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Transcript for Sara Walker: Physics of Life, Time, Complexity, and Aliens | Lex Fridman Podcast #433

This is a transcript of Lex Fridman Podcast #433 with Sara Walker.
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Introduction

Sara Walker
(00:00:00)
You have an origin of life event. It evolves for 4 billion years, at least on our planet. It evolves a technosphere. The technologies themselves start having this property we call life, which is the phase we’re undergoing now. It solves the origin of itself and then it figures out how that process all works, understands how to make more life, and then can copy itself onto another planet so the whole structure can reproduce itself.
Lex Fridman
(00:00:26)
The following is a conversation with Sara Walker, her third time in this podcast. She is an astrobiologist and theoretical physicist interested in the origin of life and in discovering alien life on other worlds. She has written an amazing new upcoming book titled Life As No One Knows It, The Physics of Life’s Emergence. This book is coming out on August 6th, so please go pre-order it now. It will blow your mind. This is The Lex Fridman Podcast. To support it, please check out our sponsors in the description. And now, dear friends, here’s Sara Walker.

Definition of life


(00:01:07)
You open the book, Life As No One Knows It: The Physics of Life’s Emergence, with the distinction between the materialists and the vitalists. So what’s the difference? Can you maybe define the two?
Sara Walker
(00:01:20)
I think the question there is about whether life can be described in terms of matter and physical things, or whether there is some other feature that’s not physical that actually animates living things. So for a long time, people maybe have called that a soul. It’s been really hard to pin down what that is. So I think the vitalist idea is really that it’s a dualistic interpretation that there’s sort of the material properties, but there’s something else that animates life that is there when you’re alive and it’s not there when you’re dead. And materialists don’t think that there’s anything really special about the matter of life and the material substrates that life is made out of, so they disagree on some really fundamental points.
Lex Fridman
(00:02:10)
Is there a gray area between the two? Maybe all there is is matter, but there’s so much we don’t know that it might as well be magic. Whatever that magic that the vitalists see, meaning there’s just so much mystery that it’s really unfair to say that it’s boring and understood and as simple as “physics.”
Sara Walker
(00:02:35)
Yeah, I think the entire universe is just a giant mystery. I guess that’s what motivates me as a scientist. And so oftentimes, when I look at open problems like the nature of life or consciousness or what is intelligence or are there souls or whatever question that we have that we feel like we aren’t even on the tip of answering yet, I think we have a lot more work to do to really understand the answers to these questions. So it’s not magic, it’s just the unknown. And I think a lot of the history of humans coming to understand the world around us has been taking ideas that we once thought were magic or supernatural and really understanding them in a much deeper way that we learn what those things are. And they still have an air of mystery even when we understand them. There’s no bottom to our understanding.
Lex Fridman
(00:03:30)
So do you think the vitalists have a point that they’re more eager and able to notice the magic of life?
Sara Walker
(00:03:39)
I think that no tradition, vitalists included, is ever fully wrong about the nature of the things that they’re describing. So a lot of times when I look at different ways that people have described things across human history, across different cultures, there’s always a seed of truth in them. And I think it’s really important to try to look for those, because if there are narratives that humans have been telling ourselves for thousands of years, for thousands of generations, there must be some truth to them. We’ve been learning about reality for a really long time and we recognize the patterns that reality presents us. We don’t always understand what those patterns are, and so I think it’s really important to pay attention to that. So I don’t think the vitalists were actually wrong.

(00:04:21)
And a lot of what I talk about in the book, but also I think about a lot just professionally, is the nature of our definitions of what’s material and how science has come to invent the concept of matter. And that some of those things actually really are inventions that happened in a particular time in a particular technology that could learn about certain patterns and help us understand them, and that there are some patterns we still don’t understand. And if we knew how to measure those things or we knew how to describe them in a more rigorous way, we would realize that the material world matter has more properties than we thought that it did. One of those might be associated with the thing that we call life. Life could be a material property and still have a lot of the features that the vitalists thought were mysterious.
Lex Fridman
(00:05:12)
So we may still expand our understanding, what is incorporated in the category of matter, that will eventually incorporate such magical things that the vitalists have noticed, like life?
Sara Walker
(00:05:27)
Yeah. I always like to use examples from physics, so I’ll probably do that. It’s my go-to place. But in the history of gravitational physics, for example, in the history of motion, when Aristotle came up with his theories of motion, he did it by the material properties he thought things had. So there was a concept of things falling to earth because they were solid-like and things raising to the heavens because they were air-like and things moving around the planet because they were celestial-like. But then we came to realize that, thousands of years later and after the invention of many technologies that allowed us to actually measure time in a mechanistic way and track planetary motion and we could roll balls down inclined planes and track that progress, we realized that if we just talked about mass and acceleration, we could unify all motion in the universe in a really simple description.

(00:06:22)
So we didn’t really have to worry about the fact that my cup is heavy and the air is light. The same laws describe them if we have the right material properties to talk about what those laws are actually interacting with. And so I think the issue with life is we don’t know how to think about information in a material way, and so we haven’t been able to build a unified description of what life is or the kind of things that evolution builds because we haven’t really invented the right material concept yet.
Lex Fridman
(00:06:54)
So when talking about motion, the laws of physics appear to be the same everywhere out in the universe. You think the same is true for other kinds of matter that we might eventually include life in?
Sara Walker
(00:07:09)
I think life obeys universal principles. I think there is some deep underlying explanatory framework that will tell us about the nature of life in the universe and will allow us to identify life that we can’t yet recognize because it’s too different.
Lex Fridman
(00:07:28)
You’re right about the paradox of defining life. Why does it seem to be so easy and so complicated at the same time?
Sara Walker
(00:07:35)
All the classic definitions people want to use just don’t work. They don’t work in all cases. So Carl Sagan had this wonderful essay on definitions of life where I think he talks about aliens coming from another planet. If they saw earth, they might think that cars were the dominant life form because there are so many of them on our planet. Humans are inside them, and you might want to exclude machines. But any definition, classic biology textbook definitions, would also include them. He wanted to draw a boundary between these kind of things by trying to exclude them, but they were naturally included by the definitions people want to give. And in fact, what he ended up pointing out is that all of the definitions of life that we have, whether it’s life is a self-reproducing system or life eats to survive or life requires compartments, whatever it is, there’s always a counterexample that challenges that definition. This is why viruses are so hard or why fire is so hard. And so we’ve had a really hard time trying to pin down from a definitional perspective exactly what life is.
Lex Fridman
(00:08:42)
Yeah, you actually bring up the zombie-ant fungus. I enjoyed looking at this thing as an example of one of the challenges. You mentioned viruses, but this is a parasite. Look at that.
Sara Walker
(00:08:54)
Did you see this in the jungle?
Lex Fridman
(00:08:55)
Infects ants. Actually, one of the interesting things about the jungle, everything is ephemeral. Everything eats everything really quickly. So if an organism dies, that organism disappears. It’s a machine that doesn’t have… I wanted to say it doesn’t have a memory or a history, which is interesting given your work on history in defining a living being. The jungle forgets very quickly. It wants to erase the fact that you existed very quickly.
Sara Walker
(00:09:28)
Yeah, but it can’t erase it. It’s just restructuring it. And I think the other thing that is really vivid to me about this example that you’re giving is how much death is necessary for life. So I worry a bit about notions of immortality and whether immortality is a good thing or not. So I have a broad conception that life is the only thing the universe generates that actually has even the potential to be immortal, but that’s as the sort of process that you’re describing where life is about memory and historical contingency and construction of new possibilities. But when you look at any instance of life, especially one as dynamic as what you’re describing, it’s a constant birth and death process. But that birth and death process is the way that the universe can explore what possibilities can exist. And not everything, not every possible human or every possible ant or every possible zombie ant or every possible tree, will ever live. So it’s an incredibly dynamic and creative place because of all that death.
Lex Fridman
(00:10:36)
This is a parasite that needs the ant. So is this a living thing or is this not a living thing?
Sara Walker
(00:10:41)
Yeah.
Lex Fridman
(00:10:43)
It just pierces the ant.
Sara Walker
(00:10:43)
Right.
Lex Fridman
(00:10:46)
And I’ve seen a lot of this, by the way. Organisms working together in the jungle, like ants protecting a delicious piece of fruit. They need the fruit, but if you touch that fruit, the forces emerge. They’re fighting you. They’re defending that fruit to the death. Nature seems to find mutual benefits, right?
Sara Walker
(00:11:09)
Yeah, it does. I think the thing that’s perplexing for me about these kind of examples is effectively the ant’s dead, but it’s staying alive now because piloted by this fungus. And so that gets back to this thing that we’re talking about a few minutes ago about how the boundary of life is really hard to define. So anytime that you want to draw a boundary around something and you say, “This feature is the thing that makes this alive, or this thing is alive on its own,” there’s not ever really a clear boundary. And these kind of examples are really good at showing that because it’s like the thing that you would’ve thought is the living organism is now dead, except that it has another living organism that’s piloting it. So the two of them together are alive in some sense, but they’re now in this weird symbiotic relationship that’s taking this ant to its death.
Lex Fridman
(00:11:59)
So what do you do with that in terms of when you try to define life?
Sara Walker
(00:12:02)
I think we have to get rid of the notion of an individual as being relevant. And this is really difficult because a lot of the ways that we think about life, like the fundamental unit of life is the cell, individuals are alive, but we don’t think about how gray that distinction is. So for example, you might consider self-reproduction to be the most defining feature of life. A lot of people do, actually. That’s one of these standard different definitions that a lot of people in my field like to use in astrobiology is life as a self-sustaining chemical system capable of Darwinian evolution, which I was once quoted as agreeing with, and I was really offended because I hate that definition. I think it’s terrible, and I think it’s terrible that people use it. I think every word in that definition is actually wrong as a descriptor of life.
Lex Fridman
(00:12:52)
Life is a self-sustaining chemical system capable of Darwinian evolution. Why is that? That seems like a pretty good definition.
Sara Walker
(00:12:58)
I know. If you want to make me angry, you can pretend I said that and believed it.
Lex Fridman
(00:13:02)
So self-sustaining, chemical system, Darwinian evolution. What is self-sustaining? What’s so frustrating? Which aspect is frustrating to you, but it’s also those are very interesting words.
Sara Walker
(00:13:15)
Yeah, they’re all interesting words and together they sound really smart and they sound like they box in what life is. But you can use any of the words individually and you can come up with counterexamples that don’t fulfill that property. The self-sustaining one is really interesting, thinking about humans. We’re not self-sustaining dependent on societies. And so I find it paradoxical that it might be that societies, because they’re self-sustaining units, are now more alive than individuals are. And that could be the case, but I still think we have some property associated with life. That’s the thing that we’re trying to describe, so that one’s quite hard. And in general, no organism is really self-sustaining. They always require an environment, so being self-sustaining is coupled in some sense to the world around you. We don’t live in a vacuum, so that part’s already challenging.

(00:14:10)
And then you can go to chemical system. I don’t think that’s good either. I think there’s a confusion because life emerges in chemistry that life is chemical. I don’t think life is chemical. I think life emerges in chemistry because chemistry is the first thing the universe builds where it cannot exhaust all the possibilities, because the combinatorial space of chemistry is too large.
Lex Fridman
(00:14:33)
Well, but is it possible to have a life that is not a chemical system?
Sara Walker
(00:14:36)
Yes.
Lex Fridman
(00:14:37)
Well, there’s a guy I know named Lee Cronin who’s been on a podcast a couple of times who just got really pissed off listening to this.
Sara Walker
(00:14:37)
I know. What a coincidence.
Lex Fridman
(00:14:44)
He probably just got really pissed off hearing that. For people who somehow don’t know, he’s a chemist.
Sara Walker
(00:14:49)
Yeah, but he would agree with that statement.
Lex Fridman
(00:14:51)
Would he? I don’t think he would. He would broaden the definition of chemistry until it’ll include everything.
Sara Walker
(00:14:58)
Oh, sure.
Lex Fridman
(00:14:59)
Okay.
Sara Walker
(00:14:59)
Or maybe, I don’t know.
Lex Fridman
(00:15:01)
But wait, but you said that universe, the first thing it creates is chemistry.
Sara Walker
(00:15:05)
Very precisely. It’s not the first thing it creates. Obviously, it has to make atoms first, but it’s the first thing. If you think about the universe originated, atoms were made in Big Bang nuclear synthesis, and then later in stars. And then planets formed and planets become engines of chemistry. They start exploring what kind of chemistry is possible. And the combinatorial space of chemistry is so large that even on every planet in the entire universe, you will never express every possible molecule. I like this example actually that Lee gave me, which is to think about Taxol. It has a molecular weight of about 853. It’s got a lot of atoms, but it’s not astronomically large. And if you try to make one molecule with that molecular formula and every three-dimensional shape you could make with that molecular formula, it would fill 1.5 universes in volume with one unique molecule. That’s just one molecule.

(00:16:09)
So chemical space is huge, and I think it’s really important to recognize that because if you want to ask a question of why does life emerge in chemistry, well, life emerges in chemistry because life is the physics of how the universe selects what gets to exist. And those things get created along historically contingent pathways and memory and all the other stuff that we can talk about, but the universe has to actually make historically contingent choices in chemistry because it can’t exhaust all possible molecules.
Lex Fridman
(00:16:38)
What kind of things can you create that’s outside the combinatorial space of chemistry? That’s what I’m trying to understand.
Sara Walker
(00:16:45)
Oh, if it’s not chemical. So I think some of the things that have evolved on our biosphere I would call as much alive as chemistry, as a cell, but they seem much more abstract. So for example, I think language is alive, or at least life. I think memes are. I think-
Lex Fridman
(00:17:06)
You’re saying language is life?
Sara Walker
(00:17:07)
Yes.
Lex Fridman
(00:17:07)
Language is alive. Oh boy, I’m going to have to explore that one.
Sara Walker
(00:17:12)
Life maybe. Maybe not alive, but actually I don’t know where I stand exactly on that. I’ve been thinking about that a little bit more lately. But mathematics too, and it’s interesting because people think that math has this Platonic reality that exists outside of our universe, and I think it’s a feature of our biosphere and it’s telling us something about the structure of ourselves. And I find that really interesting because when you would internalize all of these things that we noticed about the world, and you start asking, well, what do these look like? If I was something outside of myself observing these systems that all embedded in, what would that structure look like? And I think we look really different than the way that we talk about what we look like to each other.
Lex Fridman
(00:17:57)
What do you think a living organism in math is? Is it one axiomatic system or is it individual theorems or is it individual steps of-
Sara Walker
(00:18:05)
I think it’s the fact that it’s open-ended in some sense. It’s another open-ended combinatorial space, and the recursive properties of it allow creativity to happen, which is what you see with the revolution in the last century with Gödel’s Theorem and Turing. And there’s clear places where mathematics notices holes in the universe.
Lex Fridman
(00:18:32)
So it seems like you’re sneaking up on a different kind of definition of life. Open-ended, large combinatorial space.
Sara Walker
(00:18:39)
Yeah.
Lex Fridman
(00:18:40)
Room for creativity.
Sara Walker
(00:18:41)
Definitely not chemical. Chemistry is one substrate.
Lex Fridman
(00:18:45)
Restricted to chemical. What about the third thing, which I think will be the hardest because you probably like it the most, is evolution or selection.
Sara Walker
(00:18:54)
Well, specifically it’s Darwinian evolution. And I think Darwinian evolution is a problem. But the reason that that definition is a problem is not because evolution is in the definition, but because the implication that most people would want to make is that an individual is alive. And the evolutionary process, at least the Darwinian evolutionary process, most evolutionary processes, they don’t happen at the level of individuals. They happen at the level of population. So again, you would be saying something like what we saw with the self-sustaining definition, which is that populations are alive, but individuals aren’t because populations evolve and individuals don’t. And obviously maybe you are alive because your gut microbiome is evolving. But Lex is an entity right now is not evolving by canonical theories of evolution. In assembly theory, which is attempting to explain life, evolution is a much broader thing.
Lex Fridman
(00:19:49)
So an individual organism can evolve under assembly theory?
Sara Walker
(00:19:54)
Yes, you’re constructing yourself all the time. Assembly theory is about construction and how the universe selects for things to exist.
Lex Fridman
(00:20:01)
What if you reformulate everything like a population is a living organism?
Sara Walker
(00:20:04)
That’s fine too. But this again gets back to it. We can nitpick at definitions. I don’t think it’s incredibly helpful to do it. But the reason for me-
Lex Fridman
(00:20:04)
It’s fun.
Sara Walker
(00:20:16)
Yeah, it is fun. It is really fun. And actually I do think it’s useful in the sense that when you see the ways that they all break down, you either have to keep forcing in your conception of life you want to have, or you have to say, “All these definitions are breaking down for a reason. Maybe I should adopt a more expansive definition that encompasses all the things that I think and are life.” And so for me, I think life is the process of how information structures matter over time and space, and an example of life is what emerges on a planet and yields an open-ended cascade of generation of structure and increasing complexity. And this is the thing that life is. And any individual is just a particular instance of these lineages that are structured across time.

(00:21:08)
And so we focus so much on these individuals that are these short temporal moments in this larger causal structure that actually is the life on our planet, and I think that’s why these definitions break down because they’re not general enough, they’re not universal enough, they’re not deep enough, they’re not abstract enough to actually capture that regularity.
Lex Fridman
(00:21:28)
Because we’re focused on that little ephemeral thing and call it human life?
Sara Walker
(00:21:32)
Yeah. It’s like Aristotle focusing on heavy things falling because they’re earth-like, and things floating because they’re air-like. It’s the wrong thing to focus on.

Time and space

Lex Fridman
(00:21:45)
What exactly are we missing by focusing on such a short span of time?
Sara Walker
(00:21:50)
I think we’re missing most of what we are. One of the issues… I’ve been thinking about this really viscerally lately. It’s weird when you do theoretical physics, because I think it literally changes the structure of your brain and you see the world differently, especially when you’re trying to build new abstractions.
Lex Fridman
(00:22:05)
Do you think it’s possible if you’re a theoretical physicist, that it’s easy to fall off the cliff and descend into madness?
Sara Walker
(00:22:13)
I think you’re always on the edge of it, but I think what is amazing about being a scientist and trying to do things rigorously is it keeps your sanity. So I think if I wasn’t a theoretical physicist, I would be probably not sane. But what it forces you to do is you have to hold yourself to the fire of these abstractions in my mind have to really correspond to reality. And I have to really test that all the time. And so I love building new abstractions and I love going to those incredibly creative spaces that people don’t see as part of the way that we understand the world now. But ultimately, I have to make sure that whatever I’m pulling from that space is something that’s really usable and really relates to the world outside of me. That’s what science is.
Lex Fridman
(00:23:01)
So we were talking about what we’re missing when we look at a small stretch of time in a small stretch of space.
Sara Walker
(00:23:09)
Yeah, so the issue is we evolve perception to see reality a certain way. So for us, space is really important and time feels fleeting. And I had a really wonderful mentor, Paul Davies, most of my career. And Paul’s amazing because he gives these little seed thought experiments all the time. Something he used to ask me all the time was when I was a postdoc, this is a random tangent, but was how much of the universe could be converted into technology if you were thinking about long-term futures and stuff like that. And it’s a weird thought experiment, but there’s a lot of deep things there. And I do think a lot about the fact that we’re really limited in our interactions with reality by the particular architectures that we evolved, and so we’re not seeing everything. And in fact, our technology tells us this all the time because it allows us to see the world in new ways by basically allowing us to perceive the world in ways that we couldn’t otherwise.

(00:24:05)
And so what I’m getting at with this is I think that living objects are actually huge. They’re some of the biggest structures in the universe, but they are not big in space. They’re big in time. And we actually can’t resolve that feature. We don’t interact with it on a regular basis, so we see them as these fleeting things that have this really short temporal clock time without seeing how large they are. When I’m saying time here, really, the way that people could picture it is in terms of causal structure. So if you think about the history of the universe to get to you and you imagine that that entire history is you, that is the picture I have in my mind when I look at every living thing.
Lex Fridman
(00:24:52)
You have a tweet for everything. You tweeted-
Sara Walker
(00:24:53)
Doesn’t everyone?
Lex Fridman
(00:24:54)
You have a lot of poetic, profound tweets. Sometimes-
Sara Walker
(00:24:58)
Thank you.
Lex Fridman
(00:24:59)
… they’re puzzles that take a long time to figure out.
Sara Walker
(00:25:04)
Well, you know what it is? The reason they’re hard to write is because it’s compressing a very deep idea into a short amount of space, and I really like doing that intellectual exercise because I find it productive for me.
Lex Fridman
(00:25:13)
Yeah, it’s a very interesting kind of compression algorithm though.
Sara Walker
(00:25:18)
Yeah, I like language. I think it’s really fun to play with.
Lex Fridman
(00:25:20)
Yeah, I wonder if AI can decompress it. That’d be an interesting challenge.
Sara Walker
(00:25:25)
I would like to try this, but I think I use language in certain ways that are non-canonical and I do it very purposefully. And it would be interesting to me how AI would interpret it.
Lex Fridman
(00:25:35)
Yeah, your tweets would be a good Turing Test for super intelligence. Anyway, you tweeted that things only look emergent because we can’t see time. So if we could see time, what would the world look like? You’re saying you’ll be able to see everything that an object has been, every step of the way that led to this current moment, and all the interactions that require to make that evolution happen. You would see this gigantic tail.
Sara Walker
(00:26:11)
The universe is far larger in time than it is in space, and this planet is one of the biggest things in the universe.
Lex Fridman
(00:26:21)
So the more complexity, the bigger the object-
Sara Walker
(00:26:25)
Yeah, I think the modern technosphere is the largest object in time in the universe that we know about.
Lex Fridman
(00:26:33)
And when you say technosphere, what do you mean?
Sara Walker
(00:26:36)
I mean the global integration of life and technology on this planet.
Lex Fridman
(00:26:41)
So all the technological things we’ve created?
Sara Walker
(00:26:44)
But I don’t think of them as separate. They’re very integrated with the structure that generated them. So you can almost imagine it like time is constantly bifurcating and it’s generating new structures, and these new structures are locally constructing the future. And so things like you and I are very close together in time because we didn’t diverge very early in the history of universe. It’s very recent. And I think this is one of the reasons that we can understand each other so well and we can communicate effectively, and I might have some sense of what it feels like to be you. But other organisms bifurcated from us in time earlier. This is just the concept of phylogeny. But if you take that deeper and you really think about that as the structure of the physics that generates life and you take that very seriously, all of that causation is still bundled up in the objects we observe today.

(00:27:42)
And so you and I are close in this temporal structure, but we’re so close because we’re really big and we only are very different and the most recent moments in the time that’s embedded in us. It’s hard to use words to visualize what’s in minds. I have such a hard time with this sometimes. Actually, I was thinking on the way over here, I was like, you have pictures in your brain and then they’re hard to put into words. But I realized I always say I have a visual, but it’s not actually I have a visual. I have a feeling, because oftentimes I cannot actually draw a picture in my mind for the things that I say, but sometimes they go through a picture before they get to words. But I like experimenting with words because I think they help paint pictures.
Lex Fridman
(00:28:33)
It’s, again, some kind of compressed feeling that you can query to get a sense of the bigger visualization that you have in mind. It’s just a really nice compression. But I think the idea of this object that in it contains all the information about the history of an entity that you see now, just trying to visualize that is pretty cool. Obviously, the mind breaks down quickly as you step seconds and minutes back in time.
Sara Walker
(00:29:05)
Yeah, for sure.
Lex Fridman
(00:29:08)
I guess it’s just a gigantic object we’re supposed to be thinking about.
Sara Walker
(00:29:15)
Yeah, I think so. And I think this is one of the reasons that we have such an ability to abstract as humans because we are so gigantic that the space that we can go back into is really large. So the more abstract you’re going, the deeper you’re going in that space.
Lex Fridman
(00:29:29)
But in that sense, aren’t we fundamentally all connected?
Sara Walker
(00:29:33)
Yes. And this is why the definition of life cannot be the individual. It has to be these lineages because they’re all connected, they’re interwoven, and they’re exchanging parts all the time.
Lex Fridman
(00:29:42)
Yeah, so maybe there are certain aspects of those lineages that can be lifelike. They can be characteristics. They can be measured with the sunbeam theory that have more or less life, but they’re all just fingertips of a much bigger object.
Sara Walker
(00:29:57)
Yeah, I think life is very high dimensional. In fact, I think you can be alive in some dimensions and not in others. If you could project all the causation that’s in you, in some features of you, very little causation is required, very little history. And in some features, a lot is. So it’s quite difficult to take this really high-dimensional, very deep structure and project it into things that we really can understand and say, “This is the one thing that we’re seeing,” because it’s not one thing.
Lex Fridman
(00:30:33)
It’s funny we’re talking about this now and I’m slowly starting to realize, one of the things I saw when I took Ayahuasca, afterwards actually, so the actual ceremony is four or five hours, but afterwards you’re still riding whatever the thing that you’re riding. And I got a chance to afterwards hang out with some friends and just shoot the shit in the forest, and I could see their faces. And what was happening with their faces and their hair is I would get this interesting effect. First of all, everything was beautiful and I just had so much love for everybody, but I could see their past selves behind them. I guess it’s a blurring effect of where if I move like this, the faces that were just there are still there and it would just float like this behind them, which will create this incredible effect. But another way to think about that is I’m visualizing a little bit of that object of the thing they were just a few seconds ago. It’s a cool little effect.
Sara Walker
(00:31:46)
That’s very cool.
Lex Fridman
(00:31:49)
And now it’s giving it a bit more profundity to the effect that was just beautiful aesthetically, but it’s also beautiful from a physics perspective because that is a past self. I get a little glimpse at the past selves that they were. But then you take that to its natural conclusion, not just a few seconds ago, but just to the beginning of the universe. And you could probably get to that-
Sara Walker
(00:31:49)
Billions of years, yeah.
Lex Fridman
(00:32:15)
… get down that lineage.
Sara Walker
(00:32:17)
It’s crazy that there’s billions of years inside of all of us.
Lex Fridman
(00:32:21)
All of us. And then we connect obviously not too long ago.

Technosphere

Sara Walker
(00:32:25)
Yeah.
Lex Fridman
(00:32:27)
You mentioned just the technosphere, and you also wrote that the most, the live thing on this planet is our technosphere. Why is the technology we create a kind of life form? Why are you seeing it as life?
Sara Walker
(00:32:39)
Because it’s creative. But with us, obviously. Not independently of us. And also because of this lineage view of life. And I think about life often as a planetary scale phenomena because the natural boundary for all of this causation that’s bundled in every object in our biosphere. And so for me, it’s just the current boundary of how far life on our planet has pushed into the things that our universe can generate, and so it’s the furthest thing, it’s the biggest thing. And I think a lot about the nature of life across different scales. And so we have cells inside of us that are alive and we feel like we’re alive, but we don’t often think about the societies that we’re embedded in as alive or a global- scale organization of us in our technology on the planet as alive. But I think if you have this deeper view into the nature of life, which I think is necessary also to solve the origin of life, then you have to include those things.
Lex Fridman
(00:33:47)
All of them, so you have to simultaneously think about-
Sara Walker
(00:33:50)
Every scale.
Lex Fridman
(00:33:50)
… life at every single scale.
Sara Walker
(00:33:52)
Yeah.
Lex Fridman
(00:33:53)
The planetary and the bacteria level.
Sara Walker
(00:33:55)
Yeah. This is the hard thing about solving the problem of life, I think, is how many things you have to integrate into building a sort of unified picture of this thing that we want to call life. And a lot of our theories of physics are built on building deep regularities that explain a really broad class of phenomena, and I think we haven’t really traditionally thought about life that way. But I think to get at some of these hardest questions like looking for life on other planets or the origin of life, you really have to think about it that way. And so most of my professional work is just trying to understand every single thing on this planet that might be an example of life, which is pretty much everything, and then trying to figure out what’s the deeper structure underlying that.
Lex Fridman
(00:34:40)
Yeah. Schrodinger wrote that living matter, while not eluding the laws of physics as established up to date, is likely to involve other laws of physics hitherto unknown. So to him-
Sara Walker
(00:34:54)
I love that quote.
Lex Fridman
(00:34:55)
… there was a sense that at the bottom of this, there are new laws of physics that could explain this thing that we call-
Lex Fridman
(00:35:00)
… new laws of physics that could explain this thing that we call life.
Sara Walker
(00:35:04)
Yeah. Schrodinger really tried to do what physicists try to do, which is explain things. And his attempt was to try to explain life in terms of non-equilibrium physics, because he thought that was the best description that we could generate at the time. And so he did come up with something really insightful, which was to predict the structure of DNA as an aperiodic crystal. And that was for a very precise reason, that was the only kind of physical structure that could encode enough information to actually specify a cell. We knew some things about genes, but not about DNA and its actual structure when he proposed that. But in the book, he tried to explain life is kind of going against entropy. And so some people have talked about it as like Schrodinger’s paradox, how can life persist when the second law of thermodynamics is there? But in open systems, that’s not so problematic.

