that's what it's all about, you know, how your, uh, how your sense of... It's like the story you tell yourself about who you are, it just isn't, isn't, isn't real. Can I talk about The News Show? Can I talk about ne- uh, the, um, Sacrifice? 'Cause that's like, it's as-

    6. JR

      You talk about anything you want, but can I ask you one question about this?

    7. DB

      Yeah.

    8. JR

      What ki-... I mean, do you feel a certain sense of moral confusion when you're trying to talk someone into potentially... And you realize that if this wasn't a show-

    9. DB

      Yeah.

    10. JR

      ... if, if a similar or ma- maybe even more powerful pressures were in play-

    11. DB

      Yeah.

    12. JR

      ... and this guy was suggestible and he found himself in very unusual circumstances where it seemed like a good idea to kill this person-

    13. DB

      Mm.

    14. JR

      ... like, you're, you're introducing this thought and this, this scenario into a person's mind that perhaps could go cradle to the grave and never have that.

    15. DB

      It's, it's kind of the opposite, but it actually, uh, it's just hard to talk about that without really giving away the ending, but the... What it does is m- actually mentally rehearse somebody. What, what this guy took away from it is the knowledge that-... if he was ever in a situation again where there was anything like that nature of compliance, that he now has the tools to just, like, stand up to it, because you, you need that kind of-

    16. JR

      Right. I see.

    17. DB

      ... emotional rehearsal. And likewise, for viewers, hopefully, watching it too.

    18. JR

      Mm-hmm.

    19. DB

      That's kind of the idea. You're all- we're all emotionally rehearsing it with him. Um, and unless you've been trained in stuff and you know it like that, you- you- you need, like, a- an emotional experience of it to know-

    20. JR

      Right.

    21. DB

      ... when that thing happens, to just have the resources to stand up, yeah.

    22. JR

      To understand that you can be manipulated.

    23. DB

      So these are very... Although it does- I realize it doesn't sound like it, and that show, The Push is... I mean, it's kind of like the darkest of all the shows, but they are- they are there for a- like a good reason. There's like a- a- there's a reason for doing it. Everybody that comes away is always like, you know, "That's- that's- that is- that was a great thing to do. Best thing I've ever done." You know, these kind... Even though the journeys themselves look- do look very dark.

    24. JR

      Well, he sounds like- the guy who had a positive outlook on it sounds like a person who... s- can learn from their mistakes.

    25. DB

      Yeah.

    26. JR

      And- but there's some people that when confronted with some new situation, like, "Wow, I really was gonna push that guy off the roof," like, "This is me." Like, "I didn't think that was me."

    27. DB

      Mm-hmm.

    28. JR

      "Now I know. Now I know that I'm capable of doing that. If I get manipulated to the point, like, wow." And then, they have a lot of, like, real confusion and- and- and perhaps a lack of faith in themselves and their ability to make decisions.

    29. DB

      I mean, that's- that's kind of- that's kind of my job to make sure that the- the- the framing and the-

    30. JR

      That they don't...

  10. 47:2459:22

    ‘Sacrifice’: turning ideology into compassion through a 10-month Truman-style build

    1. DB

      I think so. Well, that's- that also- also what's happened with this guy, Phil. So in the- in the- in this new show, which is also the first like brand new thing I've done for- for Netflix, there's a couple of other shows, but they-

    2. JR

      And what is it called?

    3. DB

      It's called Sacrifice.

    4. JR

      Sacrifice.

    5. DB

      So the plot is... I take this guy, Phil, who is an- an American guy, I think his father's- uh, his father's British, got a few sort of British links, but he's an American guy living in, um, Florida, Cocoa Beach, Florida. Big, uh, right-wing guy, strong views against immigration, um. And I, using these covert psychological techniques, try and get him to the point where he will willingly lay down his life and take a bullet for an illegal Mexican immigrant, or at least someone he believes is, you know, it's an actor-

    6. JR

      Mm-hmm.

    7. DB

      ... because it's- the whole thing is-

    8. JR

      Yeah.

