This war against the people will be won when the people remember what they’ve been educated to forget. Future generations will then look back on this period of masked ritual as the dark ages of medieval superstition; a time when a world of “progress” truly believed in the false idols of junk science.

For attention spans shrivelled by social media and device addiction, anything longer than a few paragraphs looks like too much hard work. And of course, that’s one big reason for the big mess we’re in. When you’ve been trained out of the habit to read discerningly, vital information doesn’t enter your brain, making you highly susceptible to a belief system built on misconceptions and lies.

That’s why I decided to stop writing about it and make a film instead. Propaganda employs both words and images. The antidote must do the same. Text alone won’t do it, but people will watch videos until the cows come home.

In Bebelplatz, Berlin, there’s a sunken library of empty shelves – a memorial to the 20,000 books that were burned by the Nazis in May 1933. It was there, in May 2020, that I began.

Until now this has been an entirely self-funded project and my pockets were not deep to begin with. I already had plenty of practice juggling the multiple tasks of low budget filmmaking, which was fortunate because when I started this, nobody I could think of would have crossed the road to help me. People I thought were friends were beginning to treat me like a social leper, because in their minds I was completely deluded.

Living in Berlin, a city littered with reminders of not just one but two recent tyrannies, I found myself surrounded by unquestioning faith in the state “experts” and total obedience to the state edicts. But most chilling of all was the fervent belief in what they were doing and the hostility of many towards anyone who disagreed.

What drove me on was a daily sense of horror. I was standing at the heart of a pharmaceutical coup d’état rooted in fascism. This had happened here before. Didn’t anyone remember? This was the country where thousands of elderly, disabled children and the “feeble minded” were put to death by doctors and nurses who were just doing their job. This was the country where I.G. Farben funded Hitler’s rise to power and used the prisoners of Auschwitz next door as lab rats in their chemical experiments.

I had to somehow show that history was being repeated. Then as now: the ideological corruption of science and the psychological manipulation of people as a means to control the population and ultimately to reduce it.

In the months that followed, I met new friends: people from all over Germany who do remember their own history, and stood up to defend freedom. Then back in the UK, more people who can think for themselves and refuse to surrender their liberties to tyranny. These are the souls who keep me going.

This task I set myself was never about the daily twists and turns of the global fraud, but about reaching the spellbound and fearful by making the roots of the fraud visible. It’s about clearing a view through the fog of current events into the forgotten past where the seeds were sown. It’s about breaking the spell by stealing the clothes of the storytellers to tell a different story.

The godfather of modern propaganda, Edward Bernays, learned a lot from the Nazis, and the new tyrants learned a lot from Edward Bernays. It’s time to turn the tables on the propagandists and to beat them at their own game.

We may not control the institutions, half the internet and the mass media, but we vastly underestimate the power we already have.

If you appreciate what I’m doing, I hope you’ll work together with me to tell the true story and to put it back into the world in ways censorship cannot touch.

A film for freedom in synergy with the movement for freedom that will help turn an era of lies into an opportunity for all.

For a total of five years (give or take a few meanderings) I lived in Germany. Four of those years were spent in Berlin. The reason I moved away from England in 2014 and made my home in the German capital was because it still felt like a genuinely free city.

Because of its recent history, the full oxymoronic force of “democratic capitalism” took a long time to sink its claws in. Meanwhile, the vacuum left by communism and the bombed out spaces between buildings were filled with a kind of primal creativity. Gentrification was stepping up apace, but old Berlin was still hanging on.

The other remarkable thing was the total absence of CCTV cameras around the city, except in U-Bahns and government buildings. Of course, this was a legacy of the fact that not so very long ago half of Berlin had been the most spied on city in Europe, and after an experience like that, a rerun seemed unthinkable.

But, as I wrote in 2015, with Germany playing its own small part in a cooked up war against an enemy of our own creation, the future was far from assured. And sure enough, little more than a year later, the Christmas Market truck attack in Breitsheidplatz ushered in a new era of tightened “security,” heightened police presence and armour plated robocops.

I had always assumed that the people of Berlin would be incredibly vigilant about surrendering their freedom all over again. And yet in the same city where, so recently in history, educated minds allowed fascism to prosper, I was surrounded by people obeying rules based on the same bogus premise used by the Nazis: protecting public health. And no amount of reason could shift their faith because, after all, the rules were based on science and imposed on the advice of “experts.”

Thankfully, the complacence was countered by the outraged vehemence of the resistance movement that quickly sprang up in response.

It could only be held back with the time honoured methods of defamation and censorship.

These great Querdenken rallies have been the flies of dissent in the ointment of acquiescence, and proof that alongside fear and division there’s another essential lever of control in the tyrants’ toolbox: collective memory. The control of public memory is the seedbed of perception from which fear and division can so easily grow and flourish.

I failed to persuade anyone to help me with HARM Part One, and that’s why it took such a long time to finish: because I was doing everything myself. But I hold out hope that there are a few people out there who sense as strongly as I do that time is running out for freedom, and that any contribution they can make to a project like this one would be a worthwhile effort.

If you are a Fusion or After Effects artist, an actor or a voiceover artist with a passion for truth, please click “Creators” for details of how you can help speed Part 2 along.

Donations are also welcome. They will help pay for the costs of post production, including the often expensive licences for archive footage. Thank you in advance for your support.

If you are a Fusion or After Effects artist, a voiceover artist or an actor and can contribute your talents in any of these ways, please hit the button below and leave me a message in the bubble.

AFTER EFFECTS & ANIMATION ARTISTS

Apart from a variety of compositing tasks, which are bound to come up, there are a few things in particular that the film needs:

1. As we all know, one of the most difficult challenges in this manufactured crisis is getting people to read documented facts. Watching a video might be more appealing, but the moment a boring text document fills the screen, you risk losing some of your audience.

What we need is an animated way of making dry text more engaging. Here’s one of my favourite examples where the emphasised text lifts off the page and floats above it.

2. An even bigger challenge is explaining the science. And it’s doubly difficult when the science in question makes no sense to begin with.

Animated info-graphics will help to demystify and debunk it, and a comic cutout style could work well.

3. Statistics tend to leave people cold, especially when incomprehensibly large numbers are involved. But when they’re presented in a more human way, the real meaning of those numbers can have a powerful effect.

VOICEOVER ARTISTS

At various points, quotations will be recited by either a male or a female voice actor. Here are a couple of examples:

“There is an organism called man, and he is the important thing. And the goal is freedom. Groups are something secondary; the state is something secondary. The important thing is not that the state should live—it is that the individual should live.”

— Kurt Tucholsky (1930)

“It is simply no longer possible to believe much of the clinical research that is published, or to rely on the judgement of trusted physicians or authoritative medical guidelines.”

— Dr Marcia Angell (former editor of NEJM)

ACTORS

In order to illustrate a particularly bizarre scientific procedure, I would like to film a surreal skit featuring a mad scientist and his glamorous assistant early one morning in an outdoors location. If this sounds like something you could get into, plus you live in the UK and you’re willing to travel, please get in touch.