(00:36:02)
And really the question is, why can life generate so much order? And we don’t have a physics to describe that. And it’s interesting, generations of physicists have thought about this problem. Oftentimes, it’s like when people are retiring, they’re like, “Oh, now I can work on life.” Or they’re more senior in their career and they’ve worked on other more traditional problems. And there’s still a lot of impetus in the physics community to think that non-equilibrium physics will explain life. But I think that’s not the right approach. I don’t think ultimately the solution to what life is there, and I don’t really think entropy has much to do with it unless it’s entirely reformulated.
Lex Fridman
(00:36:42)
Well, because you have to explain how interesting order, how complexity emerges from the soup.
Sara Walker
(00:36:47)
Yes. From randomness.
Lex Fridman
(00:36:48)
From randomness. Physics currently can’t do that.

Theory of everything

Sara Walker
(00:36:52)
No. Physics hardly even acknowledges that the universe is random at its base. We like to think we live in a deterministic universe and everything’s deterministic. But I think that’s probably an artifact of the way that we’ve written down laws of physics since Newton invented modern physics and his conception of motion and gravity, which he formulated laws that had initial conditions and fixed dynamical laws. And that’s been sort of become the standard canon of how people think the universe works and how we need to describe any physical system is with an initial condition in a law of motion. And I think that’s not actually the way the universe really works. I think it’s a good approximation for the kind of systems that physicists have studied so far.

(00:37:39)
And I think it will radically fail in the longterm at describing reality at its more basal levels. But I’m not saying there’s a base, I don’t think that reality has a ground, and I don’t think there’s a theory of everything, but I think there are better theories, and I think there are more explanatory theories, and I think we can get to something that explains much more than the current laws of physics do.
Lex Fridman
(00:38:02)
When you say theory of everything, you mean everything, everything?
Sara Walker
(00:38:06)
Yeah. In physics right now, it’s really popular to talk about theories of everything. So string theory is supposed to be a theory of everything because it unifies quantum mechanics and gravity. And people have their different pet theories of everything. And the challenge with the theory of everything, I really love this quote from David Krakauer, which is, “A theory of everything is a theory of everything except those things that theorize.”
Lex Fridman
(00:38:30)
Oh, you mean removing the observer from the thing?
Sara Walker
(00:38:31)
Yeah. But it’s also weird because if a theory of everything explained everything, it should also explain the theory. So the theory has to be recursive and none of our theories of physics are recursive. So it’s a weird concept.
Lex Fridman
(00:38:45)
But it’s very difficult to integrate the observer into a theory.
Sara Walker
(00:38:47)
I don’t think so. I think you can build a theory acknowledging that you’re an observer inside the universe.
Lex Fridman
(00:38:52)
But doesn’t it become recursive in that way? And you saying it’s possible to make a theory that’s okay with that?
Sara Walker
(00:39:01)
I think so. I mean, I don’t think… There’s always going to be the paradox of another meta level you could build on the meta level. So if you assume this is your universe and you’re observe outside of it, you have some meta description of that universe, but then you need a meta description of you describing that universe. So this is one of the biggest challenges that we face being observers inside our universe. And also, why the paradoxes and the foundations of mathematics and any place that we try to have observers in the system or a system describing itself show up. But I think it is possible to build a physics that builds in those things intrinsically without having them be paradoxical or have holes in the descriptions. And so one place I think about this quite a lot, which I think can give you sort of a more concrete example, is the nature of what we call fundamental.

(00:39:54)
So we typically define fundamental right now in terms of the smallest indivisible units of matter. So again, you have to have a definition of what you think material is and matter is, but right now what’s fundamental are elementary particles. And we think they’re fundamental because we can’t break them apart further. And obviously, we have theories like string theory that if they’re right would replace the current description of what’s the most fundamental thing in our universe by replacing with something smaller. But we can’t get to those theories because we’re technologically limited. And so if you look at this from a historical perspective and you think about explanations changing as physical systems like us learn more about the reality in which they live, we once considered atoms to be the most fundamental thing. And it literally comes from the word indivisible. And then we realized atoms had substructure because we built better technology, which allowed us to “See the world better” and resolve smaller features of it.

(00:40:58)
And then we built even better technology, which allowed us to see even smaller structure and get down to the standard model particles. And we think that there might be structure below that, but we can’t get there yet with our technology. So what’s fundamental, the way we talk about it in current physics is not actually fundamental, it’s the boundaries of what we can observe in our universe, what we can see with our technology. And so if you want to build a theory that’s about us and about what’s inside the universe that we can observe, not what’s at the boundary of it, you need to talk about objects that are in the universe that you can actually break apart to smaller things. So I think the things that are fundamental are actually the constructed objects.

(00:41:45)
They’re the ones that really exist, and you really understand their properties because you know how the universe constructed them because you can actually take them apart. You can understand the intrinsic laws that built them. But the things that the boundary are just at the boundary, they’re evolving with us, and we’ll learn more about that structure as we go along. But really, if we want to talk about what’s fundamental inside our universe, we have to talk about all these things that are traditionally considered emergent, but really just structures in time that have causal histories that constructed them and are really actually what our universe is about.
Lex Fridman
(00:42:17)
So we should focus on the construction methodology as the fundamental thing. Do you think there’s a bottom to the smallest possible thing that makes up the universe?
Sara Walker
(00:42:27)
I don’t see one.
Lex Fridman
(00:42:30)
It’ll take way too long. It’ll take longer to find that than it will to understand the mechanism that created life.
Sara Walker
(00:42:36)
I think so, yeah. I think for me, the frontier in modern physics, where the new physics lies is not in high energy particle physics, it’s not in quantum gravity, it’s not in any of these sort of traditionally sold, “This is going to be the newest deepest insight we have into the nature of reality.” It is going to be in studying the problems of life and intelligence and the things that are sort of also our current existential crises as a civilization or a culture that’s going through an existential trauma of inventing technologies that we don’t understand right now.
Lex Fridman
(00:43:09)
The existential trauma and the terror we feel that that technology might somehow destroy us, us meaning living intelligently with organisms, and yet we don’t understand what that even means.
Sara Walker
(00:43:20)
Well, humans have always been afraid of our technologies though. So it’s kind of a fascinating thing that every time we invent something we don’t understand, it takes us a little while to catch up with it.
Lex Fridman
(00:43:29)
I think also in part, humans kind of love being afraid.
Sara Walker
(00:43:33)
Yeah, we love being traumatized.
Lex Fridman
(00:43:36)
It’s weird, the trauma-
Sara Walker
(00:43:36)
We want to learn more, and then when we learn more, it traumatizes us. I never thought about this before, but I think this is one of the reasons I love what I do, is because it traumatizes me all the time. That sounds really bad. But what I mean is I love the shock of realizing that coming to understand something in a way that you never understood it before. I think it seems to me when I see a lot of the ways other people react to new ideas that they don’t feel that way intrinsically. But for me, that’s why I do what I do. I love that feeling.
Lex Fridman
(00:44:08)
But you’re also working on a topic where it’s fundamentally ego destroying, is you’re talking about life. It’s humbling to think that we’re not… The individual human is not special. And you’re very viscerally exploring that.
Sara Walker
(00:44:27)
Yeah. I’m trying to embody that. Because I think you have to live the physics to understand it. But there’s a great quote about Einstein. I don’t know if this is true or not, that he once said that he could feel like beam in his belly. But I think you got to think about it though, right? If you’re really deep thinker and you’re really thinking about reality that deeply and you are part of the reality that you’re trying to describe, you feel it, you really feel it.
Lex Fridman
(00:44:54)
That’s what I was saying about, you’re always walking along the cliff. If you fall off, you’re falling into madness.
Sara Walker
(00:45:01)
Yes. It’s a constant descent into madness.
Lex Fridman
(00:45:05)
The fascinating thing about physicists and madness is that you don’t know if you’ve fallen off the cliff.
Sara Walker
(00:45:10)
Yeah, you don’t don’t know.
Lex Fridman
(00:45:10)
That’s the cool thing about it.
Sara Walker
(00:45:13)
I rely on other people to tell me. Actually, this is very funny. Because I have these conversations with my students often, they’re worried about going crazy. I have to reassure them that one of the reasons they’ll stay sane is by trying to work on concrete problems.
Lex Fridman
(00:45:28)
I’m going crazy or waking up. I don’t know which one it is.
Sara Walker
(00:45:28)
Yeah.

Origin of life

Lex Fridman
(00:45:34)
So what do you think is the origin of life on earth and how can we talk about it in a productive way?
Sara Walker
(00:45:40)
The origin of life is like this boundary that the universe can only cross if a structure that emerges can reinforce its own existence, which is self-reproduction, autocatalysis, things people traditionally talk about. But it has to be able to maintain its own existence against this sort of randomness that happens in chemistry, and this randomness that happens in the quantum world. And it’s in some sense the emergence of a deterministic structure that says, “I’m going to exist and I’m going to keep going.” But pinning that down is really hard. We have ways of thinking about it in assembly theory that I think are pretty rigorous. And one of the things I’m really excited about is trying to actually quantify in an assembly theoretic way when the origin of life happens. But the basic process I have in mind is a system that has no causal contingency, no constraints of objects, basically constraining the existence of other objects or forming or allowing the existence of other objects.

(00:46:45)
And so that sounds very abstract, but you can just think of a chemical reaction can’t happen if there’s not a catalyst, for example. Or a baby can’t be born if there wasn’t a parent. So there’s a lot of causal contingency that’s necessary for certain things to happen. So you think about this sort of unconstrained random system, there’s nothing that reinforces the existence of other things. So those sort of resources just get washed out in all of these different structures and none of them exist again, or they’re not very complicated if they’re in high abundance.

(00:47:21)
And some random events allow some things to start reinforcing the existence of a small subset of objects. And if they can do that, just molecules basically recognizing each other and being able to catalyze certain reactions. There’s this kind of transition point that happens where, unless you get a self-reinforcing structure, something that can maintain its own existence, it actually can’t cross this boundary to make any objects in high abundance without having this sort of past history that it’s carrying with us and maintaining the existence of that past history. And that boundary point where objects can’t exist unless they have the selection and history in them, is what we call the origin of life.

(00:48:09)
And pretty much everything beyond that boundary is holding on for dear life to all of the causation and causal structure that’s basically put it there, and it’s carving its way through this possibility space into generating more and more structure. And that’s when you get the open-ended cascade of evolution. But that boundary point is really hard to cross. And then what happens when you cross that boundary point and the way objects come into existence is also really fascinating dynamics, because as things become more complex, the assembly index increases. I can explain all these things. Sorry. You can tell me what you want to explain or what people will want to hear. This… Sorry, I have a very vivid visual in my brain and it’s really hard to articulate it.
Lex Fridman
(00:48:55)
Got to convert it to language.
Sara Walker
(00:48:58)
I know. It’s so hard. It’s like it’s going from a feeling to a visual to language is so stifling sometimes.
Lex Fridman
(00:49:03)
I have to convert it from language to a visual to a feeling. I think it’s working.
Sara Walker
(00:49:11)
I hope so.
Lex Fridman
(00:49:12)
I really like the self-reinforcement of the objects. Just so I understand, one way to create a lot of the same kind of object is make the self-reinforcing?
Sara Walker
(00:49:24)
Yes. So self-reproduction has this property. If the system can make itself, then it can persist in time because all objects decay, they all have a finite lifetime. So if you’re able to make a copy of your self before you die, before the second law eats you or whatever people think happens, then that structure can persist in time.
Lex Fridman
(00:49:47)
So that’s a way to sort of emerge out of a random soup, out of the randomness of soup.
Sara Walker
(00:49:52)
Right. But things that can copy themselves are very rare.
Lex Fridman
(00:49:55)
Yeah, very.
Sara Walker
(00:49:56)
And so what ends up happening is that you get structures that enable the existence of other things, and then somehow only for some sets of objects, you get closed structures that are self-reinforcing and allow that entire structure to persist.
Lex Fridman
(00:50:16)
So the object A reinforces the existence of object B, but object A can die. So you have to close that loop?
Sara Walker
(00:50:27)
Right. So this is the classic-
Lex Fridman
(00:50:29)
It’s all very unlikely statistically, but that’s sufficiently… So you’re saying there’s a chance?
Sara Walker
(00:50:29)
There is a chance.
Lex Fridman
(00:50:38)
It’s low probability, but once you solve that, once you close the loop, you can create a lot of those objects?
Sara Walker
(00:50:44)
And that’s what we’re trying to figure out, is what are the causal constraints that close the loop? So there is this idea that’s been in the literature for a really long time that was originally proposed by Stuart Kauffman as really critical to the origin life called, autocatalytic sets. So autocatalytic set is exactly this property we have A makes B, B makes C, C makes A, and you get a closed system. But the problem with the theory of autocatalytic sets is incredibly brittle as a theory and it requires a lot of ad hoc assumptions. You have to assume function, you have to say this thing makes B. It’s not an emergent property, the association between A and B. And so the way I think about it is much more general. If you think about these histories that make objects, it’s kind of like the structure of the histories becomes, collapses in such a way that these things are all in the same sort of causal structure, and that causal structure actually loops back on itself to be able to generate some of the things that make the higher level structures.

(00:51:43)
Lee has a beautiful example of this actually in molybdenum. It’s like the first non-organic autocatalytic set. It’s a self-reproducing molybdenum ring. But it’s like molybdenum. And basically if you look at the molybdenum, it makes a huge molybdenum ring. I don’t remember exactly how big it is. It might be like 150 molybdenum atoms or something. But if you think about the configuration space of that object, it’s exponentially large how many possible molecules. So why does the entire system collapse on just making that one structure? If you start from molybdenum atoms that are maybe just a couple of them stuck together. And so what they see in this system is there’s a few intermediate stages. So there’s some random events where the chemistry comes together and makes these structures. And then once you get to this very large one, it becomes a template for the smaller ones. And then the whole system just reinforces its own production.
Lex Fridman
(00:52:42)
How did Lee find this molybdenum closed loop?
Sara Walker
(00:52:42)
If I knew how Lee’s brain work, I think I would understand a more about the universe. But I-
Lex Fridman
(00:52:42)
This is not an algorithm with discovery, it’s a-
Sara Walker
(00:52:46)
No, but I think it goes to the deepest roots of when he started thinking about origins of life. So I mean, I don’t know all his history, but what he’s told me is he started out in crystallography. And there’s some things that he would just… People would just take for granted about chemical structures that he was deeply perplexed about. Just like why are these really intricate, really complex structures forming so easily under these conditions? And he was really interested in life, but he started in that field. So he’s just carried with him these sort of deep insights from these systems that seem like they’re totally not alive and just like these metallic chemistries into actually thinking about the deep principles of life. So I think he already knew a lot about that chemistry. And he also, assembly theory came from him thinking about how these systems work. So he had some intuition about what was going on with this molybdenum ring.
Lex Fridman
(00:53:53)
The molybdenum might be able to be the thing that makes a ring?
Sara Walker
(00:53:58)
They knew about them for a long time, but they didn’t know that the mechanism of why that particular structure form was all catalytic feedback. And so that’s what they figured out in this paper. And I actually think that paper is revealing some of the mechanism of the origin life transition. Because really what you see the origin of life is basically like you should have a combinatorial explosion of the space of possible structures that are too large to exhaust. And yet you see it collapse on this really small space of possibilities that’s mutually reinforcing itself to keep existing. That is the origin of life.
Lex Fridman
(00:54:34)
There’s some set of structures that result in this autocatalytic feedback.
Sara Walker
(00:54:40)
Yeah.
Lex Fridman
(00:54:41)
And what is it? Tiny, tiny, tiny, tiny percent?
Sara Walker
(00:54:44)
I think it’s a small space, but chemistry is very large. So there might be a lot of them out there, but we don’t know.
Lex Fridman
(00:54:53)
And one of them is the thing that probably started life on earth?
Sara Walker
(00:54:56)
That’s right.
Lex Fridman
(00:54:57)
Many, many starts and it keeps starting maybe.
Sara Walker
(00:55:00)
Yes. Yeah. I mean, there’s also all kinds of other weird properties that happen around this kind of phase boundary. So this other project that I have in my lab is focused on the origin of chirality, which is thinking about… So chirality is this property molecules that they can come in mirror image forms. So just like chirality means hand. So your left and right hand are what’s called non-superimposable, because if you try to lay one on the other, you can’t actually lay them directly on top of each other. And that’s the property being a mirror image. So there’s this sort of perplexing property of the chemistry of life that no one’s been able to really adequately explain, that all of the amino acids in proteins are left-handed and all of the bases in RNA and DNA are right-handed. And yet the chemistry of these building block units, amino acids and nucleobases is the same for left.

(00:55:56)
And so you have to have some kind of symmetry breaking where you go from these chemistries that seem entirely equivalent, to only having one chemistry takeover is the dominant form. And for a long time, I had been really… I actually did my PhD on the origin of chirality. I was working on it as a symmetry breaking problem in physics. This is how I got started in the origin of life. And then I left it for a long time because I thought it was one of the most boring problems in the origin of life, but I’ve come back to it. I think there’s something really deep going on here related to this combinatorial explosion of the space of possibilities. But just to get to that point, this feature of this handedness has been the main focus. But people take for granted the existence of chiral molecules at all, that this property of having a handedness, and they just assume that it’s just a generic feature of chemistry.

(00:56:50)
But if you actually look at molecules, if you look at chemical space, which is the space of all possible molecules that people can generate, and you look at small molecules, things that have less than about seven to 11 heavy atoms. So things that are not hydrogen, almost every single molecule in that space is achiral, like doesn’t have a chiral center. So it would be like a spoon. A spoon doesn’t have, it’s the same as its mirror image. It’s not like a hand that’s different than its mirror image. But if you get to this threshold boundary, above that boundary, almost every single molecule is chiral.

(00:57:26)
So you go from a universe where almost nothing has a mirror image form, there’s no mirror image universe of possibilities to this one where every single structure has pretty much a mirror image version. And what we’ve been looking at in my lab is that, it seems to be the case that the origin of life transition happens around the time when you start accumulating, you push your molecules to a large enough complexity that chiral molecules become very likely to form. And then there’s a cascade of molecular recognition where chiral molecules can recognize each other. And then you get this sort of autocatalytic feedback and things self-reinforcing.
Lex Fridman
(00:58:06)
So is chirality in itself an interesting feature or just an accident of complexity?
Sara Walker
(00:58:11)
No, it’s a super interesting feature. I think chirality breaks symmetry in time, not space. So we think of it as a spatial property, like a left and right hand. But if I choose the left hand, I’m basically choosing the future of that system for all time, because I’ve basically made a choice between the ways that that molecule can now react with every other object in its chemical universe.
Lex Fridman
(00:58:32)
Oh, I see.
Sara Walker
(00:58:33)
And so you’re actually, when you have the splitting of making a molecule that now has another form it could have had by the same exact atomic composition, but now it’s just a mirror image isometry, you’re basically splitting the universe of possibilities every time.
Lex Fridman
(00:58:47)
Yeah. In two.
Sara Walker
(00:58:50)
In two, but molecules can have more than one chiral center, and that’s not the only symmetry that they can have. So this is one of the reasons that Taxol fills 1.5 universes of space. It’s all of these spatial permutations that you do on these objects that actually makes the space so huge. So the point of this sort of chiral transition that I am pointing out is, chirality is actually signature of being in a complex chemical space. And the fact that we think it’s a really generic feature of chemistry and it’s really prevalent is because most of the chemistry we study on earth is a product already of life.

(00:59:21)
And it also has to do with this transition in assembly, this transition in possibility spaces, because I think there’s something really fundamental going on at this boundary, that you don’t really need to go that far into chemical space to actually see life in terms of this depth in time, this depth in symmetries of objects, in terms of chiral symmetries or this assembly structure. But getting past this boundary that’s not very deep in that space requires life. It’s a really weird property, and it’s really weird that so many abrupt things happen in chemistry at that same scale.
Lex Fridman
(01:00:02)
So would that be the greatest invention ever made on earth in its evolutionary history? I really like that formulation of it. Nick Lane has a book called Life Ascending, where he lists the 10 great inventions of evolution, the origin of life being first and DNA, the hereditary material that encodes the genetic instructions for all living organisms. Then photosynthesis, the process that allows organisms to convert sunlight into chemical energy, producing oxygen as a byproduct, the complex cell, eukaryotic cells, which contain in nucleus and organelles arose from simple bacterial cells. Sex, sexual reproduction. Movement, so just the ability to move under which you have the predation, the predators and ability of living organisms.
Sara Walker
(01:00:51)
I like that movement’s in there. That’s cool.
Lex Fridman
(01:00:53)
But a movement includes a lot of interesting stuff in there, like predator-prey dynamic, which not to romanticized a nature is metal. That seems like an important one. I don’t know. It’s such a computationally powerful thing to have a predator and prey.
Sara Walker
(01:01:10)
Well, it’s efficient for things to eat other things that are already alive because they don’t have to go all the way back to the base chemistry.
Lex Fridman
(01:01:18)
Well that, but maybe I just like deadlines, but it creates an urgency. You’re going to get eaten.
Sara Walker
(01:01:24)
You got to live.
Lex Fridman
(01:01:24)
Yeah. Survival. It’s not just the static environment you’re battling against.
Sara Walker
(01:01:25)
Oh, I see.
Lex Fridman
(01:01:29)
You’re like… The dangers against which you’re trying to survive are also evolving. This is just a much faster way to explore the space of possibilities.
Sara Walker
(01:01:42)
I actually think it’s a gift that we don’t have much time.
Lex Fridman
(01:01:45)
Yes. Sight, the ability to see. So the increasing complexifying of sensory organisms. Consciousness and death, the concept of programmed cell death. These are all these inventions along the line.
Sara Walker
(01:02:03)
Yeah. I like invention as a word for them. I think that’s good.
Lex Fridman
(01:02:05)
Which are the more interesting inventions to you with origin of life? Because you kind of are not glorifying the origin of life itself. There’s a process-
Sara Walker
(01:02:15)
No, I think the origin of life is a continual process, that’s why. I’m interested in the first transition and solving that problem, because I think it’s the hardest, but I think it’s happening all the time.
Lex Fridman
(01:02:24)
When you look back at the history of earth, what are you impressed happened?
Sara Walker
(01:02:28)
I like sight as an invention, because I think having sensory perception and trying to comprehend the world, to use anthropocentric terms, is a really critical feature of life. And I also, it’s interesting the way that site has complexified over time. So if you think at the origin of life, nothing on the planet could see. So for a long time, life had no sight, and then photon receptors were invented. And then when multicellular evolved, those cells eventually grew into eyes and we had the multicellular eye.

(01:03:14)
And then it’s interesting when you get to societies like human societies, that we invent even better technologies of seeing, like telescopes and microscopes, which allow us to see deeper into the universe or at smaller scales. So I think that’s pretty profound, the way that site has transformed the ability of life to literally see the reality in which it’s existing in. I think consciousness is also obviously deeply interesting. I’ve gotten kind of obsessed with octopus. They’re just so weird. And the fact that they evolved complex nervous systems kind of independently seems very alien.
Lex Fridman
(01:04:01)
Yeah, there’s a lot of alien organisms. That’s another thing I saw in the jungle, just things that are like, “Oh, okay. They make one of those, huh?” It just feels like there’s-
Sara Walker
(01:04:12)
Do you have any examples?
Lex Fridman
(01:04:14)
There’s a frog that’s as thin as a sheet of paper. And I was like, “What?” And it gets birthed through pores.
Sara Walker
(01:04:22)
Oh, I’ve seen videos of that. It’s so gross when the babies come out. Did you see that in person? The baby’s coming out?
Lex Fridman
(01:04:29)
Oh, no. I saw the without the-
Sara Walker
(01:04:32)
Have you seen videos of that? It’s so gross. It’s one of the grossest things I’ve ever seen.
Lex Fridman
(01:04:36)
Well, gross is just the other side of beautiful, I think it’s like, “Oh, wow. That’s possible.”
Sara Walker
(01:04:45)
I guess, if I was one of those frogs, I would think that was the most beautiful event I’d ever seen. Although, human childbirth is not that beautiful either.
Lex Fridman
(01:04:51)
Yeah. It’s all a matter of perspective.
Sara Walker
(01:04:54)
Well, we come into the world so violently, it’s just like, it’s amazing.
Lex Fridman
(01:04:58)
I mean, the world is a violent place. So again, it’s just another side of the coin.
Sara Walker
(01:05:05)
You know what? This actually makes me think of one that’s not up there, which I do find really incredibly amazing, is the process of the germline cell in organisms. Basically, every living thing on this planet at some point in its life has to go through a single cell. And this whole issue of development, the developmental program is kind of crazy. How do you build you out of a single cell? How does a single cell know how to do that? Pattern formation of a multicellular organism, obviously evolves with DNA, but there’s a lot of stuff happening there about when cells take on certain morphologies and things that people don’t understand, like the actual shape formation mechanism. A lot of people study that, and there’s a lot of advances being made now in that field. I think it’s pretty shocking though that how little we know about that process. And often it’s left off of people’s lists, it’s just kind of interesting. Embryogenesis is fascinating.
Lex Fridman
(01:05:05)
Yeah. Because you start from just one cell.
Sara Walker
(01:06:06)
Yeah. And the genes and all the cells are the same. So the differentiation has to be something that’s much more about the actual expression of genes over time and how they get switched on and off, and also the physical environment of the cell interacting with other cells. And there’s just a lot of stuff going on.
Lex Fridman
(01:06:28)
Yeah. The computation, the intelligence of that process-
Sara Walker
(01:06:32)
Yes.
Lex Fridman
(01:06:32)
… might be the most important thing to understand. And we just kind of don’t really think about it.
Sara Walker
(01:06:38)
Right.
Lex Fridman
(01:06:38)
We think about the final product.
Sara Walker
(01:06:40)
Yeah.
Lex Fridman
(01:06:41)
Maybe the key to understanding the organism is understanding that process, not the final product.
Sara Walker
(01:06:48)
Probably, yes. I think most of the things about understanding anything about what we are embedded in time.
Lex Fridman
(01:06:54)
Well, of course you would say that.
Sara Walker
(01:06:55)
I know. So predictable. It’s turning into a deterministic universe.
Lex Fridman
(01:07:01)
It always has been. Always was like the meme.
Sara Walker
(01:07:05)
Yeah, always was, but it won’t be in the future.
Lex Fridman
(01:07:07)
Well, before we talk about the future, let’s talk about the past. The assembly theory.

Assembly theory

Sara Walker
(01:07:11)
Yes.
Lex Fridman
(01:07:12)
Can you explain assembly theory to me? I listened to Lee talk about it for many hours, and I understood nothing. No, I’m just kidding. I just wanted to take another… You’ve been already talking about it, but just what from a big picture view is the assembly theory way of thinking about our world, about our universe.
Sara Walker
(01:07:38)
Yeah. I think the first thing is the observation that life seems to be the only thing in the universe that builds complexity in the way that we see it here. And complexity is obviously a loaded term, so I’ll just use assembly instead because I think assembly is more precise. But the idea that all the things on your desk here from your computer, to the pen, to us sitting here don’t exist anywhere else in the universe as far as we know, they only exist on this planet and it took a long evolutionary history to get to us, is a real feature that we should take seriously as one that’s deeply embedded in the laws of physics and the structure of the universe that we live in.

(01:08:27)
Standard physics would say that all of that complexity traces back to the infinitesimal deviations and the initial state of the universe that there was some order there. I find that deeply unsatisfactory. And what assembly theory says that’s very different is that, the universe is basically constructing itself, and when you get to these combinatorial spaces like chemistry, where the space of possibilities is too large to exhaust them all, you can only construct things along historically contingent paths, like you basically have causal chains of events that happen to allow other things to come into existence.

(01:09:15)
And that this is the way that complex objects get formed, is basically on scaffolding on the past history of objects, making more complex objects, making more complex objects. That idea in itself is easy to state and simple, but it has some really radical implications as far as what you think is the nature of the physics that would describe life. And so what assembly theory does formally is try to measure the boundary in the space of all things that chemically could exist. For example, like all possible molecules, where’s the boundary above which we should say these things are too complex to happen outside of an evolutionary chain of events, outside of selection. And we formalize that with two observables. One of them is the copy number, the object. So…
Sara Walker
(01:10:00)
… is that with two observables. One of them is the copy number of the object. How many of the object did you observe? And the second one is what’s the minimal number of recursive steps to make it? If you start from elementary building blocks, like bonds for molecules, and you put them together, and then you take things you’ve made already and build up to the object, what’s the shortest number of steps you had to take?