    9. DB

      The whole thing with actors. So, um, so he went through this journey, which is not a- it's not a political story at all. I mean, obviously, it kind of- it resonates, but it was ultimately a story about compassion and- and, uh, and humanity and this ultimately very human moment that he- that he found himself in. Um-And, you know, the guy's, like... Uh, it made a huge difference to him. You know, it's- it's, uh... So this is... I- I don't... I kind of don't wanna give away exactly how it turns out.

    10. JR

      How long did the process take?

    11. DB

      It was about 10 months.

    12. JR

      10 months.

    13. DB

      For him, for him, it was like a maybe three, four months. It was like the beginning block of this year. But there's like two levels to making these shows. You've gotta write the ide- you know, the, the... sort of the plot of the show and find that-

    14. JR

      Yeah.

    15. DB

      ... and make that happen for him. But you've also gotta create this... The whole thing has... It's like this kind of Truman Show. It all ha-... You're creating a fiction for somebody that has to be completely convincing. That's a whole other level of, of kind of work. Plus, you know, you gotta make sure this guy's robust enough to go through something like that.

    16. JR

      (laughs)

    17. DB

      So there's a whole vetting procedure that has to happen without him realizing what it's all about.

    18. JR

      Yeah. That's a great way of putting it, robust enough-

    19. DB

      Robust enough.

    20. JR

      ... psychologically, right?

    21. DB

      Yeah, yeah.

    22. JR

      That is a crazy amount of preparation and production work.

    23. DB

      It's hu-... Yeah. It's, it's, it's huge. In the apocalypse show, there was like one moment when we had to just make this guy's... 'Cause there was the idea there was electrical interference with the meteors. Just had to make his TV pop off in his room, like just sort of, you know, cut out. And to do that, there were two guys out in his garden shed, um, waiting, who had to be there all day 'cause they couldn't come in and out the garden 'cause he might see them, pulling a cable at this moment to make the TV go. But then they couldn't leave because he might see them, so they had to spend the night in this garden shed, right?

    24. JR

      (laughs)

    25. DB

      And this is like after three months of not having a day off as well. So that's like a nothing moment that no one will ever remember from the show, but it... yeah, a huge amount of, um, huge amount of work.

    26. JR

      (laughs)

    27. DB

      I always get people saying, "Oh, it's all fake. You haven't really done it." And I think it's just that (laughs) ... It's that no one believes you'd actually go to all that trouble.

    28. JR

      Wow. For the paranoid... Like, if you, if you did that to a, a, a naturally paranoid person or a person with a, a touch of schizophrenia, oh my God.

    29. DB

      Which is why they have to be vetted-

    30. JR

      Oh, yeah.

  11. 59:221:13:26

    Conditioning and triggers: microchip placebo, jingles, empathy cues, and agency

    1. DB

      That's... Thank you. Well, that's, that's, that's the hope. Um, the way that I do it, the way that I change him is through conditioning. So I, um... This is a technique I've used a lot over the years of you kind of take the emotional state you want the person to have at the end, uh, break it down into components, and then attach each one of those to a, to a trigger. So this guy, Phil, uh, in Sacrifice, he's using, um, like, an app which he thinks is sort of talking to this, um... Uh, the microchip he has in him because he thinks he's... He thinks we've imp-... A- and we really do, like, cut him open and-

    2. JR

      Really?

    3. DB

      ... seemingly. Yeah. We just don't... You know, it's a placebo. We don't really put it in. But he now thinks he's-

    4. JR

      But you actually do cut him?

    5. DB

      Yeah, we cut him and, yeah, yeah-

    6. JR

      Stitch him back up again and the whole-

    7. DB

      We stitch him back up, yeah.

    8. JR

      Wow.

    9. DB

      Um, I don't think he needs... No, I don't think he needs stitches for it. It's a kinda, kind of a small cut, but it's, uh, scalpel going in, horrible. Um, so he thinks he's using this app which is kind of, um, helping motivate him, but what it's doing, it's atta-... It's giving him this sound, like this little jingle, that gets attached to all those feelings of motivation. So that means that when he finds himself in this kind of final scene where he has this choice to step in and save a life, that we can have the same jingle on the radio that plays and... You know, it's like that thing of you hear a song when you're breaking up with someone and it's a horrible period of your life, and then five years later you hear the same song, and it just-

    10. JR

      Yeah.