(01:10:24)
And what Lee’s been able to show in the lab with his team is that for organic chemistry, it’s about 15 steps. And then you only see molecules that the only molecules that we observe that are past that threshold are ones that are in life. And in fact, one of the things I’m trying to do with this idea of trying to actually quantify the origin of life as a transition in… A phase transition and assembly theory is actually be able to explain why that boundary is where because I think that’s actually the boundary that life must cross.

(01:11:01)
The idea of going back to this thing we were talking about before about these structures that can reinforce their own existence and move past that boundary, 15 seems to be that boundary in chemical space. It’s not a universal number. It will be different for different assembly spaces, but that’s what we’ve experimentally validated so far. And then-
Lex Fridman
(01:11:20)
Literally 15, the assembly index is 15?
Sara Walker
(01:11:22)
It’s 15 or so for the experimental data. Yeah.
Lex Fridman
(01:11:29)
That’s when you start getting the self-reinforcing?
Sara Walker
(01:11:30)
When have to have that feature in order to observe molecules in high abundance in that space.
Lex Fridman
(01:11:36)
The copy number is the number of exact copies. That’s what you mean by high abundance and assembly index or the complexity of the object is how many steps it took to create it. Recursive.
Sara Walker
(01:11:47)
Recursive. Yeah. You can think of objects in assembly theory as basically recursive stacks of the construction steps to build them. They’re like, it’s like you take this step and then you make this object and you make it this object and make this object, and then you get up to the final object. But that object is all of that history rolled up into the current structure.
Lex Fridman
(01:12:06)
What if you took the long way home with all of this?
Sara Walker
(01:12:08)
You can’t take the long way.
Lex Fridman
(01:12:10)
Why not?
Sara Walker
(01:12:11)
The long way doesn’t exist.
Lex Fridman
(01:12:12)
It’s a good song though. What do you mean the long way doesn’t exist? If I do a random walk from A to B, if I start at A, I’ll eventually end up at B. And that random walk would be much longer than the short.
Sara Walker
(01:12:27)
It turns out, now if you look at objects… And so we define something we call the assembly universe. And assembly universe is ordered in time. It’s actually ordered in the causation, the number of steps to produce an object. And so, all objects in the universe are in some sense existed, a layer that’s defined by their assembly index.

(01:12:48)
And the size of each layer is growing exponentially. What you’re talking about, if you want to look at the long way of getting to an object, as I’m increasing the assembly index of an object, I’m moving deeper and deeper into an exponentially growing space. And it’s actually also the case that the typical path to get to that object is also exponentially growing with respect to the assembly index.

(01:13:11)
And so, if you want to try to make a more and more complex object and you want to do it by a typical path, that’s actually an exponentially receding horizon. And so most objects that come into existence have to be causally very similar to the things that exist because close by in that space, and they can actually get to it by an almost shortest path for that object.
Lex Fridman
(01:13:30)
Yeah. The almost shortest path is the most likely and by a lot.
Sara Walker
(01:13:35)
By a lot.
Lex Fridman
(01:13:36)
Okay. If you see a high copy number.
Sara Walker
(01:13:37)
Yeah, imagine yourself-
Lex Fridman
(01:13:39)
A copy number of greater than one.
Sara Walker
(01:13:42)
Yeah. I mean basically, the more complex we live in a space that is growing exponentially large. And the ways of getting to objects in the space are also growing exponentially large. And so, we’re this recursively stacked structure of all of these objects that are clinging onto each other for existence. And then they grab something else and are able to bring that thing into existence similar to them.
Lex Fridman
(01:14:12)
But there is a phase transition.
Sara Walker
(01:14:13)
There is a transition.
Lex Fridman
(01:14:15)
There is a place where you would say, “Oh, that’s life.”
Sara Walker
(01:14:17)
I think it’s actually abrupt. I’ve never been able to say that in my entire career before. I’ve always gone back and forth about whether the original life was gradual or abrupt. I think it’s very abrupt.
Lex Fridman
(01:14:26)
Poetically, chemically, literally?
Sara Walker
(01:14:28)
Life snaps into existence.
Lex Fridman
(01:14:29)
With snaps. Okay. That’s very beautiful.
Sara Walker
(01:14:29)
It snaps.
Lex Fridman
(01:14:31)
Okay. But-
Sara Walker
(01:14:31)
We’ll be poetic today. But no, I think there’s a lot of random exploration. And then the possibility space just collapses on the structure really fast that can reinforce its own existence because it’s basically fighting against non-existence.
Lex Fridman
(01:14:47)
Yeah. You tweeted, “The most significant struggle for existence in the evolutionary process is not among the objects that do exist, but between the ones that do and those that never have the chance to. This is where selection does most of its causal work. The objects that never get a chance to exist, the struggle between the ones that never get a chance to exist and the ones that…” Okay, what’s that line exactly?
Sara Walker
(01:15:16)
I don’t know. We can make songs out of all of these.
Lex Fridman
(01:15:18)
What are the objects that never get a chance to exist? What does that mean?
Sara Walker
(01:15:22)
There was this website, I forgot what it was, but it’s like a neural network that just generates a human face. And it’s like this person does not exist. I think that’s what it’s called. You can just click on that all day and you can look at people all day that don’t exist. All of those people exist in that space of things that don’t exist.
Lex Fridman
(01:15:22)
Yeah. But there’s the real struggle.
Sara Walker
(01:15:44)
Yeah. The struggle of the quote, the struggle for existence is that goes all the way back to Darwin’s writing about natural selection. The whole idea of survival of the fittest is everything struggling to exist, this predator-prey dynamic. And the fittest survive. And so, the struggle for existence is really what selection is all about.

(01:16:05)
And that’s true. We do see things that do exist competing to continue to exist. But if you think about this space of possibilities and each time the universe generates a new structure or an object that exists, generates a new structure along this causal chain. It’s generating something that exists that never existed before.

(01:16:34)
And each time that we make that kind of decision, we’re excluding a huge piece of possibilities. And so actually, as this process of increasing assembly index, it’s not just that the space that these objects exist in is exponentially growing, but there are objects in that space that are exponentially receding away from us. They’re becoming exponentially less and less likely to ever exist. And so, existence excludes a huge number of things.
Lex Fridman
(01:17:03)
Just because of the accident of history, how it ended up?
Sara Walker
(01:17:07)
Yeah. It is in part an accident because I think some of the structure that gets generated is driven a bit by randomness. I think a lot of it…. One of the conceptions that we have in assembly theory is the universe is random at its base. You can see this in chemistry, unconstrained chemical reactions are pretty random. And also, quantum mechanics, there’s lots of places that give evidence for that.

(01:17:36)
And deterministic structures emerge by things that can causally reinforce themselves and maintain persistence over time. And so, we are some of the most deterministic things in the universe. And so, we can generate very regular structure and we can generate new structure along a particular lineage. But the possibility space at the tips, the things we can generate next is really huge.

(01:18:01)
There’s some stochasticity in what we actually instantiate as the next structures that get built in the biosphere. It’s not completely deterministic because the space of future possibilities is always larger than the space of things that exist now.
Lex Fridman
(01:18:25)
How many instantiations of life is out there, do you think? How often does this happen? What we see happen here on earth, how often is this process repeated throughout our galaxy, throughout the universe?
Sara Walker
(01:18:33)
I said before, right now, I think the origin of life is a continuous process on earth. I think this idea of combinatorial spaces that our biosphere generates not just chemistry, but other spaces often cross this threshold where they then allow themselves to persist with particular regular structure over time.

(01:18:51)
Language is another one where the space of possible configurations of the 26 letters of the English alphabet is astronomically large, but we use with very high regularity, certain structures. And then we associate meaning to them because of the regularity of how much we use them. Meaning is an emergent property of the causation and the objects and how often they recur and what the relationship of the recurrence is to other objects.
Lex Fridman
(01:19:18)
Meaning is the emergent property. Okay, got it.
Sara Walker
(01:19:20)
Well, this is why you can play with language so much actually. Words don’t really carry meaning, it’s just about how you lace them together.
Lex Fridman
(01:19:29)
But from where does the language?
Sara Walker
(01:19:31)
But obviously as a speaker of a given language, you don’t have a lot of room with a given word to wiggle, but you have a certain amount of room to push the meanings of words.

(01:19:43)
And I do this all the time, and you have to do it with the kind of work that I do because if you want to discover an abstraction, like some keep concept that we don’t understand yet, it means we don’t have the language. And so, the words that we have are inadequate to describe the things.

(01:20:02)
This is why we’re having a hard time talking about assembly theory because it’s a newly emerging idea. And so, I’m constantly playing with words in different ways to try to convey the meaning that is actually behind the words, but it’s hard to do.
Lex Fridman
(01:20:18)
You have to wiggle within the constraints.
Sara Walker
(01:20:20)
Yes. Lots of wiggle.
Lex Fridman
(01:20:23)
The great orators are just good at wiggling.
Sara Walker
(01:20:27)
Do you wiggle?
Lex Fridman
(01:20:28)
I’m not a very good wiggler. No. This is the problem. This is part of the problem.
Sara Walker
(01:20:34)
No, I like playing with words a lot. It’s very funny because I know you talked about this with Lee, but people were so offended by the writing of the paper that came out last fall. And it was interesting because the ways that we use words were not the way that people were interacting with the words. And I think that was part of the mismatch where we were trying to use words in a new way because we were trying to describe something that hadn’t been described adequately before, but we had to use the words that everyone else uses for things that are related. And so, it was really interesting to watch that clash play out in real time for me, being someone that tries to be so precise with my word usage, knowing that it’s always going to be vague.
Lex Fridman
(01:21:17)
Boy, can I relate. What is truth? Is truth the thing you meant when you wrote the words or is truth the thing that people understood when they read the words?
Sara Walker
(01:21:28)
Oh, yeah.
Lex Fridman
(01:21:30)
I think that compression mechanism into language is a really interesting one. And that’s why Twitter is a nice exercise.
Sara Walker
(01:21:37)
I love Twitter.
Lex Fridman
(01:21:37)
Because you get to write a thing and you think a certain thing when you write it. And then you get to see all these other people interpret it all kinds of different ways.
Sara Walker
(01:21:46)
Yeah. I use it as an experimental platform for that reason.
Lex Fridman
(01:21:49)
I wish there was a higher diversity of interpretation mechanisms applied to tweets, meaning all kinds of different people would come to it. Like some people that see the good in everything and some people that are ultra-cynical, a bunch of haters and a bunch of lovers and a bunch of-
Sara Walker
(01:22:07)
Maybe they could do better jobs with presenting material to people. How things… It’s usually based on interest. But I think it would be really nice if you got 10% of your Twitter feed was random stuff sampled from other places. That’d be fun.
Lex Fridman
(01:22:22)
True. I also would love to filter just bin the response to tweets by the people that hate on everything.
Sara Walker
(01:22:34)
Oh, that would be fantastic.
Lex Fridman
(01:22:34)
The people that are super positive about everything. And they’ll just, I guess, normalize the response because then it’d be cool to see if the people that you’re usually positive about everything are hating on you or totally don’t understand or completely misunderstood.
Sara Walker
(01:22:51)
Yeah, usually it takes a lot of clicking to find that out. Yeah, so it’d be better if it was sorted. Yeah.
Lex Fridman
(01:22:56)
The more clicking you do, the more damaging it is to the soul.
Sara Walker
(01:23:01)
Yeah. It’s like instead of like, well, you could have the blue check. But you should have, are you a pessimist, an optimist?
Lex Fridman
(01:23:06)
Yeah. There’s a lot of colors.
Sara Walker
(01:23:07)
Theotic neutral. What’s your personality?
Lex Fridman
(01:23:09)
Be a whole rainbow of checks. And then you realize there’s more categories than we can possibly express in colors.
Sara Walker
(01:23:17)
Yeah. Of course. People are complex.

Aliens

Lex Fridman
(01:23:22)
That’s our best feature. I don’t know how we got to the wiggling required given the constraints of language because I think we started about me asking about alien life. Which is how many different times did the phase transition happen elsewhere? Do you think there’s other alien civilizations out there?
Sara Walker
(01:23:48)
This goes into the are you on the boundary of insane or not? But when you think about the structure of the physics of what we are, that deeply, it really changes your conception of things. And going to this idea of the universe being small in physical space compared to how big it is in time and how large we are. It really makes me question about whether there’s any other structure that’s this giant crystal in time, this giant causal structure, like our biosphere/technosphere is anywhere else in the universe.
Lex Fridman
(01:24:28)
Why not?
Sara Walker
(01:24:29)
I don’t know.
Lex Fridman
(01:24:31)
Just because this one is gigantic doesn’t mean there’s no other gigantic spheres.
Sara Walker
(01:24:36)
But I think when the universe is expanding, it’s expanding in space, but in assembly theory, it’s also expanding in time. And actually that’s driving the expansion in space. And expansion in time is also driving the expansion in the combinatorial space of things on our planet. That’s driving the pace of technology and all the other things. Time is driving all of these things, which is a little bit crazy to think that the universe is just getting bigger because time is getting bigger.

(01:25:06)
But the sort of visual that gets built in my brain about that is the structure that we’re building on this planet is packing more and more time in this very small volume of space because our planet hasn’t changed its physical size in 4 billion years, but there’s a ton of causation and recursion and time, whatever word you want to use, information packed into this.

(01:25:31)
And I think this is also embedded in the virtualization of our technologies or the abstraction of language and all of these things. These things that seem really abstract are just really deep in time. And so, what that looks like is you have a planet that becomes increasingly virtualized. And so it’s getting bigger and bigger in time, but not really expanding out in space. And the rest of space is moving away from it. Again, it’s a exponentially receding horizon. And I’m just not sure how far into this evolutionary process something gets if it can ever see that there’s another such structure out there.
Lex Fridman
(01:26:10)
What do you mean by virtualized in that context?
Sara Walker
(01:26:13)
Virtual as a play on virtual reality and simulation theories. But virtual also in a sense of, we talk about virtual particles in particle physics, which they are very critical to doing calculations about predicting the properties of real particles, but we don’t observe them directly.

(01:26:33)
What I mean by virtual here is virtual reality for me, things that appear virtual, appear abstract are just things that are very deep in time in the structure of the things that we are. If you think about you as a 4 billion year old object, the things that are a part of you, like your capacity to use language or think abstractly or have mathematics are just very deep temporal structures. That’s why they look like they’re informational and abstract is because they’re existing in this temporal part of you, but not necessarily spatial part.
Lex Fridman
(01:27:10)
Just because I have a 4 billion year old history, why does that mean I can’t hang out with aliens?
Sara Walker
(01:27:15)
There’s a couple ideas that are embedded here. One of them comes again from Paul. He wrote this book years ago about the eerie silence and why we’re alone. And he concluded the book with this idea of quinteligence or something. But this idea that really advanced intelligence would basically just build itself into a quantum computer and it would want to operate in the vacuum of space, because that’s the best place to do quantum computation. And it would just run out all of its computations indefinitely, but it would look completely dark to the rest of the universe.

(01:27:47)
As typical, I don’t think that’s actually the right physics, but I think something about that idea as I do with all ideas is partially correct. And Freeman Dyson also had this amazing paper about how long life could persist in a universe that was exponentially expanding. And his conception was if you imagine analog life form, it could run slower and slower and slower and slower and slower as a function of time. And so, it would be able to run indefinitely, even against an exponentially expanding universe because it would just run exponentially slower.

(01:28:20)
And so, I guess part of what I’m doing in my brain is putting those two things together along with this idea that, if you imagine with our technology, we’re now building virtual realities, things we actually call virtual reality. Which required four billions years of history and a whole bunch of data to basically embed them in a computer architecture. Now you can put an Oculus headset on and think that you’re in this world.

(01:28:47)
And what you really are embedded in is in a very deep temporal structure. And so, it’s huge in time, but it’s very small in space. And you can go lots of places in the virtual space, but you’re still stuck in your physical body and sitting in the chair. And so, part of it is it might be the case that sufficiently evolved biospheres virtualize themselves. And they internalize their universe in their temporal causal structure, and they close themselves off from the rest of the universe.
Lex Fridman
(01:29:19)
I just don’t know if a deep temporal structure necessarily means that you’re closed off.
Sara Walker
(01:29:24)
No, I don’t either. that’s my fear. I’m not sure I’m agreeing with what I say. I’m just saying this is one conclusion. And in my most, it’s interesting, I don’t do psychedelic drugs. But when people describe to me your thing with the faces and stuff, and I’ve had a lot of deep conversations with friends that have done psychedelic drugs for intellectual reasons and otherwise. But I’m always like, “Oh, it sounds like you’re just doing theoretical physics. That’s what brains do on theoretical physics.”

(01:29:54)
I live in these really abstract spaces most of the time. But there’s also this issue of extinction. Extinction events are basically pinching off an entire causal structure. The one of these… I’m going to call them time crystals, I don’t know what, but there’s these very large objects in time. Pinching off that whole structure from the rest of it. And so it’s like, if you imagine that same thing in the universe, I once thought that sufficiently advanced technologies would look like black holes.
Lex Fridman
(01:30:22)
That would be just completely imperceptible to us.
Sara Walker
(01:30:23)
Yeah. there might be lots of aliens out there.
Lex Fridman
(01:30:24)
They all look like black holes.
Sara Walker
(01:30:28)
Maybe that’s the explanation for all the singularities. They’re all pinched off causal structures that virtualize their reality and broke off from us
Lex Fridman
(01:30:34)
Black holes in every way, so untouchable to us or unlikely be detectable by us with whatever sensory mechanisms we have.
Sara Walker
(01:30:45)
Yeah. But the other way I think about it is there is probably hopefully life out there. I do work on life detection efforts in the solar system and I’m trying to help with the Habitable Worlds Observatory mission planning right now and working with the biosignatures team for that to think about exoplanet biosignatures. I have some optimism that we might find things, but there are the challenges that we don’t know the likelihood for life, which is what you were talking about.

(01:31:16)
If I get to a more grounded discussion, what I’m really interested in doing is trying to solve the origin of life so we can understand how likely life is out there. I think that the problem of discovering alien life and solving the origin of life are deeply coupled and in fact are one in the same problem, and that the first contact with alien life will actually be in an origin of life experiment. But that part I’m super interested in.

(01:31:45)
And then there’s this other feature that I think about a lot, which is our own technological phase of development as what is this phase in the evolution of life on a planet? If you think about a biosphere emerging on a planet and evolving over billions of years and evolving into a technosphere. When a technosphere can move off planet and basically reproduce itself on another planet, now you have biospheres reproducing themselves. Basically they have to go through technology to do that.

(01:32:20)
And so, there are ways of thinking about the nature of intelligent life and how it spreads in that capacity that I’m also really excited about and thinking about. And all of those things for me are connected. We have to solve the origin of life in order for us to get off planet because we basically have to start life on another planet. And we also have to solve the origin life in order to recognize other alien intelligence. All of these things are literally the same problem.
Lex Fridman
(01:32:46)
Right. Understanding the origin of life here on earth is a way to understand ourselves. And to understanding ourselves as a prerequisite from being able to detect other intelligent civilizations. I, for one, take it for what it’s worth on Ayahuasca, one of the things I did is zoom out aggressively, like a spaceship. And it would always go quickly through the galaxy and from the galaxy to this representation of the universe. And at least for me from that perspective, it seemed like it was full of alien life. Not just alien life, but intelligent life.
Sara Walker
(01:33:29)
I like that.
Lex Fridman
(01:33:29)
And conscious life. I don’t know how to convert it into words. It’s more like a feeling. Like you were saying, a feeling converted to a visual to converted to words. I had a visual with it, but really it was a feeling that it was just full of this vibrant energy that I was feeling when I’m looking at the people in my life and full of gratitude. But that same exact thing is everywhere in the universe.
Sara Walker
(01:34:01)
Right. I totally agree with this, that visual I really love. And I think we live in a universe that generates life and purpose, and it’s part of the structure of just the world. And so maybe this lonely view I have is, I never thought about it this way until you’re describing that. I was like, I want to live in that universe. And I’m a very optimistic person and I love building visions of reality that are positive. But I think for me right now in the intellectual process, I have to tunnel through this particular way of thinking about the loneliness of being separated in time from everything else. Which I think we also all are, because time is what defines us as individuals.
Lex Fridman
(01:34:51)
Part of you is drawn to the trauma of being alone deeply in a physics-based sense.
Sara Walker
(01:34:51)
But also part of what I mean is you have to go through ideas you don’t necessarily agree with to work out what you’re trying to understand. And I’m trying to be inside this structure so I can really understand it. And I don’t think I’ve been able to… I am so deeply embedded in what we are intellectually right now that I don’t have an ability to see these other ones that you’re describing, if they’re there.

Great Perceptual Filter

Lex Fridman
(01:35:15)
Well, one of the things you described that you already spoke to, you call it the great perceptual filter. There’s the famous great filter, which is basically the idea that there’s some really powerful moment in every intelligent civilization where they destroy themselves. That explains why we have not seen aliens. And you’re saying that there’s something like that in the temporal history of the creation of complex objects, that at a certain point they become an island, an island too far to reach based on the perceptions?
Sara Walker
(01:35:54)
I hope not, but yeah, I worry about it. Yeah.
Lex Fridman
(01:35:55)
But that’s basically meaning there’s something fundamental about the universe where if the more complex you become, the harder it will be to perceive other complex creatures.
Sara Walker
(01:36:05)
I mean, just think about us with microbial life. We used to once be cells. And for most of human history, we didn’t even recognize cellular life was there until we built a new technology, microscopes, that allowed us to see them. It’s weird. Things that we-
Lex Fridman
(01:36:21)
And they’re close to us.
Sara Walker
(01:36:22)
They’re close, they’re everywhere.
Lex Fridman
(01:36:24)
But also in the history of the development of complex objects, they’re pretty close.
Sara Walker
(01:36:28)
Yeah, super close. Super close. Yeah. I mean, everything on this planet is… It’s pretty much the same thing. The space of possibilities is so huge. It’s like we’re virtually identical.
Lex Fridman
(01:36:42)
How many flavors or kinds of life do you think are possible?
Sara Walker
(01:36:47)
I’m trying to imagine all the little flickering lights in the universe in the way that you were describing. That was kind of cool.
Lex Fridman
(01:36:53)
I mean, it was awesome to me. It was exactly that. It was like lights. The way you maybe see a city, but a city from up above. You see a city with the flickering lights, but there’s a coldness to the city. You know that humans are capable of good and evil. And you could see there’s a complex feeling to the city. I had no such complex feeling about seeing the lights of all the galaxies, whatever, the billions of galaxies.
Sara Walker
(01:37:23)
Yeah, this is cool. I’ll answer the question in a second, but just maybe this idea of flickering lights and intelligence is interesting to me because we have such a human-centric view of alien intelligences that a lot of the work that I’ve been doing with my lab is just trying to take inspiration from non-human life on earth.

(01:37:42)
And so, I have this really talented undergrad student that’s basically building a model of alien communication based on fireflies. One of my colleagues, Orit Peleg, is she’s totally brilliant. But she goes out with GoPro cameras and films in high resolution, all these firefly flickering. And she has this theory about how their signaling evolved to maximally differentiate the flickering pattern. She has a theory basically that predicts this species should flash like this. If this one’s flashing like this, other one’s going to do it at a slower rate so that they can distinguish each other living in the same environment.

(01:38:21)
And so this undergrad’s building this model where you have a pulsar background of all these giant flashing sources in the universe. And an alien intelligence wants to signal it’s there so it’s flashing a firefly. And I like the idea of thinking about non-human aliens so that was really fun.
Lex Fridman
(01:38:38)
The mechanism of the flashing unfortunately, is the diversity of that is very high, and we might not be able to see it. That’s what-
Sara Walker
(01:38:44)
Yeah. Well, I think there’s some ways we might be able to differentiate that signal. I’m still thinking about this part of it. One is if you have pulsars and they all have a certain spectrum to their pulsing patterns. And you have this one signal that’s in there that’s basically tried to maximally differentiate itself from all the other sources in the universe, it might stick out in the distribution. There might be ways of actually being able to tell if it’s an anomalous pulsar, basically. But I don’t know if that would really work or not. Still thinking about it.

Fashion

Lex Fridman
(01:39:12)
You tweeted, “If one wants to understand how truly combinatorially and compositionally complex our universe is, they only need step into the world of fashion. It’s bonkers how big the constructable space of human aesthetics is.” Can you explain, can we explore the space of human aesthetics?
Sara Walker
(01:39:34)
Yeah. I don’t know. I’ve been obsessed with the… I never know how to pronounce it. It’s a Schiaparelli. They have ears and things. It’s such a weird, grotesque aesthetic, but it’s totally bizarre. But what I meant, I have a visceral experience when I walk into my closet. I have a lot of…
Lex Fridman
(01:39:54)
How big is your closet?
Sara Walker
(01:39:56)
It’s pretty big. It’s like I do assembly theory every morning when I walk in my closet because I really like a very large combinatorial diverse palette, but I never know what I’m going to build in the morning.
Lex Fridman
(01:40:08)
Do you get rid of stuff?
Sara Walker
(01:40:09)
Sometimes.
Lex Fridman
(01:40:12)
Or do you have trouble getting rid of stuff?
Sara Walker
(01:40:13)
I have trouble getting rid of some stuff. It depends on what it is. If it’s vintage, it’s hard to get rid of because it’s hard to replace. It depends on the piece. Yeah.
Lex Fridman
(01:40:22)
You have, your closet is one of those temporal time crystals that they just, you get to visualize the entire history of the-
Sara Walker
(01:40:30)
It’s a physical manifestation of my personality.
Lex Fridman
(01:40:32)
Right. Why is that a good visualization of the combinatorial and compositionally complex universe?
Sara Walker
(01:40:43)
I think it’s an interesting feature of our species that we get to express ourselves through what we wear. If you think about all those animals in the jungle you saw, they’re born looking the way they look, and then they’re stuck with it for life.
Lex Fridman
(01:40:55)
That’s true. I mean, it is one of the loudest, clearest, most consistent ways we signal to each other, is the clothing we wear.
Sara Walker
(01:41:03)
Yeah. It’s highly dynamic. I mean, you can be dynamic if you want to. Very few people are… There’s a certain bravery, but it’s actually more about confidence, willing to play with style and play with aesthetics. And I think it’s interesting when you start experimenting with it, how it changes the fluidity of the social spaces and the way that you interact with them.
Lex Fridman
(01:41:27)
But there’s also commitment. You have to wear that outfit all today.
Sara Walker
(01:41:32)
I know. I know. It’s a big commitment. Do you feel like that every morning?
Lex Fridman
(01:41:35)
No. I wear, that’s why-
Sara Walker
(01:41:37)
You’re like “This is a life commitment.”
Lex Fridman
(01:41:40)
All I have is suits and a black shirt and jeans.
Sara Walker
(01:41:44)
I know.
Lex Fridman
(01:41:44)
Those are the two outfits.
Sara Walker
(01:41:45)
Yeah. Well, see, this is the thing though. It simplifies your thought process in the morning. I have other ways I do that. I park in the same exact parking spot when I go to work on the fourth floor of a parking garage because no one ever parks on the fourth floor, so I don’t have to remember where I park my car. But I really like aesthetics and playing with them. I’m willing to spend part of my cognitive energy every morning trying to figure out what I want to be that day.
Lex Fridman
(01:42:09)
Did you deliberately think about the outfit you were wearing today?
Sara Walker
(01:42:12)
Yep.
Lex Fridman
(01:42:13)
Was there backup options or were you going back and forth between some?
Sara Walker
(01:42:14)
Three or four, but I really like yellow.
Lex Fridman
(01:42:14)
Were they drastically different?
Sara Walker
(01:42:14)
Yes.
Lex Fridman
(01:42:22)
Okay. K/.
Sara Walker
(01:42:23)
And even this one could have been really different because it’s not just the jacket and the shoes and the hairstyle. It’s like the jewelry and the accessories. Any outfit is a lot of small decisions.
Lex Fridman
(01:42:37)
Well, I think your current office has a lot of shades of yellow. There’s a theme. It’s nice. I’m grateful that you did that.
Sara Walker
(01:42:47)
Thanks.
Lex Fridman
(01:42:47)
Its like its it’s own art form.
Sara Walker
(01:42:49)
Yeah. Yellow’s my daughter’s favorite color. And I never really thought about yellow much, but she’s been obsessed with yellow. She’s seven now. And I don’t know, I just really love it.
Lex Fridman
(01:42:58)
I guess you can pick a color and just make that the constraint and then just go with it and understand the beauty.
Sara Walker
(01:43:03)
I’m playing with yellow a lot lately. This is not even the most yellow because I have black pants on, but I have…
Lex Fridman
(01:43:08)
You go all out.
Sara Walker
(01:43:09)
I’ve worn outfits that have probably five shades of yellow in them.

Beauty

Lex Fridman
(01:43:12)
Wow. What do you think beauty is? We seem to… Underlying this idea of playing with aesthetics is we find certain things beautiful. What is it that humans find beautiful? And why do we need to find things beautiful?
Sara Walker
(01:43:30)
Yeah, it’s interesting. I mean, I am attracted to style and aesthetics because I think they’re beautiful, but it’s much more because I think it’s fun to play with. And so, I will get to the beauty thing, but I guess I want to just explain a little bit about my motivation in this space, because it’s really an intellectual thing for me.

(01:43:54)
And Stewart Brand has this great infographic about the layers of human society. And I think it starts with the natural sciences and physics at the bottom, and it goes through all these layers and it’s economics. And then fashion is at the top, is the fastest moving part of human culture. And I think I really like that because it’s so dynamic and so short and it’s temporal longevity. Contrasted with studying the laws of physics, which are the deep structure reality that I feel like bridging those scales tells me much more about the structure of the world that I live in.
Lex Fridman
(01:44:31)
That said, there’s certain kinds of fashions. A dude in a black suit with a black tie seems to be less dynamic. It seems to persist through time.
Sara Walker
(01:44:49)
Are you embodying this?
Lex Fridman
(01:44:49)
Yeah, I think so. I think it just-
Sara Walker
(01:44:49)
I’d like to see you wear yellow, Lex.
Lex Fridman
(01:44:56)
I wouldn’t even know what to do with myself. I would freak out. I wouldn’t know how to act to know-
Sara Walker
(01:44:56)
You wouldn’t know how to be you. Yeah. I know. This is amazing though, isn’t it? Amazing, you have the choice to do it, but one of my favorite-
Sara Walker
(01:45:00)
Amazing. You have the choice to do it. But one of my favorite, just on the question of beauty, one of my favorite fashion designers of all time is Alexander McQueen. He was really phenomenal. But his early, and actually I used what happened to him in the fashion industries, a coping mechanism with our paper. When the nature paper in the fall when everyone was saying it was controversial and how terrible that… But controversial is good. But when Alexander McQueen first came out with his fashion lines, he was mixing horror and beauty and people were horrified. It was so controversial. It was macabre. He had, it looked like there were blood on the models.
Lex Fridman
(01:45:40)
That was beautiful. We’re just looking at some pictures here.
Sara Walker
(01:45:45)
Yeah, no, his stuff is amazing. His first runway line, I think was called Nihilism. I don’t know if you could find it. He was really dramatic. He carried a lot of trauma with him. There you go, that’s… Yeah. Yeah.
Lex Fridman
(01:46:03)
Wow.
Sara Walker
(01:46:03)
But he changed the fashion industry. His stuff became very popular.
Lex Fridman
(01:46:07)
That’s a good outfit to show up to a party in.
Sara Walker
(01:46:09)
Right, right. But this gets at the question, is that horrific or is it beautiful? I think he ended up committing suicide and actually he left his death note on the descent of man, so he was a really deep person.
Lex Fridman
(01:46:29)
Great fashion certainly has that kind of depth to it.
Sara Walker
(01:46:32)
Yeah, it sure does. I think it’s the intellectual pursuit. This is very highly intellectual and I think it’s a lot how I play with language. It’s the same way that I play with fashion or the same way that I play with ideas in theoretical physics, there’s always this space that you can just push things just enough so they look like something someone thinks is familiar, but they’re not familiar. I think that’s really cool.
Lex Fridman
(01:46:58)
It seems like beauty doesn’t have much function, but it seems to also have a lot of influence on the way we collaborate with each other.
Sara Walker
(01:47:10)
It has tons of function.

(01:47:10)
What do you mean it doesn’t have function?
Lex Fridman
(01:47:11)
I guess sexual selection incorporates beauty somehow. But why? Because beauty is a sign of health or something. I don’t even-
Sara Walker
(01:47:19)
Oh, evolutionarily? Maybe. But then beauty becomes a signal of other things. It’s really not… Then beauty becomes an adaptive trait, so it can change with different, maybe some species would think, well, you thought the frog having babies come out of its back was beautiful and I thought it was grotesque. There’s not a universal definition of what’s beautiful. It is something that is dependent on your history and how you interact with the world. I guess what I like about beauty, like any other concept is when you turn it on its head. Maybe the traditional conception of why women wear makeup and they dress certain ways is because they want to look beautiful and pleasing to people.

(01:48:07)
I just like to do it because a confidence thing, it’s about embodying the person that I want to be and about owning that person. Then the way that people interact with that person is very different than if I wasn’t using that attribute as part of… Obviously, that’s influenced by the society I live and what’s aesthetically pleasing things. But it’s interesting to be able to turn that around and not have it necessarily be about the aesthetics, but about the power dynamics that the aesthetics create.
Lex Fridman
(01:48:45)
But you’re saying there’s some function to beauty in that way, in the way you’re describing and the dynamic it creates in the social interaction.
Sara Walker
(01:48:45)
Well, the point is you’re saying it’s an adaptive trait for sexual selection or something. I’m saying that the adaptation that beauty confers is far richer than that. Some of the adaptation is about social hierarchy and social mobility and just playing social dynamics. Why do some people dress goth? It’s because they identify with a community and a culture associated with that and get, and that’s a beautiful aesthetic. It’s a different aesthetic. Some people don’t like it.
Lex Fridman
(01:49:12)
It has the same richness as does language.
Sara Walker
(01:49:16)
Yes.
Lex Fridman
(01:49:16)
It’s the same kind of-
Sara Walker
(01:49:18)
Yes. I think too few people think about the aesthetics they build for themselves in the morning and how they carry it in the world and the way that other people interact with that because they put clothes on and they don’t think about clothes as carrying function.

Language

Lex Fridman
(01:49:35)
Let’s jump from beauty to language. There’s so many ways to explore the topic of language. You called it, you said that language, parts of language or language in itself or the mechanism of language is a kind of living life form. You’ve tweeted a lot about this in all kinds of poetic ways. Let’s talk about the computation aspect of it. You tweeted, ” The world is not a computation, but computation is our best current language for understanding the world. It is important we recognize this so we can start to see the structure of our future languages that will allow us to see deeper than the computation allows us.” What’s the use of language in helping us understand and make sense of the world?
Sara Walker
(01:50:21)
I think one thing that I feel like I notice much more viscerally than I feel like I hear other people describe is that the representations in our mind and the way that we use language are not the things… Actually, this is an important point going back to what Godel did, but also this idea of signs and symbols and all kinds of ways of separating them. There’s the word and then there’s what the word means about the world. We often confuse those things. What I feel very viscerally, I almost sometimes think I have some synesthesia for language or something, and I just don’t interact with it the way that other people do. But for me, words are objects and the objects are not the things that they describe.

(01:51:09)
They have a different ontology to them. They’re physical things and they carry causation and they can create meaning, but they’re not what we think they are. Also, the internal representations in our mind, the things I’m seeing about this room are probably… They’re small projection of the things that are actually in this room. I think we have such a difficult time moving past the way that we build representations in the mind and the way that we structure our language to realize that those are approximations to what’s out there and they’re fluid, and we can play around with them and we can see deeper structure underneath them that I think we’re missing a lot.
Lex Fridman
(01:51:51)
But also the life of the mind is, in some ways, richer than the physical reality. Sure. What’s going on in your mind might be a projection.
Sara Walker
(01:52:00)
Right.
Lex Fridman
(01:52:00)
Actually here, but there’s also all kinds of other stuff going on there.
Sara Walker
(01:52:04)
Yeah, for sure. I love this essay by Poincare about mathematical creativity where he talks about this sort of frothing of all these things and then somehow you build theorems on top of it and they become concrete. I also think about this with language. It’s like there’s a lot of stuff happening in your mind, but you have to compress it in this few sets of words to try to convey it to someone. It’s a compactification of the space and it’s not a very efficient one. I think just recognizing that there’s a lot that’s happening behind language is really important. I think this is one of the great things about the existential trauma of large language models, I think is the recognition that language is not the only thing required. There’s something underneath it, not by everybody.
Lex Fridman
(01:52:54)
Can you just speak to the feeling you have when you think about words? What’s the magic of words, to you? Do you feel, it almost sometimes feels like you’re playing with it?
Sara Walker
(01:53:09)
Yeah, I was just going to say it’s like a playground.
Lex Fridman
(01:53:11)
But you’re almost like, I think one of the things you enjoy, maybe I’m projecting, is deviating using words in ways that not everyone uses them, slightly deviating from the norm a little bit.
Sara Walker
(01:53:25)
I love doing that in everything I do, but especially with language.
Lex Fridman
(01:53:28)
But not so far that it doesn’t make sense.
Sara Walker
(01:53:31)
Exactly.
Lex Fridman
(01:53:32)
You’re always tethered to reality to the norm, but are playing with it basically fucking with people’s minds a little bit, and in so creating a different perspective on another thing that’s been previous explored in a different way.
Sara Walker
(01:53:51)
Yeah. It’s literally my favorite thing to do.
Lex Fridman
(01:53:53)
Yeah. Use as words as one way to make people think.
Sara Walker
(01:53:57)
Yeah. A lot of my, what happens in my mind when I’m thinking about ideas is I’ve been presented with this information about how people think about things, and I try to go around to different communities and hear the ways that different, whether it’s hanging out with a bunch of artists, or philosophers, or scientists thinking about things. They all think about it different ways. Then I just try to figure out how do you take the structure of the way that we’re talking about it and turn it slightly so you have all the same pieces that everybody sees are there, but the description that you’ve come up with seems totally different. They can understand that they understand the pattern you’re describing, but they never heard the structure underlying it described the way that you describe it.
Lex Fridman
(01:54:47)
Is there words or terms you remember that disturbed people the most? Maybe the positive sense of disturbed, is assembly theory, I suppose, is one.
Sara Walker
(01:55:00)
Yeah. The first couple sentences of that paper disturbed people a lot, and I think they were really carefully constructed in exactly this kind of way.
Lex Fridman
(01:55:09)
What was that? Let me look it up.
Sara Walker
(01:55:10)
Oh, it was really fun. But I think it’s interesting because I do sometimes I’m very upfront about it. I say I’m going to use the same word in probably six different ways in a lecture, and I will.
Lex Fridman
(01:55:25)
You write, “Scientists have grappled with reconciling biological evolution with immutable laws of the universe defined by physics. These laws underpin life’s origin, evolution, and the-“
Sara Walker
(01:55:37)
[inaudible 01:55:37] with me when he was here, too.
Lex Fridman
(01:55:38)
“The development of human culture.” Well, he was, I think your love for words runs deeper than these.
Sara Walker
(01:55:46)
Yeah, for sure. This is part of the brilliant thing about our collaboration is complimentary skill sets. I love playing with the abstract space of language, and it’s a really interesting playground when I’m working with Lee because he thinks at a much deeper level of abstraction than can be expressed by language. The ideas we work on are hard to talk about for that reason.

Computation

Lex Fridman
(01:56:16)
What do you think about computation as a language?
Sara Walker
(01:56:19)
I think it’s a very poor language. A lot of people think is a really great one, but I think it has some nice properties. But I think the feature of it that is compelling is this kind of idea of universality, that if you have a language, you can describe things in any other language.
Lex Fridman
(01:56:37)
Well, for me, one of the people who revealed the expressive power of computation, aside from Alan Turing, is Stephen Wolfram through all the explorations of cellular automata type of objects that he did in a New Kind of Science and afterwards. What do you get from that? The computational worlds that are revealed through even something as simple as cellular automata. It seems like that’s a really nice way to explore languages that are far outside our human languages and do so rigorously and understand how those kinds of complex systems can interact with each other, can emerge, all that kind of stuff.
Sara Walker
(01:57:26)
I don’t think that they’re outside our human languages. I think they define the boundary of the space of human languages. They allow us to explore things within that space, which is also fantastic. But I think there is a set of ideas that takes, and Stephen Wolfram has worked on this quite a lot and contributed very significantly to it. I really like some of the stuff that Stephen’s doing with his physics project, but don’t agree with a lot of the foundations of it. But I think the space is really fun that he’s exploring. There’s this assumption that computation is at the base of reality, and I see it at the top of reality, not at the base, because I think computation was built by our biosphere. It’s something that happened after many billion years of evolution. It doesn’t happen in every physical object.

(01:58:16)
It only happens in some of them. I think one of the reasons that we feel like the universe is computational is because it’s so easy for us as things that have the theory of computation in our minds. Actually, in some sense it might be related to the functioning of our minds and how we build languages to describe the world and sets of relations to describe the world. But it’s easy for us to go out into the world and build computers and then we mistake our ability to do that with assuming that the world is computational. I’ll give you a really simple example. This one came from John Conway. I one time had a conversation with him, which was really delightful. He was really fun. But he was pointing out that if you string lights in a barn, you can program them to have your favorite one dimensional CA and you might even be able to make them do a be capable of universal computation. Is universal computation a feature of the string lights?
Lex Fridman
(01:59:25)
Well, no.
Sara Walker
(01:59:27)
No, it’s probably not. It’s a feature of the fact that you as a programmer had a theory that you could embed in the physical architecture of the string lights. Now, what happens though is we get confused by this distinction between us as agents in the world that actually can transfer things that life does onto other physical substrates with what the world is. For example, you’ll see people studying the mathematics of chemical reaction networks and saying, “Well, chemistry is turning universal,” or studying the laws of physics and saying, “The laws of physics are turning universal.” But anytime that you want to do that, you always have to prepare an initial state. You have to constrain the rule space, and then you have to actually be able to demonstrate the properties of computation. All of that requires an agent or a designer to be able to do that.
Lex Fridman
(02:00:17)
But it gives you an intuition if you look at a 1D or two cellular automata, it allows you to build an intuition of how you can have complexity emerge from very simple beginnings, very simple initial conditions-
Sara Walker
(02:00:31)
I think that’s the intuition that people have derived from it. The intuition I get from cellular automata is that the flat space of an initial condition in a fixed dynamical law is not rich enough to describe an open-ended generation process. The way I see cellular automata is they’re embedded slices in a much larger causal structure. If you want to look at a deterministic slice of that causal structure, you might be able to extract a set of consistent rules that you might call a cellular automata, but you could embed them as much larger space that’s not dynamical and is about the causal structure and relations between all of those computations. That would be the space cellular automata live in. I think that’s the space that Stephen is talking about when he talks about his ruliad and these hypergraphs of all these possible computations. But I wouldn’t take that as my base reality because I think again, computation itself, this abstract property computation, is not at the base of reality.
Lex Fridman
(02:01:25)
Can we just linger on that ruliad?
Sara Walker
(02:01:27)
Yeah. One ruliad to rule them all.
Lex Fridman
(02:01:31)
Yeah. This is part of Wolfram’s physics project. It’s what he calls the entangled limit of everything that is computationally possible. What’s your problem with the ruliad?
Sara Walker
(02:01:46)
Well, it’s interesting. Stephen came to a workshop we had in the Beyond Center in the fall, and the workshop theme was Mathematics, Is It Evolved or Eternal? He gave a talk about the ruliad, and he was talking about how a lot of the things that we talk about in the Beyond Center, like “Does reality have a bottom.If it has a bottom, what is it?”
Lex Fridman
(02:02:08)
I need to go to-
Sara Walker
(02:02:09)
We’ll have you to one sometime.
Lex Fridman
(02:02:15)
This is great. Does reality have a bottom?
Sara Walker
(02:02:15)
Yeah. We had one that was, it was called Infinite turtles or Ground Truth. It was really just about this issue. But the thing that was interesting, I think Stephen was trying to make the argument that fundamental particles aren’t fundamental, gravitation is not fundamental. These are just turtles. Computation is fundamental. I remember pointing out to him, I was like, “Well, computation is your turtle. I think it’s a weird turtle to have.”
Lex Fridman
(02:02:45)
First of all, isn’t it okay to have a turtle?
Sara Walker
(02:02:47)
It’s totally fine to have a turtle. Everyone has a turtle. You can’t build a theory without a turtle. It depends on the problem you want to describe. Actually, the reason I can’t get behind Stephen’s ontology is I don’t know what question he’s trying to answer. Without a question to answer, I don’t understand why you’re building a theory of reality.
Lex Fridman
(02:03:07)
The question you’re trying to answer is-
Sara Walker
(02:03:10)
What life is.
Lex Fridman
(02:03:11)
What life is, which another simpler way of phrasing that is how did life originate?
Sara Walker
(02:03:17)
Well, I started working in the origin of life, and I think what my challenge was there was no one knew what life was. You can’t really talk about the origination of something if you don’t know what it is. The way I would approach it is if you want to understand what life is, then proving that physics is solving the origin of life. There’s the theory of what life is, but there’s the actual demonstration that that theory is an accurate description of the phenomena you aim to describe. Again, they’re the same problem. It’s not like I can decouple origin life from what life is. It’s like that is the problem.

(02:03:54)
The point, I guess, I’m making about having a question is no matter what slice of reality you take, what regularity of nature you’re going to try to describe, there will be an abstraction that unifies that structure of reality, hopefully. That will have a fundamental layer to it. You have to explain something in terms of something else. If I want to explain life, for example, then my fundamental description of nature has to be something I think that has to do with time being fundamental. But if I wanted to describe, I don’t know the interactions of matter and light, I have elementary particles be fundamental. If I want to describe electricity and magnetism in the 18 hundreds, I have to have waves be fundamental. Right? You are in quantum mechanics. It’s a wave function that’s fundamental because the explanatory paradigm of your theory. I guess I don’t know what problem saying computation is fundamental solves.
Lex Fridman
(02:05:07)
Doesn’t he want to understand how does the basic quantum mechanics and general relativity emerge?
Sara Walker
(02:05:14)
Yeah.
Lex Fridman
(02:05:15)
And cause time.
Sara Walker
(02:05:16)
Right.
Lex Fridman
(02:05:17)
Then that doesn’t really answer an important question for us?
Sara Walker
(02:05:19)
Well, I think that the issue is general relativity and quantum mechanics are expressed in mathematical languages, and then computation is a mathematical language. You’re basically saying that maybe there’s a more universal mathematical language for describing theories of physics that we already know. That’s an important question. I do think that’s what Stephen’s trying to do and do well. But then the question becomes, does that formulation of a more universal language for describing the laws of physics that we know now tell us anything new about the nature of reality? Or is it a language?
Lex Fridman
(02:05:54)
To you, languages can’t be fundamental?
Sara Walker
(02:05:58)
The language itself is never the fundamental thing. It’s whatever it’s describing.

Consciousness

Lex Fridman
(02:06:04)
One of the possible titles you were thinking about originally for the book is The Hard Problem of Life, reminiscent of the hard problem of consciousness. You are saying that assembly theory is supposed to be answering the question about what is life. Let’s go to the other hard problems. You also say that’s the easiest of the hard problems is the hard problem of life. What do you think is the nature of intelligence and consciousness? Do you think something like assembly theory can help us understand that?
Sara Walker
(02:06:46)
I think if assembly theory is an accurate depiction of the physics of life, it should shed a lot of light on those problems. In fact, I sometimes wonder if the problems of consciousness and intelligence are at all different than the problem of life, generally. I’m of two minds of it, but I in general try to… The process of my thinking is trying to regularize everything into one theory, so pretty much every interaction I have is like, “Oh, how do I fold that into…” I’m just building this giant abstraction that’s basically trying to take every piece of data I’ve ever gotten in my brain into a theory of what life is. Consciousness and intelligence are obviously some of the most interesting things that life has manifest. I think they’re very telling about some of the deeper features about the nature of life.
Lex Fridman
(02:07:45)
It does seem like they’re all flavors of the same thing. But it’s interesting to wonder at which stage does something that we would recognize as life in a canonical silly human way and something that we would recognize as intelligence, at which stage does that emerge? At which assembly index does that emerge? Which assembly index is a consciousness something that you would canonically recognize as consciousness?
Sara Walker
(02:08:12)
Right. Is this the use of flavors the same as you meant when you were talking about flavors of alien life?
Lex Fridman
(02:08:18)
Yeah, sure. Yeah. It’s the same as the flavors of ice cream and the flavors of fashion.
Sara Walker
(02:08:24)
But we were talking about in terms of colors and very nondescript, but the way that you just talked about flavors now was more in the space of consciousness and intelligence. It was much more specific.
Lex Fridman
(02:08:34)
It’d be nice if there’s a formal way of expressing-
Sara Walker
(02:08:38)
Quantifying flavors.
Lex Fridman
(02:08:39)
Quantifying flavors.
Sara Walker
(02:08:41)
Yeah.
Lex Fridman
(02:08:41)
It seems like I would order it life, consciousness, intelligence probably as the order in which things emerge. They’re all just, it’s the same.
Sara Walker
(02:08:54)
They’re the same.
Lex Fridman
(02:08:55)
We’re using the word life differently here. Life when I’m talking about what is a living versus non-living thing at a bar with a person, I’m already four or five drinks in, that kind of thing.
Sara Walker
(02:09:09)
Just that.
Lex Fridman
(02:09:10)
We’re not being too philosophical, like “Here’s the thing that moves, and here’s the thing that doesn’t move,” but maybe consciousness precedes that. It’s a weird dance there, is life precede consciousness or consciousness precede life. I think that understanding of what life is in the way you’re doing will help us disentangle that.
Sara Walker
(02:09:37)
Depending on what you want to explain, as I was saying before, you have to assume something’s fundamental. Because people can’t explain consciousness, there’s a temptation for some people to want to take consciousness as fundamental and assume everything else is derived out of that. Then you get some people that want to assume consciousness preceded life. I don’t find either of those views particularly illuminating because I don’t want to assume a feminology before I explain a thing. What I’ve tried really hard to do is not assume that I think life is anything except hold on to the patterns and structures that seem to be the sort of consistent ways that we talk about this thing. Then try to build a physics that describes that.

(02:10:23)
I think that’s a really different approach than saying, “Consciousness is this thing we all feel and experience about things.” I would want to understand irregularities associated with that and build a deeper structure underneath that and build into it. I wouldn’t want to assume that thing and that I understand that thing, which is usually how I see people talk about it,
Lex Fridman
(02:10:43)
The difference between life and consciousness, which comes first.
Sara Walker
(02:10:48)
Yeah. I think if you’re thinking about this thinking about living things as these giant causal structures or these objects that are deep in time or whatever language we end up using to describe it seems to me that consciousness is about the fact that we have a conscious experience is because we are these temporally extended objects. Consciousness and the abstraction that we have in our minds is actually a manifestation of all the time that’s rolled up in us. It’s just because we’re so huge that we have this very large inner space that we’re experiencing that’s not, and it’s also separated off from the rest of the world because we’re the separate thread in time. Our consciousness is not exactly shared with anything else because nothing else occupies the same part of time that we occupy. But I can understand something about you maybe being conscious because you and I didn’t separate that far in the past in terms of our causal histories. In some sense, we can even share experiences with each other through language because of that overlap in our structure.
Lex Fridman
(02:12:00)
Well, then if consciousness is merely temporal separateness, then that comes before life.
Sara Walker
(02:12:07)
It’s not merely temporal separateness. It’s about the depth in that time.
Lex Fridman
(02:12:12)
Yes.
Sara Walker
(02:12:12)
The reason that my conscious experience is not the same as yours is because we’re separated in time. The fact that I have a conscious experience is because I’m an object that’s super deep in time, so I’m huge in time. That means that there’s a lot that I am basically, in some sense, a universe onto myself because my structure is so large relative to the amount of space that I occupy.
Lex Fridman
(02:12:34)
But it feels like that’s possible to do before you get anything like bacteria.
Sara Walker
(02:12:40)
I think there’s a horizon, and I don’t know how to articulate this yet, it’s a little bit like the horizon at the origin of life where the space inside a particular structure becomes so large that it has some access to a space that doesn’t feel as physical. It’s almost like this idea of counterfactuals. I think the past history of your horizon is just much larger than can be encompassed in a small configuration of matter. You can pull this stuff into existence. This property is maybe a continuous property, but there’s something really different about human-level physical systems and human-level ability to understand reality.

(02:13:27)
I really love David Deutsch’s conception of universal explainers, and that’s related to theory of universal computation. I think there’s some transition that happens there. But maybe to describe that a little bit better, what I can also say is what intelligence is in this framework. You have these objects that are large in time. They were selected to exist by constraining the possible space of objects to this particular, all of the matter is funneled into this particular configuration of object over time.

(02:14:05)
These objects arise through selection, but the more selection that you have embedded in you, the more possible selection you have on your future. Selection and evolution, we usually think about in the past sense where selection happened in the past, but objects that are high density configurations of matter that have a lot of selection in them are also selecting agents in the universe. They actually embody the physics of selection and they can select on possible futures. I guess what I’m saying with respect to consciousness and the experience we have is that something very deep about that structure and the nature of how we exist in that structure that has to do with how we’re navigating that space and how we generate that space and how we continue to persist in that space.

Artificial life

Lex Fridman
(02:14:55)
Is there shortcuts we can take to artificially engineering, living organisms, artificial life, artificial consciousness, artificial intelligence? Maybe just looking pragmatically at the LLMs we have now, do you think those can exhibit qualities of life, qualities of consciousness, qualities of intelligence in the way we think of intelligence?
Sara Walker
(02:15:24)
I think they already do, but not in the way I hear popularly discussed. They’re obviously signatures of intelligence and a part of a ecosystem of intelligence system of intelligent systems. But I don’t know that individually I would assign all the properties to them that people have. It’s a little like, so we talked about the history of eyes before and how eyes scaled up into technological forms. Language has also had a really interesting history and got much more interesting I think once we started writing it down and then inventing books and things. But every time that we started storing language in a new way where we were existentially traumatized by it. The idea of written language was traumatic because it seemed like the dead were speaking to us even though they were deceased. Books were traumatic because suddenly there were lots of copies of this information available to everyone and it was going to somehow dilute it.

(02:16:28)
Large language models are interesting because they don’t feel as static. They’re very dynamic. But if you think about language in the way I was describing before, as language is this very large in time structure. Before it had been something that was distributed over human brains as a dynamic structure. Occasionally, we store components of that very large dynamic structure in books or in written language. Now, we can actually store the dynamics of that structure in a physical artifact, which is a large language model. I think about it almost like the evolution of genomes in some sense, where there might’ve been really primitive genes in the first living things and they didn’t store a lot of information or they were really messy.

(02:17:12)
Then by the time you get to the eukaryotic cell, you have this really dynamic genetic architecture that’s read writable and has all of these different properties. I think large language models are kind of like the genetic system for language in some sense, where it’s allowing an archiving that’s highly dynamic. I think it’s very paradoxical to us because obviously in human history, we haven’t been used to conversing anything that’s not human. But now we can converse basically with a crystallization of human language in a computer that’s a highly dynamic crystal because it’s a crystallization in time of this massive abstract structure that’s evolved over human history and is now put into a small device.
Lex Fridman
(02:18:07)
I think crystallization implies that a limit on its capabilities.
Sara Walker
(02:18:08)
I think there’s not, I mean it very purposefully because a particular instantiation of a language model trained on a particular data set becomes a crystal of the language at that time it was trained, but obviously we’re iterating with the technology and evolving it.
Lex Fridman
(02:18:20)
I guess the question is, when you crystallize it, when you compress it, when you archive it, you’re archiving some slice of the collective intelligence of the human species.
Sara Walker
(02:18:31)
Yes. That’s right.
Lex Fridman
(02:18:32)
The question is how powerful is that?
Sara Walker
(02:18:36)
Right. It’s a societal level technology. We’ve actually put collective intelligence in a box.
Lex Fridman
(02:18:40)
Yeah. How much smarter is the collective intelligence of humans versus a single human? That’s the question of AGI versus human level intelligence, superhuman level intelligence versus human level intelligence. How much smarter can this thing, when done well, when we solve a lot of the computation complexities, maybe there’s some data complexities and how to really archive this thing, crystallize this thing really well, how powerful is this thing going to be? What’s your thought?
Sara Walker
(02:19:15)
Actually, I don’t like the language we use around that, and I think the language really matters. I don’t know how to talk about how much smarter one human is than another. Usually, we talk about abilities or particular talents someone has, and going back to David Deutsch’s idea of universal explainers, adopting the view that where the first kinds of structures are biosphere has built that can understand the rest of reality. We have this universal comprehension capability. He makes an argument that basically we’re the first things that actually are capable of understanding anything. It doesn’t mean…
Sara Walker
(02:20:00)
… Things that actually are capable of understanding anything. It doesn’t mean an individual understands everything, but we have that capability. And so there’s not a difference between that and what people talk about with AGI. In some sense, AGI is a universal explainer, but it might be that a computer is much more efficient at doing, I don’t know, prime factorization or something, than a human is. But it doesn’t mean that it’s necessarily smarter or has a broader reach of the kind of things that can understand than a human does.