    11. DB

      ... brings it all back.

    12. JR

      Yeah.

    13. DB

      You know? It's that, that process.... um, or obviously, like, you know, advertising is the big example of that.

    14. JR

      Isn't that the premise behind something like The Manchurian Candidate that there's some way they can (snaps fingers) snap and then you go back to this state of mind where you followed

    15. DB

      Yeah. Well, that... Yeah. That's more kind of, I guess, overtly hypnotic.

    16. JR

      ... them, I think.

    17. DB

      That's like a post-hypnotic suggestion. This isn't. This is more gentle because he needed to make the decision himself.

    18. JR

      Right.

    19. DB

      The idea was not that he'd be some kind of hypnotized robot, um, if that would even work anyway.

    20. JR

      And-

    21. DB

      You know, this is, this is, this is about a creating... A trigger f- There's feelings of empathy are important. A lot of the show is about empathy, and a lot of the show is about the desire to act. And then, he's, he finds himself in this situation which is extremely... He has no idea at this point it's anything to do with... Like, the filming's finished. That all happened in England as far as he's concerned. He's gone back home, had time to forget all about it, and then ends up stranded in this situation where it all happens. Um, and then I trigger these things off, so I'm giving him this kind of psychological nudge and then it's, you know, what, what will happen? Will he, will he, will he rise up and take it? Like, like the guy landing the plane is kind of like, what, what, what... Ultimately, you know, it's that guy's decision. And it's also, I think... It's, it's a story about stepping out of the kind of the, you know, the, the... I guess the show resonates politically, but it's not a political show. The, the, there's like... There are political narratives we get constrained by and we forget that actually it's the dialogue between the sides that, you know, where humanity emerges and where we find truth. So this is also I guess a story about a guy coming out of his particular sociopolitical narrative and just finding something that ultimately is just a, a, a human, you know, a human quality, kindness, compassion. And these are not political qualities, although they end up getting politicized, but, you know, they're not. They're not.

    22. JR

      I think that a lot of people are gonna watch this and want that to happen to them. Like, "I need some sort of a transformative prank played on me to, to..."

    23. DB

      (laughs)

    24. JR

      'Cause I think people do... I mean, we, we do get caught in ruts, right? We do get stuck on momentum. We g- we get stuck following the same patterns over and over again. It's very difficult to change your life.

    25. DB

      This is... This is it. This is it. Well, b- the thing that makes us so great at evolving our ability to adapt is the same thing that just... It, um, ties us down, so like all through life. So from an early age, like, we emerge in this world and we're very quickly given messages about what our relationship with that sh- to that world is. "This is what people are like. This is what they'll want from you. You are not powerful. The world is powerful." You know? And that, that is, it's gonna be skewed. Jung said that, you know, the... I love this, that the greatest burden a child has to bear is the unlived life of its parents. Such a great thing.

    26. JR

      Mm.

    27. DB

      So your starting point is this skewed story.

    28. JR

      Yes.

    29. DB

      And then you just... You go through life looking for things that just fit and recreate tho- those patterns because they feel so comfortable. You know, your... What do you learn about love from your parents, you start to bring to your adult relationships and project all that stuff on, uh, on your partner. If you think about it, you know, the, the... If you've had a nice loving upbringing, you are getting a ridiculously skewed version of what love means. Like, we know as adults how difficult it is raising kids, but we never saw that as kids. We never saw our parents going off and screaming at each other in the next room once we'd gone to bed. We just have this sort of impossibly, uh... Hopefully, you know, if we've had a, had a happy one, we get this impossible, um, template of what love is and should be, and then we just dump that on our poor adult partners, which nobody can live up to. So our ability to adapt, to internalize stories about who we are and then, like, mistake that for reality, is just, uh, is just what makes living just difficult and complex. And, uh-

    30. JR

      Also, the narratives that come through fiction, narratives from films and books and even songs.

Episode duration: 2:10:46

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