(02:20:35)
And so I think we really have to think about is it a level shift or is it we’re enhancing certain kinds of capabilities humans have in the same way that we enhanced eyesight by making telescopes and microscopes? Are we enhancing capabilities we have into technologies and the entire global ecosystem is getting more intelligent? Or is it really that we’re building some super machine in a box that’s going to be smart and kill everybody? It’s not even a science fiction narrative. It’s a bad science fiction narrative. I just don’t think it’s actually accurate to any of the technologies we’re building or the way that we should be describing them. It’s not even how we should be describing ourselves.
Lex Fridman
(02:21:12)
So the benevolence stories, there’s a benevolent system that’s able to transform our economy, our way of life by just 10Xing the GDP of countries-
Sara Walker
(02:21:25)
Well, these are human questions. Right? I don’t think they’re necessarily questions that we’re going to outsource to an artificial intelligence. I think what is happening and will continue to happen is there’s a co-evolution between humans and technology that’s happening, and we’re coexisting in this ecosystem right now and we’re maintaining a lot of the balance. And for the balance to shift to the technology would require some very bad human actors, which is a real risk, or some sort of… I don’t know, some sort of dynamic that favors… I just don’t know how that plays out without human agency actually trying to put it in that direction.
Lex Fridman
(02:22:12)
It could also be how rapid the rate-
Sara Walker
(02:22:12)
The rapid rate is scary. So I think the things that are terrifying are the ideas of deepfakes or all the kinds of issues that become legal issues about artificial intelligence technologies, and using them to control weapons or using them for child pornography or faking out that someone’s loved one was kidnapped or killed. There’s all kinds of things that are super scary in this landscape and all kinds of new legislation needs to be built and all kinds of guardrails on the technology to make sure that people don’t abuse it need to be built and that needs to happen. And I think one function of the artificial intelligence doomsday part of our culture right now is it’s our immune response to knowing that’s coming and we’re over scaring ourselves. So we try to act more quickly, which is good, but it’s about the words that we use versus the actual things happening behind the words.

(02:23:26)
I think one thing that’s good is when people are talking about things in different ways, it makes us think about them. And also, when things are existentially threatening, we want to pay attention to those. But the ways that they’re existentially threatening and the ways that we’re experiencing existential trauma, I don’t think that we’re really going to understand for another century or two, if ever. And I certainly think they’re not the way that we’re describing them now.
Lex Fridman
(02:23:49)
Well, creating existential trauma is one of the things that makes life fun, I guess.
Sara Walker
(02:23:55)
Yeah. It’s just what we do to ourselves.
Lex Fridman
(02:23:57)
It gives us really exciting, big problems to solve.
Sara Walker
(02:24:00)
Yeah, for sure.
Lex Fridman
(02:24:01)
Do you think we will see these AI systems become conscious or convince us that they’re conscious and then maybe we’ll have relationships with them, romantic relationships?
Sara Walker
(02:24:14)
Well, I think people are going to have romantic relationships with them, and I also think that some people would be convinced already that they’re conscious, but I think in order… What does it take to convince people that something is conscious? I think that we actually have to have an idea of what we’re talking about. We have to have a theory that explains when things are conscious or not, that’s testable. Right? And we don’t have one right now. So I think until we have that, it’s always going to be this gray area where some people think it hasn’t, some people think it doesn’t because we don’t actually know what we’re talking about that we think it has.
Lex Fridman
(02:24:52)
So do you think it’s possible to get out of the gray area and really have a formal test for consciousness?
Sara Walker
(02:24:57)
For sure.
Lex Fridman
(02:24:58)
And for life, as you were-
Sara Walker
(02:25:00)
For sure.
Lex Fridman
(02:25:00)
As we’ve been talking about for assembly theory?
Sara Walker
(02:25:02)
Yeah.
Lex Fridman
(02:25:03)
Consciousness is a tricky one.
Sara Walker
(02:25:04)
It is a tricky one. That’s why it’s called the hard problem of consciousness because it’s hard. And it might even be outside of the purview of science, which means that we can’t understand it in a scientific way. There might be other ways of coming to understand it, but those may not be the ones that we necessarily want for technological utility or for developing laws with respect to, because the laws are the things that are going to govern the technology.
Lex Fridman
(02:25:30)
Well, I think that’s actually where the hard problem of consciousness, a different hard problem of consciousness, is that I fear that humans will resist. That’s the last thing they will resist is calling something else conscious.
Sara Walker
(02:25:48)
Oh, that’s interesting. I think it depends on the culture though, because some cultures already think everything’s imbued with a life essence or kind of conscious.
Lex Fridman
(02:25:58)
I don’t think those cultures have nuclear weapons.
Sara Walker
(02:26:00)
No, they don’t. They’re probably not building the most advanced technologies.
Lex Fridman
(02:26:04)
The cultures that are primed for destroying the other, constructing very effective propaganda machines of what the other is the group to hate are the cultures that I worry would-
Sara Walker
(02:26:04)
Yeah, I know.
Lex Fridman
(02:26:19)
Would be very resistant to label something to acknowledge the consciousness latent in a thing that was created by us humans.
Sara Walker
(02:26:32)
And so what do you think the risks are there, that the conscious things will get angry with us and fight back?
Lex Fridman
(02:26:40)
No, that we would torture and kill conscious beings.
Sara Walker
(02:26:42)
Oh, yeah. I think we do that quite a lot anyway without… It goes back to your… And I don’t know how to feel about this, but we talked already about the predator-prey thing that in some sense, being alive requires eating other things that are alive. And even if you’re a vegetarian or try to have… You’re still eating living things.
Lex Fridman
(02:27:09)
So maybe part of the story of earth will involve a predator-prey dynamic between humans-
Sara Walker
(02:27:17)
That’s struggle for existence.
Lex Fridman
(02:27:20)
And human creations, and all of that is part of the chemosphere.
Sara Walker
(02:27:20)
But I don’t like thinking our technologies as a separate species because this again goes back to this sort of levels of selection issue. And if you think about humans individually alive, you miss the fact that societies are also alive. And so I think about it much more in the sense of an ecosystem’s not the right word, but we don’t have the right words for these things of… And this is why I talk about the technosphere. It’s a system that is both human and technological. It’s not human or technological. And so this is the part that I think we are really good, and this is driving in part a lot of the attitude of, “I’ll kill you first with my nuclear weapons.” We’re really good at identifying things as other. We’re not really good at understanding when we’re the same or when we’re part of an integrated system that’s actually functioning together in some kind of cohesive way.

(02:28:21)
So even if you look at the division in American politics or something, for example. It’s important that there’s multiple sides that are arguing with each other because that’s actually how you resolve society’s issues. It’s not like a bad feature. I think some of the extreme positions and the way people talk about are maybe not ideal, but that’s how societies solve problems. What it looks like for an individual is really different than the societal level outcomes and the fact that there is… I don’t want to call it cognition or computation. I don’t know what you call it, but there is a process playing out in the dynamics of societies that we are all individual actors in, and we’re not part of that. It requires all of us acting individually, but this higher level structure is playing out some things and things are getting solved for it to be able to maintain itself. And that’s the level that our technologies live at. They don’t live at our level. They live at the societal level, and they’re deeply integrated with the social organism, if you want to call it that.

(02:29:19)
And so I really get upset when people talk about the species of artificial intelligence. I’m like, you mean we live in an ecosystem of all these intelligent things and these animating technologies that were in some sense helping to come alive. We are generating them, but it’s not like the biosphere eliminated all of its past history when it invented a new species. All of these things get scaffolded, and we’re also augmenting ourselves at the same time that we’re building technologies. I don’t think we can anticipate what that system’s going to look like.
Lex Fridman
(02:29:51)
So in some fundamental way, you always want to be thinking about the planet as one organism?
Sara Walker
(02:29:56)
The planet is one living thing.
Lex Fridman
(02:29:58)
What happens when it becomes multi-planetary? Is it still just-
Sara Walker
(02:29:58)
Still the same causal chain.
Lex Fridman
(02:30:02)
Same causal chain?
Sara Walker
(02:30:04)
It’s like when the first cell split into two. That’s what I was talking about. When a planet reproduces itself, the technosphere emerges enough understanding. It’s like this recursive, the entire history of life is just recursion. Right? So you have an original life event. It evolves for 4,000,000,000 years, at least on our planet. It evolves the technosphere. The technologies themselves start to become having this property we call life, which is the phase we’re undergoing now. It solves the origin of itself, and then it figures out how that process all works, understands how to make more life and then can copy itself onto another planet so the whole structure can reproduce itself.

(02:30:44)
And so the origin of life is happening again right now on this planet in the technosphere with the way that our planet is undergoing another transition. Just like at the origin of life, when geochemistry transitioned to biology, which is the global… For me, it was a planetary scale transition. It was a multiscale thing that happened from the scale of chemistry all the way to planetary cycles. It’s happening now, all the way from individual humans to the internet, which is a global technology and all the other things. There’s this multiscale process that’s happening and transitioning us globally, and it’s a dramatic transition. It’s happening really fast and we’re living in it.
Lex Fridman
(02:31:20)
You think this technosphere that created this increasingly complex technosphere will spread to other planets?
Sara Walker
(02:31:26)
I hope so. I think so.
Lex Fridman
(02:31:28)
Do you think we’ll become a type two Kardashev civilization?
Sara Walker
(02:31:31)
I don’t really like the Kardashev scale, and it goes back to I don’t like a lot of the narratives about life because they’re very like survival of the fittest, energy consuming, this, that and the other thing. It’s very, I don’t know, old world conqueror mentality.
Lex Fridman
(02:31:49)
What’s the alternative to that exactly?
Sara Walker
(02:31:53)
I think it does require life to use new energy sources in order to expand the way it is, so that part’s accurate. But I think this process of life being the mechanism that the universe creatively expresses itself, generates novelty, explores the space of the possible is really the thing that’s most deeply intrinsic to life. And so these energy-consuming scales of technology, I think is missing the actual feature that’s most prominent about any alien life that we might find, which is that it’s literally our universe, our reality, trying to creatively express itself and trying to find out what can exist and trying to make it exist.
Lex Fridman
(02:32:36)
See, but past a certain level of complexity, unfortunately, maybe you can correct me, but all complex life on earth is built on a foundation of that predator-prey dynamic.
Sara Walker
(02:32:46)
Yes.
Lex Fridman
(02:32:46)
And so I don’t know if we can escape that.
Sara Walker
(02:32:48)
No, we can’t. But this is why I’m okay with having a finite lifetime. And one of the reasons I’m okay with that actually, goes back to this issue of the fact that we’re resource bound. We have a finite amount of material, whatever way you want to define material. For me, material is time, material is information, but we have a finite amount of material. If time is a generating mechanism, it’s always going to be finite because the universe is… It’s a resource that’s getting generated, but it has a size, which means that all the things that could exist don’t exist. And in fact, most of them never will.

(02:33:29)
So death is a way to make room in the universe for other things to exist that wouldn’t be able to exist otherwise. So if the universe over its entire temporal history wants to maximize the number of things… Wants is a hard word, maximize is a hard word, all these things are approximate, but wants to maximize the number of things that can exist, the best way to do it is to make recursively embedded stacked objects like us that have a lot of structure and a small volume of space. And to have those things turn over rapidly so you can create as many of them as possible.
Lex Fridman
(02:33:58)
So that for sure is a bunch of those kinds of things throughout the universe.
Sara Walker
(02:34:02)
Hopefully. Hopefully our universe is teaming with life.
Lex Fridman
(02:34:05)
This is like early on in the conversation. You mentioned that we really don’t understand much. There’s mystery all around us.
Sara Walker
(02:34:14)
Yes.
Lex Fridman
(02:34:15)
If you had to bet money on it, what percent? So say 1,000,000 from now, the story of science and human understanding that started on earth is written, what chapter are we on? Is this 1%, 10%, 20%, 50%, 90%? How much do we understand, like the big stuff, not the details of… Big important questions and ideas?
Sara Walker
(02:34:51)
I think we’re in our 20s and-
Lex Fridman
(02:34:55)
20% of the 20?
Sara Walker
(02:34:55)
No, age wise, let’s say we’re in our 20s, but the lifespan is going to keep getting longer.
Lex Fridman
(02:34:55)
You can’t do that.
Sara Walker
(02:35:03)
I can. You know why I use that though? I’ll tell you why, why my brain went there, is because anybody that gets an education in physics has this trope about how all the great physicists did their best work in their 20s, and then you don’t do any good work after that. And I always thought it was funny because for me, physics is not complete, it’s not nearly complete, but most physicists think that we understand most of the structure of reality. And so I think I put this in the book somewhere, but this idea to me that societies would discover everything while they’re young is very consistent with the way we talk about physics right now. But I don’t think that’s actually the way that things are going to go, and you’re finding that people that are making major discoveries are getting older in some sense than they were, and our lifespan is also increasing.

(02:36:01)
So I think there is something about age and your ability to learn and how much of the world you can see that’s really important over a human lifespan, but also over the lifespan of societies. And so I don’t know how big the frontier is. I don’t actually think it has a limit. I don’t believe in infinity as a physical thing, but I think as a receding horizon, I think because the universe is getting bigger, you can never know all of it.
Lex Fridman
(02:36:29)
Well, I think it’s about 1.7%.
Sara Walker
(02:36:35)
1.7? Where does that come from?
Lex Fridman
(02:36:36)
And It’s a finite… I don’t know. I just made it up, but it’s like-
Sara Walker
(02:36:38)
That number had to come from somewhere.
Lex Fridman
(02:36:41)
Certainly. I think seven is the thing that people usually pick
Sara Walker
(02:36:44)
7%?
Lex Fridman
(02:36:45)
So I wanted to say 1%, but I thought it would be funnier to add a point. So inject a little humor in there. So the seven is for the humor. One is for how much mystery I think there is out there.
Sara Walker
(02:36:59)
99% mystery, 1% known?
Lex Fridman
(02:37:01)
In terms of really big important questions.
Sara Walker
(02:37:04)
Yeah.
Lex Fridman
(02:37:06)
Say there’s going to be 200 chapters, the stuff that’s going to remain true.
Sara Walker
(02:37:12)
But you think the book has a finite size?
Lex Fridman
(02:37:14)
Yeah.
Sara Walker
(02:37:15)
And I don’t. Not that I believe in infinities, but I think this size of the book is growing.
Lex Fridman
(02:37:23)
Well, the fact that the size of the book is growing is one of the chapters in the book.
Sara Walker
(02:37:28)
Oh, there you go. Oh, we’re being recursive.
Lex Fridman
(02:37:33)
I think you can’t have an ever-growing book.
Sara Walker
(02:37:36)
Yes, you can.
Lex Fridman
(02:37:38)
I don’t even… Because then-
Sara Walker
(02:37:41)
Well, you couldn’t have been asking this at the origin of life because obviously you wouldn’t have existed at the origin of life. But the question of intelligence and artificial general… Those questions did not exist then. And they in part existed because the universe invented a space for those questions to exist through evolution.
Lex Fridman
(02:38:01)
But I think that question will still stand 1,000 years from now.
Sara Walker
(02:38:06)
It will, but there will be other questions we can’t anticipate now that we’ll be asking.
Lex Fridman
(02:38:10)
Yeah, and maybe we’ll develop the kinds of languages that we’ll be able to ask much better questions.
Sara Walker
(02:38:15)
Right. Or the theory of gravitation, for example. When we invented that theory, we only knew about the planets in our solar system. And now, many centuries later, we know about all these planets around other stars and black holes and other things that we could never have anticipated. And then we can ask questions about them. We wouldn’t have been asking about singularities and can they really be physical things in the universe several 100 years ago? That question couldn’t exist.
Lex Fridman
(02:38:42)
Yeah, but it’s not… I still think those are chapters in the book. I don’t get a sense from that-

Free will

Sara Walker
(02:38:48)
So do you think the universe has an end, if you think it’s a book with an end?
Lex Fridman
(02:38:54)
I think the number of words required to describe how the universe works as an end, yes. Meaning I don’t care if it’s infinite or not.
Sara Walker
(02:39:06)
Right.
Lex Fridman
(02:39:06)
As long as the explanation is simple and it exists.
Sara Walker
(02:39:09)
Oh, I see.
Lex Fridman
(02:39:11)
And I think there is a finite explanation for each aspect of it, the consciousness, the life. Very probably, there’s some… The black hole thing, it’s like, what’s going on there? Where’s that going? What are they what?
Sara Walker
(02:39:29)
[inaudible 02:39:29].
Lex Fridman
(02:39:29)
And then why the Big Bang?
Sara Walker
(02:39:33)
Right.
Lex Fridman
(02:39:34)
It’s probably, there’s just a huge number of universes, and it’s like universes inside-
Sara Walker
(02:39:39)
You think so? I think universes inside universes is maybe possible.
Lex Fridman
(02:39:43)
I just think every time we assume this is all there is, it turns out there’s much more.
Sara Walker
(02:39:53)
The universe is a huge place.
Lex Fridman
(02:39:54)
And we mostly talked about the past and the richness of the past, but the future, with many worlds interpretation of quantum mechanics.
Sara Walker
(02:40:02)
Oh, I’m not a many worlds person.
Lex Fridman
(02:40:04)
You’re not?
Sara Walker
(02:40:07)
No. Are you? How many Lexes are there?
Lex Fridman
(02:40:08)
Depending on the day. Well-
Sara Walker
(02:40:10)
Do some of them wear yellow jackets?
Lex Fridman
(02:40:12)
The moment you asked the question, there was one. At the moment I’m answering it, there’s now near infinity, apparently. The future is bigger than the past. Yes?
Sara Walker
(02:40:24)
Yes.
Lex Fridman
(02:40:25)
Okay. Well, there you go. But in the past, according to you, it’s already gigantic.
Sara Walker
(02:40:30)
Yeah. But yeah, that’s consistent with many worlds, right? Because there’s this constant branching, but it doesn’t really have a directionality to it. I don’t know. Many worlds is weird. So my interpretation of reality is if you fold it up, all that bifurcation of many worlds, and you just fold it into the structure that is you, and you just said you are all of those many worlds and your history converged on you, but you’re actually an object exists that was selected to exist, and you’re self-consistent with the other structures. So the quantum mechanical reality is not the one that you live in. It’s this very deterministic, classical world, and you’re carving a path through that space. But I don’t think that you’re constantly branching into new spaces. I think you are that space.
Lex Fridman
(02:41:19)
Wait, so to you, at the bottom, it’s deterministic? I thought you said the universe is just a bunch of random-
Sara Walker
(02:41:24)
No, it’s random at the bottom. Right? But this randomness that we see at the bottom of reality that is quantum mechanics, I think people have assumed that that is reality. And what I’m saying is all those things you see in many worlds, all those versions of you, just collect them up and bundle them up and they’re all you. And what has happened is elementary particles, they don’t live in a deterministic universe, the things that we study in quantum experiments. They live in this fuzzy random space, but as that structure collapsed and started to build structures that were deterministic and evolved into you, you are a very deterministic macroscopic object. And you can look down on that universe that doesn’t have time in it, that random structure. And you can see that all of these possibilities look possible, but they’re not possible for you because you’re constrained by this giant causal structural history. So you can’t live in all those universes. You’d have to go all the way back to the very beginning of the universe and retrace everything again to be a different you.
Lex Fridman
(02:42:29)
So where’s the source of the free will for the macro object?
Sara Walker
(02:42:33)
It’s the fact that you’re a deterministic structure living in a random background. And also, all of that selection bundled in you allows you to select on possible futures. So that’s where your will comes from. And there’s just always a little bit of randomness because the universe is getting bigger. And this idea that the past and the present is not large enough yet to contain the future, the extra structure has to come from somewhere. And some of that is because outside of those giant causal structures that are things like us, it’s fucking random out there, and it’s scary, and we’re all hanging onto each other because the only way to hang on to each other, the only way to exist is to clinging on to all of these causal structures that we happen to coinhabitate existence with and try to keep reinforcing each other’s existence.
Lex Fridman
(02:43:25)
All the selection bundled in.
Sara Walker
(02:43:28)
In us, but free will’s totally consistent with that.
Lex Fridman
(02:43:34)
I don’t know what I think about that. That’s complicated to imagine. Just that little bit of randomness is enough. Okay.
Sara Walker
(02:43:37)
Well, it’s not just the randomness. There’s two features. One is the randomness helps generate some novelty and some flexibility, but it’s also that because you’re the structure that’s deep in time, you have this commonatorial history that’s you. And I think about time and assembly theory, not as linear time, but as commonatorial time. So if you have all of the structure that you’re built out of, in principle, your future can be combinations of that structure. You obviously need to persist yourself as a coherent you. So you want to optimize for a future in that combinatorial space that still includes you, most of the time for most of us.

(02:44:25)
And then that gives you a space to operate in, and that’s your horizon where your free will can operate, and your free will can’t be instantaneous. So for example, I’m sitting here talking to you right now. I can’t be in the UK and I can’t be in Arizona, but I could plan, I could execute my free will over time because free will is a temporal feature of life, to be there tomorrow or the next day if I wanted to.
Lex Fridman
(02:44:51)
But what about the instantaneous decisions you’re making like, I don’t know, to put your hand on the table?
Sara Walker
(02:44:58)
I think those were already decided a while ago. I don’t think free will is ever instantaneous.
Lex Fridman
(02:45:05)
But on a longer time horizon, there’s some kind of steering going on? Who’s doing the steering?
Sara Walker
(02:45:14)
You are.
Lex Fridman
(02:45:16)
And you being this macro object that encompasses-
Sara Walker
(02:45:20)
Or you being Lex, whatever you want to call it.
Lex Fridman
(02:45:27)
There you are assigning words to things once again.
Sara Walker
(02:45:31)
I know.

Why anything exists

Lex Fridman
(02:45:32)
Why does anything exist at all?
Sara Walker
(02:45:34)
Ag, I don’t know.
Lex Fridman
(02:45:35)
You’ve taken that as a starting point [inaudible 02:45:40] exists.
Sara Walker
(02:45:40)
Yeah, I think that’s the hardest question.
Lex Fridman
(02:45:42)
Isn’t it just hard questions stacked on top of each other?
Sara Walker
(02:45:45)
It is.
Lex Fridman
(02:45:45)
Wouldn’t it be the same kind of question of what is life?
Sara Walker
(02:45:49)
It is the same. Well, that’s like I try to fold all of the questions into that question because I think that one’s really hard, and I think the nature of existence is really hard.
Lex Fridman
(02:45:57)
You think actually answering what is life will help us understand existence? Maybe it’s turtles all the way down. Understanding the nature of turtles will help us march down even if we don’t have the experimental methodology of reaching before the Big Bang.
Sara Walker
(02:46:15)
Right. Well, I think there’s two questions embedded here. I think the one that we can’t answer by answering life is why certain things exist and others don’t? But I think the ultimate question, the prime mover question of why anything exists, we will not be able to answer.
Lex Fridman
(02:46:36)
What’s outside the universe?
Sara Walker
(02:46:38)
Oh, there’s nothing outside the universe. So I am the most physicalist that anyone could be. So for me, everything exists in our universe. And I like to think everything exists here. So even when we talk about the multiverse, to me, it’s not like there’s all these other universes outside of our universe that exist. The multiverse is a concept that exists in human minds here, and it allows us to have some counterfactual reasoning to reason about our own cosmology, and therefore, it’s causal in our biosphere to understanding the reality that we live in and building better theories, but I don’t think that the multiverse is something… And also, math. I don’t think there’s a Platonic world that mathematical things live in. I think mathematical things are here on this planet. I don’t think it makes sense to talk about things that exist outside of the universe. If you’re talking about them, you’re already talking about something that exists inside the universe and is part of the universe and is part of what the universe is building.
Lex Fridman
(02:47:44)
It all originates here. It all exists here in some [inaudible 02:47:48]?
Sara Walker
(02:47:47)
What else would there be?
Lex Fridman
(02:47:49)
There could be things you can’t possibly understand outside of all of this that we call the universe.
Sara Walker
(02:47:56)
Right. And you can say that, and that’s an interesting philosophy. But again, this is pushing on the boundaries of the way that we understand things. I think it’s more constructive to say the fact that I can talk about those things is telling me something about the structure of where I actually live and where I exist.
Lex Fridman
(02:48:09)
Just because it’s more constructive doesn’t mean it’s true.
Sara Walker
(02:48:13)
Well, it may not be true. It may be something that allows me to build better theories I can test to try to understand something objective.
Lex Fridman
(02:48:24)
And in the end, that’s a good way to get to the truth.
Sara Walker
(02:48:25)
Exactly.
Lex Fridman
(02:48:26)
Even if you realize-
Sara Walker
(02:48:27)
So I can’t do experiments-
Lex Fridman
(02:48:28)
You were wrong in the past?
Sara Walker
(02:48:29)
Yeah. So there’s no such thing as experimental Platonism, but if you think math is an object that emerged in our biosphere, you can start experimenting with that idea. And that to me, is really interesting. Well, mathematicians do think about math sometimes as an experimental science, but to think about math itself as an object for study by physicists rather than a tool physicists use to describe reality, it becomes the part of reality they’re trying to describe, to me, is a deeply interesting inversion.
Lex Fridman
(02:49:02)
What to you is most beautiful about this kind of exploration of the physics of life that you’ve been doing?
Sara Walker
(02:49:11)
I love the way it makes me feel.
Lex Fridman
(02:49:15)
And then you have to try to convert the feelings into visuals and the visuals into words?
Sara Walker
(02:49:23)
Yeah. I love the way it makes me feel to have ideas that I think are novel, and I think that the dual side of that is the painful process of trying to communicate that with other human beings to test if they have any kind of reality to them. And I also love that process. I love trying to figure out how to explain really deep abstract things that I don’t think that we understand and trying to understand them with other people. And I also love the shock value of this idea we were talking about before, of being on the boundary of what we understand. And so people can see what you’re seeing, but they haven’t ever saw it that way before.

(02:50:06)
And I love the shock value that people have, that immediate moment of recognizing that there’s something beyond the way that they thought about things before. And being able to deliver that to people, I think is one of the biggest joys that I have, is just… Maybe it’s that sense of mystery to share that there’s something beyond the frontier of how we understand and we might be able to see it.
Lex Fridman
(02:50:27)
And you get to see the humans transformed, like no idea?
Sara Walker
(02:50:31)
Yes. And I think my greatest wish in life is to somehow contribute to an idea that transforms the way that we think. I have my problem I want to solve, but the thing that gives me joy about it is really changing something and ideally getting to a deeper understanding of how the world works and what we are.
Lex Fridman
(02:50:58)
Yeah, I would say understanding life at a deep level is probably one of the most exciting problems, one of the most exciting questions. So I’m glad you’re trying to answer just that and doing it in style.
Sara Walker
(02:51:15)
It’s the only way to do anything.
Lex Fridman
(02:51:17)
Thank you so much for this amazing conversation. Thank you for being you, Sara. This was awesome.
Sara Walker
(02:51:23)
Thanks, Lex.
Lex Fridman
(02:51:24)
Thanks for listening to this conversation with Sara Walker. To support this podcast, please check out our sponsors in the description. And now, let me leave you with some words from Charles Darwin. “In the long history of humankind, and animal kind too, those who learn to collaborate and improvise most effectively have prevailed.” Thank you for listening and hope to see you next time.

Transcript for Kevin Spacey: Power, Controversy, Betrayal, Truth & Love in Film and Life | Lex Fridman Podcast #432

This is a transcript of Lex Fridman Podcast #432 with Kevin Spacey.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
Here are some useful links:

Table of Contents

Here are the loose “chapters” in the conversation.
Click link to jump approximately to that part in the transcript:

Introduction

Lex Fridman
(00:00:00)
The following is a conversation with Kevin Spacey, a two-time Oscar-winning actor, who has starred in Se7en, The Usual Suspects, American Beauty, and House of Cards. He is one of the greatest actors ever, creating haunting performances of characters who often embody the dark side of human nature.

(00:00:20)
Seven years ago, he was cut from House of Cards, and canceled by Hollywood and the world, when Anthony Rapp made an allegation that Kevin Spacey sexually abused him in 1986. Anthony Rapp then filed a civil lawsuit seeking $40 million. In this trial and all civil and criminal trials that followed, Kevin was acquitted. He has never been found guilty nor liable in the court of law.

(00:00:52)
In this conversation, Kevin makes clear what he did and what he didn’t do. I also encourage you to listen to Kevin’s Dan Wooten and Alison Pearson interviews, for additional details and responses to the allegations.

(00:01:09)
As an aside, let me say that one of the principles I operate under for this podcast and in life is that I will talk with everyone with empathy and with backbone. For each guest, I hope to explore their life’s work, life’s story, and what and how they think, and do so honestly and fully, the good, the bad, and the ugly, the brilliance and the flaws. I won’t whitewash their sins, but I won’t reduce them to a worse possible caricature of their sins either. The latter is what the mass hysteria of internet mobs too often does, often rushing to a final judgment before the facts are in. I will try to do better than that, to respect due process in service of the truth, and I hope to have the courage to always think independently and to speak honestly from the heart, even when the eyes of the outraged mob are on me.

(00:02:11)
Again, my goal is to understand human beings at their best and at their worst, and the hope is such understanding leads to more compassion and wisdom in the world. I will make mistakes, and when I do, I will work hard to improve. I love you all.

(00:02:34)
This is the Lex Fridman Podcast. To support it, please check out our sponsors in the description, and now, dear friends, here’s Kevin Spacey.

Seven


(00:02:44)
You played a serial killer in the movie, Se7en. Your performance was one of, if not the greatest, portrayal of a murderer on screen ever. What was your process of becoming him, John Doe, the serial killer.
Kevin Spacey
(00:02:59)
The truth is, I didn’t get the part. I had been in Los Angeles making a couple of films, Swimming With Sharks and Usual Suspects, and then I did a film called Outbreak, that Morgan Freeman was in, and I went to audition for David Fincher, in probably late November of ’94. And I auditioned for this part, and didn’t get it, and I went back to New York, and I think they started shooting like December 12th.

(00:03:43)
And I’m in New York, I’m back in my … I have a wonderful apartment on West 12th Street, and my mom has come to visit for Christmas, and it’s December 23rd, and it’s like seven o’clock at night, and my phone rings, and it’s Arnold Kopelson, who’s the producer of Se7en, and he’s very jovial and he’s very friendly, and he says, “How are you doing?” And I said, “Fine,” and he said, “Listen, do you remember that film you came in for, Se7en?” And I said, “Yeah, yeah, absolutely.” He goes, “Well, turns out that we hired an actor and we started shooting, and then yesterday David fired him, and David would like you to get on a plane on Sunday, and come to Los Angeles and start shooting on Tuesday.” And I was like, “Okay. Would it be imposing to say, can I read it again? Because it’s been a while now, and I’d like to.” So they sent a script over. I read the script that night. I thought about it, and I had this feeling, I can’t even quite describe it, but I had this feeling that it would be really good if I didn’t take billing in the film, and the reason I felt that was because I knew that by the time this film would come out, it would be the last one of the three movies that I’d just shot, the fourth one. And if any of those films broke through or did well, if it was going to be Brad Pitt, Morgan Freeman, Gwyneth Paltrow, and Kevin Spacey, and you don’t show up for the first 25, 30, 40 minutes, people are going to figure out who you’re playing.
Lex Fridman
(00:05:38)
So people didn’t know that you play the serial killer in the movie, and the serial killer shows up more than halfway through the movie.
Kevin Spacey
(00:05:49)
Very latest.
Lex Fridman
(00:05:50)
And when you say billing, is like the posters, the VHS cover.
Kevin Spacey
(00:05:54)
That’s right.
Lex Fridman
(00:05:54)
Everything. You’re gone.
Kevin Spacey
(00:05:55)
Exactly.
Lex Fridman
(00:05:55)
You’re not there.
Kevin Spacey
(00:05:56)
Not there. And so New Cinema told me to go fuck myself, that they absolutely could use my picture and my image, and this became a little bit of a … I’d say 24 hour conversation … and it was Fincher who said, “I actually think this is a really cool idea.” So the compromise was, I’m the first credit at the end of the movie when the credits start.

David Fincher


(00:06:24)
So I got on a plane on that Sunday and I flew to Los Angeles, and I went into where they were shooting, and I went into the makeup room and David Fincher was there, and we were talking about what should I do? How should I look? And I just had my hair short for Outbreak, because I was playing a military character, and I just looked at the hairdresser and I said, do you have a razor? And Fincher went, “Are you kidding?” And I said, “No.” He goes, “If you shave your head, I’ll shave mine.” So we both shaved our heads, and then I started shooting the next day.

(00:07:09)
So my long-winded answer to your question is that I didn’t have that much time to think about how to build that character. What I think in the end, Fincher was able to do so brilliantly, with such terror, was to set the audience up to meet this character.
Lex Fridman
(00:07:37)
I think the last scene, the ending scene, and the car ride leading up to it, where it’s mostly on you in conversation with Morgan Freeman and Brad Pitt, it’s one of the greatest scenes in film history.

(00:07:53)
So people who somehow didn’t see the movie, there’s these five murders that happened that are inspired by five of the seven deadly sins, and the ending scene is inspired, represents the last two deadly sins, and there’s this calm subtlety about you in your performance, it’s just terrifying. Maybe in contrast with Brad Pitt’s performance, that’s also really strong, but that in the contrast is the terrifying sense that you get in the audience, that builds up to the twist at the end, or the surprise at the end, with the famous, “What’s in the box?” from Brad Pitt, that is Brad Pitt’s character’s wife, her head.
Kevin Spacey
(00:08:41)
Yeah. I can really only tell you that while we were shooting that scene in the car, while we were out in the desert, in that place where all those electrical wires were, David just kept saying, “Less. Do less,” and I just tried to … I remember he kept saying to me, “Remember, you are in control. You are going to win. And knowing that should allow you to have tremendous confidence,” and I just followed that lead. And I just think it’s the kind of film that so many of the elements that had been at work from the beginning of the movie, in terms of its style, in terms of how he built this terror, in terms of how he built for the audience, a sense of this person being one of the scariest people that you might ever encounter, it really allowed me to be able to not have to do that much, just say the words and mean them.

(00:09:58)
And I think it also is, it’s an example of what makes tragedy so difficult. Very often, tragedy is people operating without enough information. They don’t have all the facts. Romeo and Juliet, they don’t have all the facts. They don’t know what we know as an audience. And so in the end, whether Brad Pitt’s character ends up shooting John Doe, or turning the gun on himself, which was a discussion … there were a number of alternative endings that were discussed … nothing ends up being tied up in a nice little bow. It is complicated, and shows how nobody wins in the end when you’re not operating with all the information.
Lex Fridman
(00:11:06)
When you say, “Say the words and mean them,” what does the, “mean them,” mean?
Kevin Spacey
(00:11:16)
I’ve been very fortunate to be directed by Fincher a couple of times, and he would say to me sometimes, “I don’t believe a thing that is coming out of your mouth. Shall we try it again?” And you go, “Okay, yeah, we can try it again.” And sometimes he’ll do take, and then you’ll look to see if he has any added genius to hand you, and he just goes, “Let’s do it again,” and then, “Let’s do it again,” and sometimes … I say this in all humility … he’s literally trying to beat the acting out of you, and by continually saying, “Do it again, do it again, do it again,” and not giving you any specifics, he is systematically shredding you of all pretense, of all … because look, very often actors, we come in on the set, and we’ve thought about the scene, and we’ve worked out, “I’ve got this prop, and I’m going to do this thing with a can, and I’m going to-“. All these things, “All the tea, I’m going to do a thing with the thing,” and David is the director where he just wants you to stop adding all that crap, and just say the words, and say them quickly, and mean them. And it takes a while to get to that place.

(00:12:54)
I’ll tell you a story. This is a story I just love, because it’s in exactly the same wheelhouse. So Jack Lemmon’s first movie was a film called It Should Happen to You, and it was directed by George Cukor. And Jack tells this story and it was just an incredibly charming story to hear Jack tell. He said, “So I am doing this picture, and let me tell you, this is a terrific part for me. And I’m doing a scene, it’s on my first day. It’s my first day, and it’s a terrific scene.” And he goes, “We do the first take, and George Cukor comes up to me and he says, ‘Jack,’ I said, ‘Yeah.’ He said, ‘Could you do, let’s do another one, but just do a little less in this one.’ And Jack said, ‘A little less? A little less than what I just did?’ He said, ‘Yeah, just a little less.'”

(00:13:36)
So he goes, “We do another take, and I think, ‘Boy, that was it. Let’s just go home,” and Cukor walked up to him. He said, “Jack, let’s do another one this time just a little bit less,” and Jack said, “Less than what I just did now?” He said, “Yeah, just a little bit less.” He goes, “Oh, okay.” So he did another take and Cukor came up and he said, “Jack, just a little bit less,” and Jack said, “A little less than what I just did?” He said, “Yes.” He goes, “Well, if I do any less, I’m not going to be acting,” and Cukor said, “Exactly, Jack. Exactly.”

Brad Pitt and Morgan Freeman

Lex Fridman
(00:14:06)
I guess what you’re saying is, it’s extremely difficult to get to the bottom of a little less, because the power, if we just stick even on Se7en, of your performances, in the tiniest of subtleties, like when you say, “Oh, you didn’t know,” and you turn your head a little bit, and a little bit, maybe a glimmer of a smile appears in your face. That’s subtlety, that’s less, that’s hard to get to, I suppose.
Kevin Spacey
(00:14:40)
Yeah, and also because I so well remember, I think the work that Brad did, and also Morgan did in that scene, but the work that Brad had to do where he had to go … I remember rehearsing with him as we were all staying at this little hotel nearby that location, and we rehearsed the night before we started shooting that sequence, and it was just incredible to see the levels of emotions he had to go through, and then the decision of, “What do I do, because if I do what he wants me to do, then he wins. But if I don’t do it, then what kind of a man, husband am I?” I just thought he did really incredible work. So it was also not easy to not react to the power of what he was throwing at me. I just thought it was a really extraordinary scene.
Lex Fridman
(00:15:39)
So what’s it like being in that scene? So it’s you, Brad Pitt, Morgan Freeman, and Brad Pitt is going over the top, just having a mental breakdown, and is weighing these extremely difficult moral choices, as you’re saying. But he’s screaming, and in pain, and tormented, while you’re very subtly smiling.
Kevin Spacey
(00:16:02)
In terms of the writing and in terms of what the characters had to do, it was an incredible culmination of how this character could manipulate in the way that he did, and in the end, succeed.
Lex Fridman
(00:16:22)
You mentioned Fincher likes to do a lot of takes. That’s the famous thing about David Fincher. So what are the pros and cons of that? I think I read that he does some crazy amount. He averages 25 to 65 takes, and most directors do less than 10.
Kevin Spacey
(00:16:42)
Yeah, sometimes it’s timing, sometimes it’s literally he has a stopwatch, and he’s timing how long a scene is taking, and then he’ll say, “You need to take a minute off this scene.” ” A minute?” “Yeah, a minute off this scene. I want it to move like this. So let’s pick it up. Let’s pick up the pace. Let’s see if we can take a minute off.”
Lex Fridman
(00:17:09)
Why the speed? Why say it fast is the important thing for him, do you think?
Kevin Spacey
(00:17:16)
I think because Fincher hates indulgence, and he wants people to talk the way they do in life, which is we don’t take big dramatic pauses before we speak. We speak, we say what we want.
Lex Fridman
(00:17:36)
And I guess actors like the dramatic pauses, and the indulge in the dramatic-
Kevin Spacey
(00:17:40)
He didn’t always like the dramatic pauses. Look, you go back, any student of acting, you go back to the ’30s and the ’40s, ’50s, the speed at which actors spoke, not just in the comedies, which, of course, you look at any Preston Sturges’ movie, and it’s incredible how fast people are talking, and how funny things are when they happen that fast.

(00:18:09)
But then acting styles changed. We got into a different thing in the late ’50s and ’60s, and a lot of actors are feeling it, which I’m not saying it’s a bad thing, it’s just that if you want to keep an audience engaged, as Fincher does, and I believe successfully does in all of his work, pace, timing, movement, clarity, speed, are admirable to achieve.
Lex Fridman
(00:18:49)
In all of that, he wants the actor to be as natural as possible, to strip away all the bullshit of acting-
Kevin Spacey
(00:18:55)
Yeah, yeah.
Lex Fridman
(00:18:56)
… and become human?
Kevin Spacey
(00:18:58)
Look, I’ve been lucky with other directors. Sam Mendes is similar. I remember when I walked in to maybe the first rehearsal for Richard III that we were doing, and I had brought with me a canopy of ailments that my Richard was going to suffer from, and Sam eventually whittled it down to three, like, “Maybe your arm, and maybe your thing, and maybe your leg. But let’s get rid of the other 10 things that you brought into the room,” because I was so excited to capture this character.

(00:19:32)
So very often … Trevor Nunn is this way, a lot of wonderful directors I’ve worked with, they’re really good at helping you trim and edit.

Acting

Lex Fridman
(00:19:46)
David Fincher said about you … he was talking in general, I think, but also specifically in the moment of House of Cards … said that you have exceptional skill, both as an actor and as a performer, which he says are different things. So he defines the former as dramatization of a text, and the latter as the seduction of an audience.

(00:20:09)
Do you see wisdom in that distinction? And what does it take to do both the dramatization of a text and the seduction of an audience?
Kevin Spacey
(00:20:20)
Those are two very interesting descriptions. I guess, when I think performer, I tend to think entertaining. I tend to think, comedy. I tend to think, winning over an audience. I tend to think, that there’s something about that quality of wanting to have people enjoy themselves.

(00:20:51)
And when you saddle that against what maybe he means as an actor, which is more dramatic, or more text-driven more … look, I’ve always believed that my job, not every actor feels this way, but my job, the way that I’ve looked at it, is that my job is to serve the writing, and that if I serve the writing, I will in a sense serve myself, because I’ll be in the right world, I’ll be in the right context, I’ll be in the right style. I’ll have embraced what a director’s … it’s not my painting, it’s someone else’s painting. I’m a series of colors in someone else’s painting, and the barometer for me has always been, that when people stop me and talk to me about a character I’ve played, and reference their name as if they actually exist, that’s when I feel like I’ve gotten close to doing my job.
Lex Fridman
(00:22:04)
Yeah, one of the challenges for me in this conversation is remembering that your name is Kevin, not Frank or John or any of these characters, because they live deeply in the psyche.
Kevin Spacey
(00:22:18)
To me, that’s the greatest compliment, for me as an actor. I love being able to go … when I think about performers who inspire me, and I remember when I was young and I was introduced to Spencer Tracy, Henry Fonda, Catherine Hepburn. I believed who they were. I knew nothing about them. They were just these extraordinary characters doing this extraordinary stuff.

(00:22:55)
And then I think more … recently contemporary, when I think of the work that Philip Seymour Hoffman did, and Heath Ledger, and people that, when I think about what they could be doing, what they could do, what they would’ve done had they stayed with us, I’m so excited when I go into a cinema, or I go into a play, and I completely am taken to some place that I believe exists, and characters that become real.
Lex Fridman
(00:23:33)
And those characters become lifelong companions. For me, they travel with you, and even if it’s the darkest aspects of human nature, they’re always there. In feel like I almost met them, and gotten to know them, and gotten to become friends with them, almost. Hannibal Lecter or Forrest Gump, I feel like I’m best friends with Forrest Gump. I know the guy, and I guess he’s played by some guy named Tom, but Forrest Gump is the guy I’m friends with.
Kevin Spacey
(00:24:05)
Yeah, yeah.
Lex Fridman
(00:24:07)
And I think that everybody feels like that when they’re in the audience with great characters, they just become part of you in some way, the good, the bad, and the ugly of them.
Kevin Spacey
(00:24:18)
One of the things that I feel that I try to do in my work, is when I read something for the first time, when I read a script or play, and I am absolutely devastated by it, it is the most extraordinary, the most beautiful, the most life-affirming or terrifying, it’s then a process weirdly of working backwards, because I want to work in such a way that that’s the experience I give to the audience when they first see it, that they have the experience I had when I read it.

(00:25:03)
I remember that there’s been times in the creative process when something was pointed out to me, or something was … I remember I was doing a play, and I was having this really tough time with one of the last scenes in the play, and I just couldn’t figure it out. I was in rehearsal, and although we had a director in that play, I called another, a friend of mine, who was also director, and I had him come over and I said, “Look, this scene, I’m just having the toughest, I cannot seem to crack this scene.”

(00:25:33)
And so we read it through a couple of times, and then this wonderful director named John Swanbeck, who would eventually direct me in a film called The Big Kahuna, but this is before that. He said to me the most incredible thing, he just said, “All right, what’s the last line you have in this scene before you fall over and fall asleep?” And I said, The last line is, ‘That last drink, the old KO,'” and he went, “Okay, I want you to think about what that line actually means and then work backwards.”

(00:26:10)
And so he left, and I was left with this, “What? What does that mean? How am I supposed to?” And then a couple of days went by, a couple of days went by, and I thought, “Okay, so I see that. What does that line actually mean? Well, that last drink, the old KO. KO is Knockout, which is a boxing term. It’s the only boxing term the writer uses in the play.”

(00:26:40)
And then I went back, and I realized my friend was so smart and so incredible to have said, “Ask a question you haven’t thought of asking yet.” I realized that the playwright wrote the last round, the eighth round between these two brothers, and it was a fight, physical as well as emotional. And when I brought that into the rehearsal room to the directors doing that play, he liked that idea. And we staged that scene as if it was the eighth round. The audience wouldn’t have known that, but just what I loved about that was that somebody said to me, “Ask yourself a question you haven’t asked yourself yet. What does that line mean? And then work backwards.”
Lex Fridman
(00:27:25)
What is that? Like a catalyst for thinking deeply about what is magical about this play, this story, this narrative? That’s what that is? Thinking backwards. That’s what that does?
Kevin Spacey
(00:27:37)
Yeah. But also because it’s this incredible, “Why didn’t I think to ask that question myself?” That’s what you have directors for. That’s what you have … so many places where ideas can come from, but that just illustrates that even though in my brain I go, “I always like to work backwards,” I missed it in that one. And I’m very grateful to my friend for having pushed me into being able to realize what that meant, and-

Improve

Lex Fridman
(00:28:08)
To ask the interesting question. I like the poetry and the humility of, “I’m just a series of colors in someone else’s painting.” That was a good line. That said, you’ve talked about improvisation. You said that it’s all about the ability to do it again and again and again, and yet never make it the same, and you also just said that you’re trying to stay true to the text. So where’s the room for the improvisation, that it’s never the same?
Kevin Spacey
(00:28:42)
Well, there’s two slightly different contexts, I think. One is, in the rehearsal room, improvisation could be a wonderful device. Sam Mendes, for example, will start, he’ll start a scene and he does this wonderful thing. He brings rugs and he brings chairs and sofas in, and he says, “Well, let’s put two chairs here and here. You guys, let’s start in these chairs, far apart from each other. Let’s see what happens with the scene if you’re that far apart.” And so we’ll do the scene that way.

(00:29:13)
And then he goes, “Okay, let’s bring a rug in, and let’s bring these chairs much closer, and let’s see what happens if the space between you is,” and so then you try it that way. And then it’s a little harder in Shakespeare to improv, but in any situation where you want to try and see where … where could a scene go? Where would the scene go If I didn’t make that choice? Where would the scene go? If I made this choice? Where would the scene go if I didn’t say that, or I said something else? So that’s how improv can be a valuable process to learn about limits and boundaries, and what’s going on with a character, that somehow you discover in trying something that isn’t on the page.

(00:30:08)
Then there’s the different thing, which is the trying to make it fresh and trying to make it new, and that is really a reference to theater. I’ll put it to you this way. Anybody loves sports, so you go and you watch on a pitch, you watch on a tennis game, you watch basketball, you watch football. Yeah, the rules are the same, but it’s a different game every time you’re out on that court, or on that field.

(00:30:41)
It’s no different in theater. Yes, it’s the same lines. Maybe even blocking is similar, but what’s different is attack, intention, how you are growing in a role and watching your fellow actors grow in theirs, and how every night it’s a new audience, and they’re reacting differently, and you literally … where you can go from week one of performances in a play to week 12 is extraordinary.

(00:31:22)
And the difference between theater and film is that no matter how good someone might think you are in a movie, you’ll never be any better. It’s frozen. Whereas I can be better tomorrow night than I was tonight. I can be better in a week than I was tonight. It is a living, breathing, shifting, changing, growing thing, every single day.
Lex Fridman
(00:31:55)
But also in theater, there’s no safety net. If you fuck it up, everybody gets to see you do that.
Kevin Spacey
(00:32:01)
And if you start giggling on stage, everyone gets to see you do that too, which I am very guilty of.
Lex Fridman
(00:32:07)
There is something of a seduction of an audience in theater, even more intense than there is when you’re talking about film. I got a chance to watch the documentary, Now in the Wings on a World Stage, which is behind the scenes of … you mentioned you teaming up with Sam Mendes in 2011 to stage Richard III, a play by William Shakespeare. I was also surprised to learn, you haven’t really done Shakespeare, or at least you said that in the movie, but there’s a lot of interesting behind-the-scenes stuff there.

(00:32:47)
First of all, the camaraderie of everybody, the bond theater creates, especially when you’re traveling. But another interesting thing you mentioned with the chairs of Sam Mendes, trying different stuff, it seemed like everybody was really open to trying stuff, embarrassing themselves, taking risks, all of that. I suppose that’s part of acting in general, but theater especially, just take risks. It’s okay to embarrass the shit out of yourself, including the director.
Kevin Spacey
(00:33:17)
And it’s also because you become a family. It’s unlike a movie, where I might have a scene with so-and-so on this day, and then another scene with them in a week and a half, and then that’s the only scenes we have in the whole movie together. Every single day, when you show up in the rehearsal room, it’s the whole company. You’re all up for it every day. You’re learning, you’re growing, you’re trying, and there is an incredible trust that happens.

(00:33:50)
And I was, of course, fortunate that some of the things I learned and observed about being a part of that family, being included in that family, and being a part of creating that family, I was able to observe from people like Jack Lemmon, who led many companies that I was fortunate to work in and be a part of.
Lex Fridman
(00:34:12)
There’s also a sad moment where at the end, everybody is really sad to say goodbye, because you do form a family and then it’s over. I guess, somebody said that that’s just part of theater. There’s a kind of assume goodbye, and that this is it.
Kevin Spacey
(00:34:30)
Yeah, and also there are some times when six months later, I’ll wake up in the middle of the night, and I’ll go, “That’s how to play that scene.”
Lex Fridman
(00:34:40)
Yeah.
Kevin Spacey
(00:34:41)
“Oh, God, I just finally figured it out.”
Lex Fridman
(00:34:45)
So maybe you could speak a little bit more to that. What’s the difference between film acting and live theater acting?
Kevin Spacey
(00:34:52)
I don’t really think there is any. I think there’s just, you eventually learn about yourself on film. When I first did my first-
Kevin Spacey
(00:35:00)
When I first did my first episode of The Equalizer, it’s just horrible. It’s just so bad, but I didn’t know about myself, I didn’t. So slowly begin to learn about yourself, but I think good acting is good acting. And I think that if a camera’s right here, you know that your front row is also your back row. You don’t have to do so much. There is in theater, a particular kind of energy, almost like an athlete that you have to have vocally to be able to get up seven performances a week and never lose your voice and always be there and always be alive, and always be doing the best work you can that you just don’t require in film. You don’t have to have the same, it just doesn’t require the same kind of stamina that doing a play does.
Lex Fridman
(00:36:04)
It just feels like also in theater, you have to become the character more intensely because you can’t take a break, you can’t take a bathroom break, you’re on stage, this is you.
Kevin Spacey
(00:36:16)
Yeah, but you have no idea what’s going on on stage with the actors. I mean, I have literally laughed through speeches that I had to give because my fellow actors were putting carrots up their nose or broccoli in their ears or doing whatever they were doing to make me laugh.
Lex Fridman
(00:36:33)
So they’re just having fun.
Kevin Spacey
(00:36:34)
They’re having the time of their life. And by the way, Judi Dench is the worst giggler of all. I mean, they had to bring the curtain down on her and Maggie Smith because they were laughing so hard they could not continue the play.
Lex Fridman
(00:36:47)
So even when you’re doing a dramatic monologue still, they’re still fucking with you.
Kevin Spacey
(00:36:50)
There’s stuff going…

Al Pacino

Lex Fridman
(00:36:52)
Okay, that’s great. That’s good to know. You also said interesting line that improvisation helps you learn about the character. Can you explain that? So through maybe playing with the different ways of saying the words or the different ways to bring the words to life, you get to learn about yourself, about the character you’re playing.
Kevin Spacey
(00:37:19)
It can be helpful, but improv is, I’m such a big believer in the writing and in serving the writing and doing the words the writer wrote that improv for me, unless you’re just doing comedy, and I mean, I love improv in comedy. It’s brilliant. So much fun to watch people just come up with something right there. But that’s where you’re looking for laughs and you’re specifically in a little scene that’s being created. But I think improv has had value, but I have not experienced it as much in doing plays as I have sometimes in doing film where you’ll start off rehearsing and a director may say, “Let’s just go off book and see what happens.” And I’ve had moments in film where someone went off book and it was terrifying.

(00:38:25)
There was a scene I had in Glengarry Glen Ross where the character I play has fucked something up, has just screwed something up. And Pacino is livid. And so we had the scene where Al is walking like this and the camera is moving with him, and he is shooing me a new asshole. And in the middle of the take, Al starts talking about me. “Oh, Kevin, you don’t think we know how you got this job? You don’t think we know whose dick you’ve been sucking on to get this part in this movie?” And I’m now, I’m literally like, I don’t know what the hell is happening, but I am reacting. We got to the end of that take. Al walked up to me and he went, “Oh, that was so good. Oh my God, that was so good. Just so you know the sound, I asked them not to record, so you have no dialogue. So it’s just me. Oh, that was so good. You look like a car wreck.” And I was like, “Yeah.” And it was actually an incredibly generous thing that he gave me so that I would react.
Lex Fridman
(00:39:51)
Oh wow. Did they use that shot because you were in the shot-
Kevin Spacey
(00:39:55)
That’s the take. It was my closeup.
Lex Fridman
(00:40:00)
Yeah.
Kevin Spacey
(00:40:00)
And yeah, that’s the take.
Lex Fridman
(00:40:01)
That was an intense interaction. I mean, what was it like, if we can just linger on that, just that intense scene with Al Pacino.
Kevin Spacey
(00:40:10)
Well, he’s the reason I got the movie. A lot of people might think because Jack was in the film that he had something to do with it. But actually I was doing a play called Lost in Yonkers on Broadway, and we had the same dresser who worked with him, a girl named Laura, who was wonderful, Laura Beatty, and she told Al that he should come and see this play because she wanted to see me in this play. I was playing this gangster, it was a fun, fun, fun part. So I didn’t know Pacino came on some night and saw this play. And then three days later I got a call to come in and audition for this Glengary Glen Ross, which of course I knew as a play David Mamet’s play. And then I auditioned. Jamie Foley was the director who would eventually direct a bunch of House of Cards, wonderful, wonderful guy.

Jack Lemmon


(00:41:04)
And I got the part. Well, I didn’t quite get the part they were going to bring together the actors that they thought they were going to give the parts to on a Saturday at Al’s office. And they asked me if I would come and do a read through. And I said, “Who’s going to be there?” And they said, “Well, so and so and so and so,” and Jack Lemmon is flying in. And I said, “Don’t tell Mr. Lemmon that I’m doing the read through. Is that possible?” They were like, “Sure.”

(00:41:28)
So I’ll never forget this. Jack was sitting in a chair and Pacino’s office doing the New York Times crossword puzzle as he did every day. And I walked in the door and he went, “Oh, Jesus Christ, is it possible you could get a job without me? Jesus Christ, I’m so tired of holding up your end of it. Oh my God, Jesus.” So I got the job because of Pacino, and it was really one of the first major roles that I ever had in a film to be working with that group-
Lex Fridman
(00:42:02)
Yeah, that’s one of the greatest ensemble casts ever. We got Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, Ed Harris, you, Jonathan Pryce. It’s just incredible. And I have to say, I mean maybe you can comment. You’ve talked about how much of a mentor and a friend Jack Lemmon has been, that’s one of his greatest performances ever.
Kevin Spacey
(00:42:28)
Ever.
Lex Fridman
(00:42:29)
You have a scene at the end of the movie with him that was really powerful, firing on all cylinders. You’re playing the disdain to perfection and he’s playing desperation to perfection. What a scene. What was that like just at the top of your game, the two of you?
Kevin Spacey
(00:42:48)
Well, by that time we had done Long Day’s Journey Into Night in the theater, we’d done a mini series called The Murder of Mary Phagan on NBC. We’d done a film called Dad that Gary David Goldberg directed with Ted Danson. So this was the fourth time we were working together and we knew each other. He’d become my father figure. And I don’t know if you know that I originally met Jack Lemmon when I was very, very young. He was doing a production at the Mark Taper Forum of a Sean O’Casey play called Juno and the Paycock with Walter Matthau and Maureen Stapleton. And on a Saturday in December of 1974, my junior high school drama class went to a workshop. It was called How to Audition. And we did this workshop, many schools in Southern California where part of this Drama Teacher’s Association. So we got these incredible experiences of being able to go see professional productions and be involved in these workshops or festivals.

(00:43:51)
So I had to get up and do a monologue in front of Mr. Lemmon when I was 13 years old. And he walked up to me at the end of that and he put his hand on my shoulder and he said, “That was just actually terrific.” He said, “No, everything I’ve been talking about you just did. What’s your name?” I said, “Kevin.” He said, “Well, let me tell you something. When you get finished with high school, as I’m sure you’re going to go on and do theater, you should go to New York and you should study to be an actor, because this is what you’re meant to do with your life.” And he was like an idol.

(00:44:22)
And 12 years later, I read in the New York Times that he was coming to Broadway to do this production of A Long Day’s Journey Into Night, a year and some months after I read this article and I was like, “I’m going to play Jamie in that production.” And I then with a lot of opposition because the casting director didn’t want to see me. They said that the director, Jonathan Miller wanted movie actors to play the two sons. And ultimately, I found out that Jonathan Miller, the director, was coming to New York to do a series of lectures at Alice Tully Hall. And I went to try to figure out how I could maybe meet him. And I was sitting in that theater listening to this incredible lecture he was doing. And sitting next to me was an elderly woman. I mean elderly, 80 something and she was asleep, but sticking out of her handbag, which was on the floor, was a invitation to a cocktail reception in honor of Dr. Jonathan Miller.

(00:45:38)
And so I thought, “She’s tired. She’s probably going to go home.” So I took that and walked into this cocktail reception and ultimately went over to Dr. Miller who was incredibly kind and said, “Sit down. I’m always very curious what brings young people to my lectures.” And I said to him, “Eugene O’Neill brought me here.” And he was like, “What? I’ve always wanted to meet him. Where is he?” And I told him that I’ve been trying for seven months to get an audition for A Long Day’s Journey, and that his American cast directors were telling my agents that he wanted big American movie stars. And at that moment, he turned and he saw one of those casting directors who was there that night, because I knew he was going to be in New York starting auditions that week.

(00:46:34)
And she was staring daggers at me and he just got it. And he said, “Does someone have a pen?” And he took a little paper, started writing. He said, “Listen, Kevin, there are many situations in which casting directors have a lot of say and a lot of power and a lot of leverage. And then there are other situations where they just take director’s messages. And on this one, they’re taking my messages, this is where I’m staying, make sure your people get to me. We start auditions on Thursday.” And on Thursday I had an opportunity to come in and audition for this play that I’d been working on and preparing. And at the end of it, I did four scenes. At the end of it, he said to me that unless someone else came in and blew him against the wall, I had just done as far as he was concerned, I pretty much had the part, but I couldn’t tell my agents that yet because I had to come back and read with Mr. Lemmon.

(00:47:27)
And so three months later, in August of 1985, I found myself in a room with Jack Lemmon again at 890 Broadway, which is where they rehearse a lot of the Broadway plays. And we did four scenes together, and I was toppling over him. I was pushing him, I was relentless. And I’ll never forget, at the end of that, Lemmon came over to me, he put his hand on my shoulder and he said, “That was, your touch was terrific, I never thought we’d find the rotten kid, but he’s it. Jesus Christ. What the hell was that?” And I ended up spending the next year of my life with that man.
Lex Fridman
(00:48:10)
So it turns out he was right.
Kevin Spacey
(00:48:14)
Yeah.
Lex Fridman
(00:48:15)
This world works in mysterious ways. It also speaks to the fact of the power of somebody you look up to giving words of encouragement, because those can just reverberate through your whole life and just make the path clear.
Kevin Spacey
(00:48:31)
I’ve always, we used to joke that if every contract came with a Jack Lemmon clause, it would be a more beautiful world.
Lex Fridman
(00:48:40)
Beautifully said, Jack Lemmon is one of the greatest actors ever. What do you think makes him so damn good?
Kevin Spacey
(00:48:49)
Wow. I think he truly set out in his life to accomplish what his father said to him on his deathbed. His father was dying. His father was, by the way, called the Donut King in Boston, and not in the entertainment business at all. He was literally owned a donut company. And when he was passing away, Jack said, “The last thing my father said to me was, go out there and spread a little sunshine.” And I truly think that’s what Jack loved to do.

American Beauty


(00:49:37)
I remember this, and I don’t know if this will answer your question, but I think it’s revealing about what he’s able to do and what he was able to do and how that ultimately influenced what I was able to do. Sam Mendes had never directed a film before American Beauty. So what he did was he took the best elements of theater and applied them to the process. So we rehearsed it like a play in a sound stage where everything was laid out, like it would be in a play and this couch will be here. And he’d sent me a couple of tapes. He’d sent me two cassette tapes, one that he’d like to call pre-Lester before he begins to move in a new direction. And then post-Lester, and they just were different songs. And then he said to me one day, and I think always thought this was brilliant of Sam to use Lemmon knowing what Lemmon meant to me.

(00:50:46)
He said, “When was the last time you watched The Apartment?” And I said, “I don’t know. I mean, I love that movie so much.” He goes, “I want you to watch it again and then let’s talk.” So I went and I watched the movie again, and we sat down and Sam said, “What Lemmon does in that film is incredible because there is never a moment in the movie where we see him change. He just evolves and he becomes the man he becomes because of the experiences that he has through the course of the film. But there’s this remarkable consistency in who he becomes, and that’s what I need you to do as Lester, I don’t want the audience to ever see him change. I want him to evolve.

(00:51:42)
And so we did some, I mean, first of all, it was just a great direction. And then second of all, we did some things that people don’t know we did to aid that gradual shift of that man’s character. First of all, I had to be in the best shape from the beginning of the movie. We didn’t shoot in sequence. So I was in this crazy shape. I had this wonderful trainer named Mike Torsha, who just was incredible. But so what we did was, in order to then show this gradual shift was I had three different hair pieces.

(00:52:23)
I had three different kinds of costumes of different colors and sizes, and I had different makeup. So in the beginning, I was wearing a kind of drab, dull, slightly uninspired hair piece, and my makeup was kind of gray and boring, and I was a little bit, there were times when I was too much like this. And Sam would go, “Kevin, you look like Walter Matthau. Would you please stand up a little bit?” We’re sort of midway through at this point. And then at a certain point, the wig changed and it had little highlights in it, a little more color, a little more, the makeup became a little, the suits got a little tighter. And then finally a third wig that was golden highlights and sunshine and rosy cheeks and tight fit. And these are what we call theatrical tricks. This is how an audience doesn’t even know it’s happening, but it is this gradual.

(00:53:26)
And I just always felt that that was such a brilliant way because he knew what I felt about Jack. And when you watch The Apartment, it is extraordinary that he doesn’t ever change. He just… So I’m, and in fact, I thanked Jack when I won the Oscar and I did my thank you speech, and I walked off stage, and I remember I had to sit down for a moment because I didn’t want to go to the press room because I wanted to see if Sam was going to win. And so I was waiting and my phone rang and it was Lemmon. He said, “You’re a son of a bitch.” I said, “What?” He goes, “First of all, congratulations and thanks for thanking me, because God knows you couldn’t have done it without me.” He said, “Second of all,” he said, “Do you know how long it took me to win from supporting actor? I won for Mr. Roberts, and it took me like 10, 12 years to win Oscar. You did it in four, you son of a bitch.”
Lex Fridman
(00:54:42)
Yeah. The Apartment was, I mean, it’s widely considered one of the greatest movies ever. People sometimes refer to it as the comedy, which is an interesting kind of classification. I suppose that’s a lesson about comedy, that the best comedy is the one that’s basically a tragedy.
Kevin Spacey
(00:55:04)
Well, I mean, some people think Clockwork Orange is a comedy. And I’m not saying there aren’t some good laughs in Clockwork Orange, but yeah, it’s…
Lex Fridman
(00:55:12)
I mean, yeah. What’s that line between comedy and tragedy for you?
Kevin Spacey
(00:55:23)
Well, if it’s a line, it’s a line I cross all the time because I’ve tried always to find the humor, unexpected sometimes, maybe inappropriate sometimes, maybe shocking. But I’ve tried in I think almost every dramatic role I’ve had to have a sense of humor and to be able to bring that along with everything else that is serious, because frankly, that’s how we deal with stuff in life.
Lex Fridman
(00:56:04)
I think Sam Mendes actually said in the now documentary, something like, With great theater, with great stories, you find humor on the journey to the heart of darkness,” something like this very poetic. But it’s true.
Kevin Spacey
(00:56:22)
I’m sorry. I can’t be that poetic. I’m very sorry.
Lex Fridman
(00:56:25)
But it’s true. I mean, the people I’ve interacted in this world have been to a war zone, and the ones who have lost the most and have suffered the most are usually the ones who are able to make jokes the quickest. And the jokes are often dark and absurd and cross every single line. No political correctness, all of that.
Kevin Spacey
(00:56:48)
Sure. Well, I mean, it’s like the great Mary Tyler Moore Show where they can’t stop giggling at the clown’s funeral. I mean, it’s just one of the great episodes ever. Giggling at a funeral is as bad as farting at a funeral. And I’m sure that there’s some people who have done both.
Lex Fridman
(00:57:10)
Oh, man. So you mentioned American Beauty and the idea of not changing, but evolving. That’s really interesting because that movie is about finding yourself. It’s a philosophically profound movie. It’s about various characters in their own ways, finding their own identity in a world where maybe a system, a materialistic system that wants you to be like everyone else. And so, I mean, Lester really transforms himself throughout the movie. And you’re saying the challenge there is to still be the same human being fundamentally.
Kevin Spacey
(00:57:52)
Yeah, and I also think that the film was powerful because you had three very honest and genuine portrayal of young people, and then you had Lester behaving like a young person doing things that were unexpected. And I think that the honesty with which it dealt with those issues that those teenagers were going through, and the honesty with which it dealt with what Lester was going through, I think are some of the reasons why the film had the response that it did from so many people.

(00:58:41)
I mean, I used to get stopped and someone would say to me, “When I first saw American Beauty, I was married, and the second time I saw it, I wasn’t.” I was like, “Well, we weren’t trying to increase the divorce rate. It wasn’t our intention.” But it is interesting how so many people have those kinds of crazy fantasies. And what I admired so much about who Lester was as a person, why I wanted to play him is because in the end, he makes the right decision.
Lex Fridman
(00:59:21)
I think a lot of people live lives of quiet desperation in a job they don’t like in a marriage they’re unhappy in. And to see somebody living that life and then saying, “Fuck it,” in every way possible, and not just in a cynical way, but in a way that opens Lester up to see the beauty in the world. That’s the beauty in American Beauty.
Kevin Spacey
(00:59:52)
Well, and you may have to blackmail your boss to get there.
Lex Fridman
(00:59:55)
And in that, there’s a bunch of humor also in the anger, in the absurdity of taking a stand against the conformity of life. There’s this humor, and I read somewhere that the scene, the dinner scene, which is kind of play-like where Lester slams the plate against the wall was improvised by you, the slamming of the plate against the wall.
Kevin Spacey
(00:59:55)
No.
Lex Fridman
(01:00:28)
No?
Kevin Spacey
(01:00:29)
Absolutely.
Lex Fridman
(01:00:29)
The internet lies again.
Kevin Spacey
(01:00:31)
Absolutely written and directed. Yeah, can’t take credit for that.
Lex Fridman
(01:00:40)
The plate. Okay. Well, that was a genius interaction there. There’s something about the dinner table and losing your shit at the dinner table, having a fight and losing your shit at the dinner table. Where else? Yellowstone was another situation where it’s a family at the dinner table, and then one of them says, “Fuck it, I’m not eating this anymore and I’m going to create a scene.” It’s a beautiful kind of environment for dramatic scenes.
Kevin Spacey
(01:01:10)
Or Nicholson in The Shining. I mean, there’s some family scenes gone awry in that movie.
Lex Fridman
(01:01:17)
The contrast between you and Annette Bening in that scene creates the genius of that scene. So how much of acting is the dance between two actors?
Kevin Spacey
(01:01:32)
Well, with Annette, I just adored working with her. And we were the two actors that Sam wanted from the very beginning, much against the will of the higher-ups who wanted other actors to play those roles. But I’ve known Annette since we did a screen test together from MiloÅ¡ Forman for a film he did of the Les Leves En Dangerous movie. It was a different film from that one, but it was the same story. And I’ve always thought she is just remarkable. And I think that the work she did in that film, the relationship that we were able to build, for me, the saddest part of that success was that she didn’t win the Oscar, and I felt she should have.
Lex Fridman
(01:02:34)
What kind of interesting direction did you get from Sam Mendes in how you approached playing Lester and how to take on the different scenes? There’s a lot of just brilliant scenes in that movie.
Kevin Spacey
(01:02:46)
Well, I’ll share with you a story that most people don’t know, which is our first two days of shooting were in Smiley’s, the place where I get a job in a fast food place.
Lex Fridman
(01:03:03)
Yeah, it’s a burger joint. Yeah.
Kevin Spacey
(01:03:04)
Yeah. And I guess it was maybe the third day or the fourth day of shooting. We’d now done that. And I said to Sam, “So how are the dailies? How do they look?” He goes, “Which ones?” I said, “Well, the first Smiley’s.” He goes, “Oh, they’re shit.” And I went, “Yeah, no, how were they?” He goes, ” No, they’re shit. I hate them. I hate everything about them. I hate the costumes. I hate the location. I hate that you’re inside. I hate the way you acted. I hate everything but the script. So I’ve gone back to the studio and asked them if we can re-shoot the first two days.”

(01:03:54)
And I was like, “Sam, this is your very first movie. You’re going back to Steven Spielberg and saying, I need to re-shoot the first two days entirely?” And he went, “Yeah.” And that’s exactly what we did. A couple of weeks later, they decided that it was now a drive-through, because Annette and Peter Geller used to come into the place and ordered from the counter. Now, Sam had decided it has to be a drive-through. You have to be in the window of the drive-through, change the costumes. And we re-shot those first two days. And Sam said it was actually a moment of incredible confidence because he said the worst thing that could possibly have happened in my first two days. And after that, I was like, “I know what I’m doing. And I knew I had to re-shoot it, and it was absolutely right.”
Lex Fridman
(01:04:51)
And I guess that’s what a great director must do, is have the guts in that moment to re-shoot everything. That’s a pretty gutsy move.
Kevin Spacey
(01:04:59)
Two other little things to share with you about Sam, about the way he is, you wouldn’t know it, but the original script opened and closed with a trial. Ricky was accused of Lester’s murder, and the movie was bookended by this trial.
Lex Fridman
(01:05:20)
It’s a very different movie.
Kevin Spacey
(01:05:21)
Which they shot the entire trial for weeks. Okay.
Lex Fridman
(01:05:28)
Wow.
Kevin Spacey
(01:05:29)
And I used to fly in my dreams, those opening shots over the neighborhood? I used to come into those shots in my bathrobe flying, and then when I hit the ground and the newspaper was thrown at me by the newspaper guy and I caught it, the alarm would go off, and I wake up in bed. I spent five days being hung by wires and filming these sequences of flying through my dreams. And Sam said to me, “Yeah, the flying sequences are all gone and the trial is gone.” And I was like, “What are you talking about?”

(01:06:11)
And here’s my other little favorite story about Sam in that when we were shooting in The Valley, one of those places I flew, this was an indoor set. Sam said to me in the morning, “Hey, at lunch, I just want to record a guide track of all the dialogue, all of your narration, because they just need it in editing as a guide.” And I said, “Sure.” So I remember we came outside of this hallway where I had a dressing room in this little studio we were in, and Sam had a cassette tape recorder and a little microphone, and we put it on the floor and he pushed record. And I read the entire narration, and I never did it again.

(01:07:01)
That’s the narration in the movie, because Sam said when he listened to it, I wasn’t trying to do anything. He said, “You had no idea where these things were going, where they were going to be placed, what they were going to mean. You just read it so innocently, so purely, so directly that I knew if I brought you into a studio and put headphones on you and had you do it again, it would change the ease with which you’d done it.” And so they just fixed all of the problems that they had with this little cassette, and that is the way I did it. And the only time I did it was in this little hallway.
Lex Fridman
(01:07:50)
And once again, a great performance lies in being doing less.
Kevin Spacey
(01:07:55)
Yeah. Yeah.
Lex Fridman
(01:07:57)
The innocence and the purity of less-
Kevin Spacey
(01:07:58)
He knew I would’ve come into the studio and fucked it up.
Lex Fridman
(01:08:02)
Yeah. What do you think about the notion of beauty that permeates American Beauty? What do you think that theme is with the roses, with the rose petals, the characters that are living this mundane existence, slowly opening their eyes up to what is beautiful in life?
Kevin Spacey
(01:08:24)
See, it’s funny. I don’t think of the roses, and I don’t think of her body and the poster, and I don’t think of those things as the beauty. I think of the bag. I think that there are things we miss that are right in front of us that are truly beautiful.
Lex Fridman
(01:08:50)
The little things. The simple things.
Kevin Spacey
(01:08:52)
Yeah, and in fact, I’ll even tell you something that I always thought was so incredible. When we shot the scenes in the office where Lester worked, the job he hated, there was a bulletin board behind me on a wall, and someone who was watching a cut or early dailies who was in the marketing department saw that someone had cut out a little piece of paper and stuck it and it said, “Look closer.” And they presented that to Sam as the idea of what that could go on the poster, the idea of looking closer was such a brilliant idea, but I mean, it wasn’t like, wasn’t in the script.

(01:09:45)
It was just on a wall behind me, and someone happened to zoom in on it and see it and thought, “That’s what this movie’s about. This movie’s about taking the time to look closer.” And I think that in itself is just beautiful.
Kevin Spacey
(01:10:00)
I think that in itself is just beautiful.

Mortality

Lex Fridman
(01:10:04)
Mortality also permeates the film. It starts with acknowledging that death is on the way, that Lester’s time is finite. You ever think about your own death?
Kevin Spacey
(01:10:18)
Yeah.
Lex Fridman
(01:10:20)
Scared of it?
Kevin Spacey
(01:10:26)
When I was at my lowest point, yes, it scared me.
Lex Fridman
(01:10:31)
What does that fear look like? What’s the nature of the fear? What are you afraid of?
Kevin Spacey
(01:10:41)
That there’s no way out. That there’s no answer. That nothing makes sense.
Lex Fridman
(01:10:58)
See, the interesting thing about Lester is facing the same fear, he seemed to be somehow liberated and accepted everything, and then saw the beauty of it.
Kevin Spacey
(01:11:10)
Because he got there. He was given the opportunity to reinvent himself and to try things he’d never tried, to ask questions he’d never asked. To trust his instincts and to become the best version of himself he could become.

(01:11:36)
And so Dick Van Dyke, who has become an extraordinary friend of mine, Dick is 98 years old, and he says, “If I’d known I was going to live this long, I would’ve taken better care of myself.” When I spend time with him, I’m just moved by every day. He gets up and he goes, “It’s a good day. I woke up.” And I learn a lot… I have a different feeling about death now than I did seven years ago, and I am on the path to being able to be in a place where I’ve resolved the things I needed to resolve, and I won’t probably get to all of it in my lifetime, but I certainly would like to be at a place where if I were to drop dead tomorrow, it would’ve been an amazing life.
Lex Fridman
(01:12:46)
So Lester got there. It sounds like Dick Van Dyke got there. You’re trying to get there.
Kevin Spacey
(01:12:51)
Sure.

Allegations

Lex Fridman
(01:12:52)
You said you feared death at your lowest point. What was the lowest point?
Kevin Spacey
(01:12:58)
It was November 1st, 2017 and then Thanksgiving Day of that same year.
Lex Fridman
(01:13:11)
So let’s talk about it. Let’s talk about this dark time. Let’s talk about the sexual allegations against you that led to you being canceled by, well, the entire world for the last seven years. I would like to personally understand the sins, the bad things you did, and the bad things you didn’t do. So I also should say that the thing I hope to do here is to give respect to due process, innocent until proven guilty, that the mass hysteria machine of the internet and click bait journalism doesn’t do.

(01:13:53)
So here’s what I understand, there were criminal and civil trials brought against you, including the one that started it all when Anthony Rapp sued you for $40 million. In these trials, you were acquitted, found not guilty and not liable. Is that right?
Kevin Spacey
(01:14:13)
Yes.
Lex Fridman
(01:14:14)
I think that’s really important, again, in terms of due process. I read a lot and I watched a lot in preparation for this, on this point, including of course the recently detailed interviews you did with Dan Wooten and then Allison Pearson of The Telegraph, and those were all focused on this topic and they go in detail where you respond in detail to many of the allegations. If people are interested in the details, they can listen to those. So based on that, and everything I looked at, as I understand, you never prevented anyone from leaving if they wanted to, sort of in the sexual context, for example, by blocking the door. Is that right?
Kevin Spacey
(01:14:56)
That’s correct, yeah.
Lex Fridman
(01:14:58)
You always respected the explicit, “No” from people, again in the sexual context. Is that right?
Kevin Spacey
(01:15:04)
That is correct.
Lex Fridman
(01:15:05)
You’ve never done anything sexual with an underage person, right?
Kevin Spacey
(01:15:09)
Never.
Lex Fridman
(01:15:10)
And also, as it’s sometimes done in Hollywood, let me ask this. You’ve never explicitly offered to exchange sexual favors for career advancement, correct?
Kevin Spacey
(01:15:20)
Correct.
Lex Fridman
(01:15:21)
In terms of bad behavior, what did you do? What was the worst of it? And how often did you do it?
Kevin Spacey
(01:15:28)
I have heard, and now quite often, that everybody has a Kevin Spacey story, and what that tells me is that I hit on a lot of guys.
Lex Fridman
(01:15:38)
How often did you cross the line and what does that mean to you?
Kevin Spacey
(01:15:43)
I did a lot of horsing around. I did a lot of things that at the time I thought were sort of playful and fun, and I have learned since were not. And I have had to recognize that I crossed some boundaries and I did some things that were wrong and I made some mistakes, and that’s in my past. I mean, I’ve been working so hard over these last seven years to have the conversations I needed to have, to listen to people, to understand things from a different perspective than the one that I had and to say, “I will never behave that way again for the rest of my life.”
Lex Fridman
(01:16:21)
Just to clarify, I think you are often too pushy with the flirting and that manifests itself in multiple ways. Just to make clear, you never prevented anyone from leaving if they wanted to. You always took the explicit, “No” from people as an answer. “No, stop.” You took that for the answer. You’ve never done anything sexual with an underage person and you’ve never explicitly offered to exchange sexual favors for career advancement. These are some of the accusations that have been made and in the court of law multiple times have been shown not to be true.
Kevin Spacey
(01:17:08)
But I have had a sexual life and I’ve fallen in love and I’ve been so admiring of people that I… I’m so romantic. I’m such a romantic person that there’s this whole side of me that hasn’t been talked about, isn’t being discussed, but that’s who I know. That’s the person I know. It’s been very upsetting to hear that some people have said, I mean, I don’t have a violent bone in my body, but to hear people describe things as having been very aggressive is incredibly difficult for me. And I’m deeply sorry that I ever offended anyone or hurt anyone in any way. It is crushing to me, and I have to work very hard to show and to prove that I have learned. I got the memo and I will never, ever, ever behave in those ways again.
Lex Fridman
(01:18:06)
From everything I’ve seen in public interactions with you people love you, colleagues love you, coworkers love you. There’s a flirtatiousness. Another word for that is chemistry. There’s a chemistry between the people you work with.
Kevin Spacey
(01:18:20)
And by the way, not to take anything away from my accountability for things I did where I got it wrong, I crossed the line, I pushed some boundaries. I accept all of that, but I live in an industry in which flirtation, attraction, people meeting in the workspace and ending up marrying each other and having children. And so it is a space and a place where these notions of family, these notions of attraction, these notions of… It’s always complicated if you meet someone in the workspace and find yourselves attracted to each other. You have to be mindful of that, and you have to be very mindful that you don’t ever want anyone to feel that their job is in jeopardy or you would punish them in some way if they no longer wanted to be with you. So those are important things to just acknowledge.
Lex Fridman
(01:19:24)
Another complexity to this, as I’ve seen, is that there’s just a huge number of actors that look up to you, a huge number of people in the industry that look up to you and love you. I’ve seen just from this documentary, just a lot of people just love being around you, learning from you what it means to create great theater, great film, great stories. And so that adds to the complexity. I wouldn’t say it’s a power dynamic like a boss-employee relationship. It’s an admiration dynamic that is easy to miss and easy to take advantage of. Is that something you understand?
Kevin Spacey
(01:20:03)
Yes. And I also understand that there are people who met me and spent a very brief period of time with me, but presumed I was now going to be their mentor and then behaved in a way that I was unaware of, that they were either participating or flirting along or encouraging me without me having any idea that at the end of the day they were expecting something. So these are about relationships. These are about two people. These are about people making decisions, people making choices, and I accept my accountability in that. But there are a number of things that I’ve been accused of that just simply did not happen, and I can’t say, and I don’t think it would be right for me to say, “Well, everything that’s ever been I’ve been accused of is true,” because we’ve now proved that it isn’t and it wasn’t. But I’m perfectly willing to accept that I had behaviors that were wrong and that I shouldn’t have done, and I am regretful for.
Lex Fridman
(01:21:26)
I think that also speaks to a dark side of fame. The sense I got is that there are some people, potentially a lot of people, trying to make friends with you in order to get roles, in order to advance their career. So not you using them, but they trying to use you. What’s that like? How do you know if somebody likes you for you, for Kevin, or likes you for, you said you’re a romantic, you see a person and you’re like, “I like this person,” and they seem to like you. How do you know if they like you for you?
Kevin Spacey
(01:22:10)
Well, to some degree I would say that I have been able to trust my instincts on that and that I’ve most of the time been right. But obviously in the last number of years, not just with people who’ve accused me, but just also people in my own industry to realize that, “Oh, I thought we had a friendship, but I guess that was about an inch thick and not what I thought it was.” But look, one shouldn’t be surprised by that. I have to also say, you said a little while ago that the world had canceled me, and I have to disagree with you. I have to disagree because for seven years I’ve been stopped by people sometimes every day, sometimes multiple, multiple times a day. And the conversations that I have with people, the generosity that they share, the kindness that they show and how much they want to know when I’m getting back to work tells me that while there may be a very loud minority, there is a quieter majority.
Lex Fridman
(01:23:21)
In the industry have you been betrayed in life? And how do you not let that make you cynical?
Kevin Spacey
(01:23:35)
I think betrayal is a really interesting word, but I think if you’re going to be betrayed, it has to be by those who truly know you. And I can tell you that I have not been betrayed.
Lex Fridman
(01:23:49)
That’s a beautiful way to put it. For the times you crossed the line, do you take responsibility for the wrongs you’ve done?
Kevin Spacey
(01:23:59)
Yes.
Lex Fridman
(01:24:01)
Are you sorry to the people you may have hurt emotionally?
Kevin Spacey
(01:24:05)
Yes. And I have spoken to many of them.
Lex Fridman
(01:24:12)
Privately?
Kevin Spacey
(01:24:13)
Privately, which is where amends should be made.
Lex Fridman
(01:24:17)
Were they able to start finding forgiveness?
Kevin Spacey
(01:24:20)
Absolutely. Some of the most moving conversations that I have had when I was determined to take accountability have been those people have said, “Thank you so much and I think I can forgive you now.”
Lex Fridman
(01:24:42)
If you got a chance to talk to the Kevin Spacey of 30 to 40 years ago, what would you tell him to change about his ways and how would you do it? What would be your approach? Would you be nice about it? Would you smack him around?
Kevin Spacey
(01:24:59)
I think if I were to go back that far, I probably would’ve found a way to not have been as concerned about revealing my sexuality and hiding that for as long as I did. I think that had a lot to do with confusion and a lot to do with mistrust, both my own and other people’s.
Lex Fridman
(01:25:24)
For most of your life, you were not open with the public about being gay. What was the hardest thing about keeping who you love a secret?
Kevin Spacey
(01:25:37)
That I didn’t find the right moment of celebration to be able to share that.
Lex Fridman
(01:25:47)
That must be a thing that weighs on you, to not be able to fully celebrate your love.
Kevin Spacey
(01:25:58)
Ian McKellen said, after 40, he was 49 when he came out. 27 years he’d been a professional actor being in the closet. And he said he felt it was like he was living a part of his life not being truthful, and that he felt that it affected his work when he did come out because he no longer felt like he had anything to hide. And I absolutely believe that that is what my experience has been and will continue to be. I’m sorry about the way I came out, but Evan and I had already had the conversation. I had already decided to come out, and so it wasn’t like, “Oh, I was forced to come out,” but it was something I decided to do. And by the way, much against Evan’s advice, I came out in that statement and he wishes that I had not done so.
Lex Fridman
(01:27:00)
Yeah, you made a statement when the initial accusation happened that could be up there as one of the worst social media posts of all time. It’s like two for one.
Kevin Spacey
(01:27:19)
Don’t hold back now. Come on. Really tell me how you feel.
Lex Fridman
(01:27:22)
The first part, you kind of implicitly admitted to doing something bad, which was later shown and proved completely to never have happened. It was a lie.
Kevin Spacey
(01:27:34)
No, I basically said that I didn’t remember what this person was, what Anthony Rapp was claiming from 31 years before. I had no memory of it, but if it had happened, if this embarrassing moment had happened, then I would owe him an apology. That was what I said, and then I said, “And while I’m at it, I think I’ll come out.” And it was definitely not the greatest coming out party ever. I will admit that.
Lex Fridman
(01:27:58)
Well, from the public perception, the first part of that. So first of all, the second part is a horrible way to come out. Yes, we all agree. And then the first part from the public viewpoint, they see guilt in that which also is tragic because at least that particular accusation, and it’s a very dramatic one, it’s a $40 million lawsuit, it’s a big deal, and an underage person, was shown to be false.
Kevin Spacey
(01:28:23)
Well, but you’re melding two things together. The lawsuit didn’t happen until 2020 and then it didn’t get to court until 2022. We’re back in 2017 when it was just an accusation he made in BuzzFeed Magazine. Look, I was backed into a corner. When someone says, “You were so drunk, you won’t remember this thing happened,” what’s your first instinct? Is your first instinct to say, “This person’s a liar”? Or is your first instinct to go, “What? I was what? 31 years at a party I don’t even remember throwing?” Obviously a lot of investigation happened after that in which we were then able to prove in that court case that it had never occurred. But at the moment, I was sort of being told I couldn’t push back. You have to be kind. You can’t… I think even to me now, none of it sounds right. But I don’t know that I could have said anything that would’ve been satisfactory to anybody.
Lex Fridman
(01:29:31)
Okay. Well, that is a almost convincing explanation for the worst social media post of all time and I almost accept it.
Kevin Spacey
(01:29:38)
I’m really surprised. I guess you haven’t read a lot of media posts, because I can’t believe that’s the actual worst one.
Lex Fridman
(01:29:44)
It’s beautifully bad just how bad that social media post is. As you mentioned, Liam Neeson and Sharon Stone came out in support of you recently, speaking to your character. A lot of people who know you, and some of whom I know who have worked with you privately, show support for you, but are afraid to speak up publicly. What do you make of that? I mean, to me personally, this just makes me sad because perhaps that’s the nature of the industry that it’s difficult to do that, but I just wish there would be a little bit more courage in the world.
Kevin Spacey
(01:30:21)
I don’t think it’s about the industry. I think it’s about our time. I think it’s the time that we’re in and people are very afraid.
Lex Fridman
(01:30:29)
Just afraid. Just a general fear-
Kevin Spacey
(01:30:32)
No. They’re literally afraid that they’re going to get canceled if they stand up for someone who has been. And I think it’s, I mean, we’ve seen this many times in history. This is not the first time it’s happened.

House of Cards

Lex Fridman
(01:30:50)
So as you said, your darkest moment in 2017, when all of this went down, one of the things that happened is you were no longer on House of Cards for the last season. Let’s go to the beginning of that show, one of the greatest TV series of all time, a dark fascinating character in Frank Underwood, a ruthless, cunning, borderline evil politician. What are some interesting aspects to the process you went through for becoming Frank Underwood? Maybe Richard III. There’s a lot of elements there in your performance that maybe inspired that character. Is that fair or no?
Kevin Spacey
(01:31:34)
I’ll give you one very interesting, specific education that I got in doing Richard III and closing that show at BAM in March of 2012, and two months later started shooting House of Cards. There is something called direct address. In Shakespeare you have Hamlet, talks to the world. But when Shakespeare wrote Richard III, it was the first time he created something called direct address, which is the character looks directly at each person close by. It is a different kind of sharing than when a character’s doing a monologue. Opening of Henry IV. And while there are some people who believe that direct address was invented in Ferris Bueller, it wasn’t. It was Shakespeare who invented it. So I had just had this experience every night in theaters all over the world, seeing how people reacted to becoming a co-conspirator, because that’s what it’s about. And what I tried to do and what Fincher really helped me with in those beginning days was how to look in that camera and imagine I was talking to my best friend.
Lex Fridman
(01:33:28)
Because you’re sharing the secret of the darkness of how this game is played with that best friend.
Kevin Spacey
(01:33:33)
Yeah. And there were many times when I suppose the writers thought I was crazy, where I would see a script and I would see this moment where this direct address would happen, I’d say all this stuff, and I’d go, when we’d do a read through of the script, I go, “I don’t think I need to say any of that.” And they were like, “What do you mean?” I said, “Well, the audience knows all of that. All I have to do is look. They know exactly what’s going on. I don’t need to say a thing.”

(01:34:02)
So I was often cutting dialogue because it just wasn’t needed because that relationship between… And I’d learned, that I’d experienced doing Richard III, was so extraordinary where I literally watched people, they were like, “Oh, I’m in on the thing and this is, oh, so awesome.” And then suddenly, “Wait, he killed the kids. He killed those kids in the Tower. Oh, maybe it’s not…” And you literally would watch them start to reverse their, having had such a great time with Richard III in the first three acts, I thought, “This is going to happen in this show if this intimacy can actually land.”

(01:34:55)
And I think there was some brilliant writing, and we always attempted to do it in one take. No matter how long something was, we would try to do it in one take, the direct addresses, so there was never a cut. When we went out on locations, we started to then find ways to cut it and make it slightly broader. But-
Lex Fridman
(01:35:16)
That’s interesting because you’re doing a bunch of, with both Richard III and Frank Underwood, a bunch of dark, borderline evil things. And then I guess the idea is you’re going to be losing the audience and then you win them back over with the addresses.
Kevin Spacey
(01:35:32)
That’s the remarkable thing, is against their instincts and their better sense of what they should and should not do, they still rallied around Frank Underwood.
Lex Fridman
(01:35:45)
And I saw even with the documentary, the glimmers of that with Richard III. I mean, you were seducing the audience. There was such a chemistry between you and the audience on stage.
Kevin Spacey
(01:35:58)
Yeah. Well, in that production that’s absolutely true. Also, Richard is one of the weirder… Weird. I mean by weird, was an early play of Shakespeare’s. And he’s basically never off stage. I mean, I remember when we did the first run through, I had no idea what the next scene was. Every time I came off stage, I had no idea what was next. They literally had to drag me from one place to another scene. “Now it’s the scene with Hastings,” but I now understand these wonderful stories that you can read in old books about Shakespeare’s time, that actors grabbed Shakespeare around the cuff and punched him and threw him against a wall and said, “You ever write a part like this again? I’m going to kill you.” And that’s why in later plays, he started to have a pageant happened, and then a wedding happened and the main character was off stage resting because the actor had said, “You can’t do this to us. There’s no breaks.” And it’s true, there’s very few breaks in Richard III. You’re on stage most of the time.
Lex Fridman
(01:37:09)
The comedic aspect of Richard III and Frank Underwood, is that a component that helps bring out the full complexity of the darkness that is Frank Underwood.
Kevin Spacey
(01:37:22)
I certainly can’t take credit for Shakespeare having written something that is funny or Beau Willimon and his team to have written something that is funny. It’s fundamentally funny. It just depends on how I interpret it. That’s one of the great things why we love in a year’s time, we can see five different Hamlets. We can see four Richard IIIs, we can see two Richard IIs. That’s part of the thrill, that we don’t own these parts. We borrow them and we interpret them. And what Ian McKellen might do with a role could be completely different from what I might do because of the way we perceive it. And also very often in terms of going for humor, it’s very often a director will say, “Why don’t you say that with a bit of irony? Why don’t you try that with a bit of blah, blah, blah?”
Lex Fridman
(01:38:23)
Yeah. There’s often a wry smile. The line that jumps to me, when you’re talking about Claire in the early, maybe first episode even, “I love that woman more than sharks love blood.” I guess there’s a lot of ways to read that line, but the way you read it had both humor, had legitimate affection, had all the ambition and narcissism, all of that mixed up together.
Kevin Spacey
(01:38:58)
I also think that one should just acknowledge that where he was from. There is something that happens when you do an accent. And in fact, sometimes when I would say to Beau or one of the other writers, “This is really good and I love the idea, but it rhythmically doesn’t help. I need at least two more words to rhythmically make this work in his accent because it just doesn’t scan.” And that’s not iambic pentameter. I’m not talking about that. There is that as well in Shakespeare. But there was sometimes when it’s too many lines, it’s not enough lines, in order for me to make this work for the way he speaks, the way he sounds and what that accent does to emphasis.
Lex Fridman
(01:39:50)
How much of that character in terms of the musicality of the way he speaks, is Bill Clinton?
Kevin Spacey
(01:39:58)
Not really at all. I mean, Clinton, look, Bill Clinton, he had a way of talking, that he was very slow and he felt your pain. But Frank Underwood was deeper, more direct and less poetic in the way that Clinton would talk. I’ll tell you this Clinton story that you’ll like. So we decide to do a performance of The Iceman Cometh for the Democratic Party on Broadway. And the President is going to come, he’s going to see this four and a half hour play. And then we’re going to do this event afterward.

(01:40:41)
And I don’t know, a couple of weeks before we’re going to do this event, someone at the White House calls and says, “Listen, it’s very unusual to get the president for like six and a half hours. So we’re suggesting that the president come and see the first act, and then he goes.” And I knew what was happening. Now, first of all, Clinton knows this play. He knows what this play is about. And I, as gently as I could said, “Well, if the President is thinking of leaving at intermission, then I’m afraid we’re going to have to cancel the event. There’s just no way that…”

(01:41:18)
So anyway, then, “Oh no, it’s fine. It’s fine.” Now I know what was happening. What was happening was that someone had read the play and they were quite concerned. And I’ll tell you why. Because the play is about this character that I portrayed named Hickey. And in the course of the play, as things get more and more revealed, you realize that this man that I’m playing has been a philanderer. He’s cheated on his wife quite a lot, and by the end of the play, he is arrested and taken off because he ended up ending his wife’s life because she forgave him too much and he couldn’t live with it.

(01:41:57)
So now imagine this, there’s 2,000 people at the Brooks Atkinson Theater watching President Clinton watching this play. And at the end of the night we take our curtain call, they bring out the presidential podium, Bill Clinton stands up there and he says, “Well, I suppose we should all thank Kevin and this extraordinary company of actors for giving us all way too much to think about.” And the audience fell over in laughter. And then he gave a great speech. And I thought, “That was a pretty good way to handle that.”
Lex Fridman
(01:42:43)
Well, in that way, him and Frank Underwood share like a charisma. There’s certain presidents that just have, politicians that just have this charisma. You can’t stop listening to them. Some of it is the accent, but some of it is some other magical thing.
Kevin Spacey
(01:42:59)
When I was starting to do research, I wanted to meet with the whip, Kevin McCarthy, and he wouldn’t meet with me until I called his office back and said, “Tell him I’m playing a Democrat, not a Republican.” And then he met with me.
Lex Fridman
(01:43:21)
Nice.
Kevin Spacey
(01:43:21)
And he was helpful. He took me to whip meetings.
Lex Fridman
(01:43:26)
Politicians. So you worked with David Fincher there. He was the executive producer, but he also directed the first two episodes.
Kevin Spacey
(01:43:36)
Yeah.
Lex Fridman
(01:43:37)
High level. What was it like working with him again? In which ways do you think he helped guide you in the show to become the great show that it was?
Kevin Spacey
(01:43:50)
I give him a huge amount of the credit, and not just for what he established, but the fact that every director after stayed within that world. I think that’s why the series had a very consistent feeling to it. It was like watching a very long movie. The style, where the camera went, what it did, what it didn’t do, how we used this, how we used that, how we didn’t do this. There were things that he laid the foundation for that we managed to maintain pretty much until Beau Willimon left the show. They got rid of Fincher. And I was sort of the last man standing in terms of fighting against… Netflix had never had any creative control at all. We had complete creative control, but over time they started to get themselves involved because look, this is what happens to networks. They’d never made a television show before, ever. And then.
Kevin Spacey
(01:45:00)
They’d never made a television show before, ever. And then four years later, they were the best. And so then you’re going to get suggestions about casting, and about writing, and about music and scenes. And so there was a considerable amount of pushback that I had to do when they started to get involved in ways that I thought was affecting the quality of the show.
Lex Fridman
(01:45:25)
What are those battles like? I heard that there was a battle with the execs, like you mentioned early on about your name not being on the billing for Seven. I heard that there’s battles about the ending of Seven, which was really… Well, it was pretty dark. So what’s that battle like? How often does that happen, and how do you win that battle? Because it feels like there’s a line where the networks or the execs are really afraid of crossing that line into this strange, uncomfortable place, and then great directors and great actors kind of flirt with that line.
Kevin Spacey
(01:46:11)
It can happen in different ways. I mean, I remember a argument we had was we had specifically shot a scene so that there would be no score in that scene, so that there was no music, it was just two people talking. And then we end up seeing a cut where they’ve decided to put music in, and it is against everything that scene’s supposed to be about. And you have to go and say, “Guys, this was intentional, we did not want score. And now you’ve added score, because what? You think it’s too quiet. You think our audience can’t listen to two people talk for two and a half minutes? This show has proved anything, it’s proved that people have patience and they’re willing to watch an entire season over a weekend.”

(01:46:56)
So there are those kind of arguments that can happen. There’s different arguments on different levels, and they sometimes have to do with… I mean, look, go back to The Godfather, they wanted to fire Pacino because they didn’t see anything happening. They saw nothing happening, so they wanted to fire Pacino. And then finally Coppola thought, I’ll shoot the scene where he kills the police commissioner, and I’ll do that scene now. And that was the first scene where they went, “Yeah, actually there’s something going on there.” So Pacino kept the role.
Lex Fridman
(01:47:33)
Do you think that Godfather’s when the Pacino we know was born? Or is that more like there’s the character that really over the top in Scent of a Woman? There’s stages, I suppose.
Kevin Spacey
(01:47:46)
Yeah, of course. Look, I think that we can’t forget that Pacino is also an animal of the theater. He does a lot of plays, and he started off doing plays, and movies were… Panic in Needle Park was his first. And yeah, I think there’s that period of time when he was doing some incredible parts, incredible movies. When I did a series called Wiseguy, I got cast on a Thursday, and I flew up to Vancouver on a Saturday, and I started shooting on Monday. And all I had time to do was watch The Godfather and Serpico, and then I went to work.
Lex Fridman
(01:48:25)
Would you say… Ridiculous question, Godfather, greatest film of all time? Gun to your head, right now.
Kevin Spacey
(01:48:33)
Certainly, yes. But look, I’m allowed to change my opinion. I can next week say it’s Lawrence of Arabia, or a week after that I can say Sullivan’s Travels. I mean, that’s the wonderful thing about movies, and particularly great movies, is when you see them again, it’s like seeing them for the first time, and you pick up things that you didn’t see the last time.
Lex Fridman
(01:48:57)
And for that day you fall in love with that movie, and you might even say to a friend that that is the greatest movie of all time.
Kevin Spacey
(01:49:05)
And also I think it’s the degree with which directors are daring. I mean, Kubrick decided to one actor to play three major roles in Dr. Strangelove. I mean, who has the balls to do that today?

Jack Nicholson

Lex Fridman
(01:49:26)
I was going to mention when we’re talking Seven, that just if you’re looking at the greatest performances, portrayals of murderers. So obviously, like I mentioned, Hannibal Lecter in Silence of the Lambs, that’s up there. Seven to me is competing for first place with Silence of the Lambs. But then there’s a different one with Kubrick and Jack Nicholson with The Shining. And there as opposed to a murderer who’s always been a murderer, here’s a person, like in American Beauty, who becomes that, who descends into madness. I read also that Jack Nicholson improvised, “Here’s Johnny.” In that scene.
Kevin Spacey
(01:50:10)
I believe that.
Lex Fridman
(01:50:11)
That’s a very different performance than yours in Seven, what do you make of that performance?
Kevin Spacey
(01:50:18)
Nicholson’s always been such an incredible actor, because he has absolutely no shame about being demonstrative and over the top. And he also has no problem playing characters who are deeply flawed, and he’s interested in that. I have a pretty good Nicholson story though, nobody knows.
Lex Fridman
(01:50:39)
You also have a good Nicholson impression, but what’s the story?
Kevin Spacey
(01:50:45)
The story was told to a soundman, Dennis Maitland, who’s a great, great, great guy. He said he was very excited because he got on Prizzi’s Honor, which was Jack Nicholson and Anjelica Huston, directed by John Houston. And he said, “I was so excited. It was my first day on the movie, and I get told to go into Mr. Nicholson’s trailer and mic him up for the first scene. So I knock on the trailer door and I hear, yes, and come on in. And I come inside and Mr. Nicholson is changing out of his regular clothes, and he’s going to put on his costume. And so I’m setting up the mic, and I’m getting ready. And I said, Mr. Nicholson, I just wanted to tell you I’m extremely excited to be working with you again, it’s a great pleasure.”

(01:51:33)
And Jack goes, “Did we work together before?” And he says, “Yes, yes we did.” And he says, “What film did we do together?” He says, “Well, we did Missouri Breaks.” Nicholson goes, “Oh, my God, Missouri breaks, Jesus Christ, we were out of our minds on that film, holy shit. Jesus Christ, it’s a wonder I’m alive, my God, there was so much drugs going on and we were stoned out of our minds, holy shit.” Just then he folds the pants that he’s just taken off over his arm and an eighth of coke drops out onto the floor. Dennis looks at it, Nicholson looks at it, Jack goes, “Haven’t worn these pants since Missouri Breaks.”
Lex Fridman
(01:52:22)
Man, I love that guy, unapologetically himself.

Mike Nichols

Kevin Spacey
(01:52:26)
Oh, yeah.
Lex Fridman
(01:52:28)
Your impression of him at the AFT is just great.
Kevin Spacey
(01:52:32)
Well, that was for Mike Nichols.
Lex Fridman
(01:52:35)
Well, yeah, he had a big impact in your career.
Kevin Spacey
(01:52:38)
A huge impact.
Lex Fridman
(01:52:38)
Really important. Can you talk about him? What role did he play in your life?
Kevin Spacey
(01:52:43)
I think it was… Yeah, it was 1984, I went into audition for the national tour of a play called The Real Thing, which Jeremy Irons and Glenn Close were doing on Broadway that Mr. Nichols had directed. So I went in to read for this character, Brodie, who is a Scottish character. And I did the audition, and Mike Nichols comes down the aisle of the theater, and he’s asking me questions about, “Where’d you go to school?” And, “What have you been doing?” I just come back from doing a bunch of years of regional theater and different theaters, so I was in New York, and meeting Mike Nichols was just incredible. So Mr. Nichols went, “Have you seen the other play that I directed up the block called Hurlyburly?” And I said, “No, I haven’t.” And he says, “Why not?” I said, “I can’t afford a Broadway ticket.” He said, “We can arrange that. I’d like you to go see that play, and then I’d like you to come in next week and audition for that.” And I was like, “Okay.”

(01:53:41)
So I went to see Hurlyburly, William Hurt, Harvey Keitel, Chris Walken, Candice Bergen, Cynthia Nixon, Jerry Stiller. And I watched this play, it’s a David Rabe play about Hollywood. And this is crazy, I mean, Bill Hurt was unbelievable. And it was extraordinary, Chris Walken, these guys… So there’s this… Harvey Keitel, and Walken came in later, Harvey Keitel’s playing this part. And I come in and I audition for it, and Nichols says, “I want you to understudy Harvey Keitel, and I want you to understudy Phil.” And I’m like, “Phil?” I mean, Harvey Keitel is in his forties, he looks like he can beat the shit out of everybody on stage, I’m this 24-year-old. And Nichols said, “It’s just all about attitude, if you believe you can beat the shit out of everybody out on stage, the audience will too.” It’s like, “Okay.”

(01:54:41)
So I then started to learn Phil. And the way it works when you’re in understudy, unless you’re a name they don’t let you rehearse on the stage, you just rehearse in a rehearsal room. But I used to sneak onto the stage, and rehearse, and try to figure out where the props were, and yada yada. Anyway, one day I get a call, “You’re going on today as Phil.” So I went on, Nichols is told by Peter Lawrence who’s the stage manager, “Spacey’s gone on as Phil.” So Nichols comes down and watches the second act, comes backstage, he says, “That was really good, how soon could you learn Mickey?” Mickey was the role that Ron Silver was playing that Chris Walken also played. I said, “I don’t know, maybe a couple weeks.” He goes, “Learn Mickey too.” So I learned Mickey, and then one day I’m told, “You’re going on tomorrow night as Mickey.”

(01:55:46)
Nichols comes, sees the second act, comes backstage, says, “That was really good. I mean, that was really funny, how soon could you learn Eddie?” And so I became the pinch hitter on Hurlyburly, I learned all the male parts, including Jerry Stiller’s, although I never went on as Jerry Stiller’s part. And then I left the play, and I guess about two months later I get this phone call from Mike Nichols, and he’s like, “Kevin, how are you?” And I’m like, “I’m fine, what can I do for you?” He says, “Well, I’m going to make a film this summer with Mandy and Meryl, and there’s a role I’d like you to come in and audition for.” So I went in, auditioned, he cast me as this mugger on a subway. Then there’s this whole upheaval that happens because he then doesn’t continue with Mandy Patinkin, Mandy leaves the movie, and he asked Jack Nicholson to come in and replace Mandy Patinkin.

(01:56:51)
So now I had no scenes with him, but I’m in a movie with Jack Nicholson and Meryl Streep, and my first scene in this movie, which I shot on my birthday, July 26th of 85′, I got to Wink at Meryl Streep in this scene. And I was so nervous I literally couldn’t wink, Nichols had to calm me down and help me wink. But that became my very first film. And he was incredible, and he let me come and watch when they were shooting scenes I wasn’t in. And I remember ending up one day in the makeup trailer, on the same day we were working, Jack and Me, we had no scene together. But I remember him coming in, and they put him down in the chair, and they put frozen cucumbers on his eyes, and did his neck, and then they raised him up and did his face. And then I remember Nicholson went like this, looked in the mirror, and he went, “Another day, another $50,000.” And walked out of the trailer.

Christopher Walken

Lex Fridman
(01:58:01)
What was Christopher Walken like? So he’s a theater guy too.
Kevin Spacey
(01:58:07)
Oh, yeah, he started out as a chorus boy, dancer.
Lex Fridman
(01:58:11)
Well, I could see that, the guy knows how to move.
Kevin Spacey
(01:58:15)
Walken’s fun, I’ve know him Walken a long time. And I did a Saturday Night Live where we did these Star Wars auditions, so I did Chris Walken as Han Solo. And I’ll never forget this, I was in Los Angeles about two weeks after and I was at Chateau Marmont, there’s some party happening at Chateau Marmont. And I saw Chris Walken come onto the balcony, and I was like, “Oh, shit, it’s Christopher Walken.” And he walked up to… And he went, “Kevin, I saw your little sketch, it was funny, ha ha.”
Lex Fridman
(01:58:53)
Oh, man, it was a really good sketch. And that guy, there’s certain people that are truly unique, and unapologetic, continue being that throughout their whole career. The way they talk, the musicality of how they talk, how they are, their way of being, he’s that. And it somehow works.
Kevin Spacey
(01:59:15)
“This watch.” Yeah.
Lex Fridman
(01:59:19)
And he works in so many different contexts, he plays a mobster in True Romance, and it’s genius, that’s genius. But he could be anything, he could be soft, he could be a badass, all of it. And he’s always Christopher Waken, but somehow works for all these different characters. So I guess we were talking about House of Cards two hours ago before we took a tangent upon a tangent. But there’s a moment in episode one where President Walker broke his promise to Frank Underwood that he would make him the Secretary of State. Was this when the monster in Frank was born or was the monster always there? For you looking at that character, was there an idealistic notion to him that there’s loyalty and that broke him? Or did he always know that this whole world is about manipulation, and do anything to get power?
Kevin Spacey
(02:00:19)
Well, it might have been the first moment an audience saw him be betrayed, but it certainly was not the betrayal he’d experienced. And once you start to get to know him, and learn about his life, and learn about his father, and learn about his friends, and learn about their relationship, and learn what he was like even as a cadet, I think you start to realize that this is a man who has very strong beliefs about loyalty. And so it wasn’t the first, it was just the first moment that in terms of the storyline that’s being built. Knight Takes King was the name of our production company.
Lex Fridman
(02:01:03)
Yeah. What do you think motivated him at that moment and throughout the show? Was it all about power and also legacy, or was there some small part underneath it all where he wanted to actually do good in the world?
Kevin Spacey
(02:01:22)
No, I think power is a afterthought, what he loved more than anything was being able to predict how human beings would react, he was a behavioral psychologist. And he was 17 moves ahead in the chess game, he could know if he did this at this moment, that eventually this would happen, he was able to be predictive and was usually right. He knew just how far he needed to push someone to get them to do what he needed them to do in order to make the next step work.
Lex Fridman
(02:02:10)
You’ve played a bunch of evil characters.
Kevin Spacey
(02:02:13)
Well, you call them evil. But the reason I say that, and I don’t mean to be snarky about it, but the reason I say it that way is because I never judge the people I play. And the people that I have played or that any actor has played don’t necessarily view themselves as this label, it’s easy to say, but that’s not the way I can think. I cannot judge a character I play and then play them well, I have to be free of judgment, I have to just play them and let the cards drop where they may and let an audience judge. I mean, the fact that you use that word is perfectly fine, that’s your… But it’s like people asking me, “Was I really from K-PAX or not?” It just entirely depends on your perspective.
Lex Fridman
(02:03:10)
Do roles like that, like Seven, like Frank Underwood, like Lester from American Beauty, do they change you psychologically as a person? So walking around in the skin of these characters, these complex characters with very different moral systems.
Kevin Spacey
(02:03:42)
I absolutely believe that wandering around in someone else’s ideas, in someone else’s clothes, in someone else’s shoes teaches you enormous empathy. And that goes to the heart of not judging. And I have found that I have been so moved by… I mean, look, yes, you’ve identified the darker characters, but I played Clarence Darrow three times, I’ve played a play called National Anthems, I’ve done movies like Recount. I’ve done films like The Ref, I’ve done films that in which that doesn’t exist in any of those characters, those qualities.
Lex Fridman
(02:03:42)
Pay It Forward.
Kevin Spacey
(02:04:32)
Pay It Forward. And so it is incredible to be able to embrace those things that I admire and that are like me, and those things that I don’t admire and aren’t like me. But I have to put them on an equal footing and say, “I have to just play them as best I can.” And not decide to wield judgment over them.
Lex Fridman
(02:05:06)
Without judgment.

Father

Kevin Spacey
(02:05:07)
Without judgment.
Lex Fridman
(02:05:09)
In Gulag Archipelago, Aleksandr Solzhenitsyn famously writes about the line between good and evil, and that it runs to the heart of every man. So the full paragraph there when he talks about the line, “During the life of any heart this line keeps changing place, sometimes it is squeezed one way by exuberant evil, and sometimes it shifts to allow enough space for good to flourish. One and the same human being is, at various ages, under various circumstances, a totally different human being. At times, he is close to being a devil, at times to sainthood. But his name doesn’t change, and to that name we ascribe the whole lot, good and evil.” What do you think about this note, that we’re all capable of good and evil, and throughout life that line moves and shifts throughout the day, throughout every hour?
Kevin Spacey
(02:06:12)
Yeah. I mean, one of the things that I’ve been focused on very succinctly is the idea that every day is an opportunity. It’s an opportunity to make better decisions, to learn and to grow. And I also think that… Look, I grew up not knowing if my parents loved me, particularly my father. I never had a sense that I was loved, and that stayed with me my whole life. And when I think back at who my father was, and more succinctly who he became, it was a gradual, and slow, and sad development. When I’ve gone back, and now I’ve looked at diaries my father kept and albums he kept, particularly when he was a medic in the US Army, served our country with distinction. When the war was over and they went to Germany, the things my father said, the things that he wrote, the things that he believed were as patriotic as any American soldier who had ever served. But then when he came back to America and he had a dream of being a journalist, or his big hope was that he was going to be the great American novelist, he wanted to be a creative novelist, and so he sat in his office and he wrote for 45 years and never published anything. And somewhere along the way, in order to make money, he became what they call a technical procedure writer. Which the best way to describe that is that if you built the F-16 aircraft, my father would have written the manual to tell you how to do it. I mean, as boring, as technical, as tedious as you can imagine.

(02:08:52)
And so somewhere in the sixties and into the seventies, my father fell in with groups of people and individuals, pretend intellectuals, who started to give him reasons why he was not successful as a white Aryan man in the United States. And over time, my father became a white supremacist. And I cannot tell you the amount of times as a young boy that my father would sit me down and lecture me for hours, and hours, and hours about his fucked up ideas of America, of prejudice, of white supremacy. And thank God for my sister who said, “Don’t listen to a thing he says, he’s out of his mind.” And even though I was young, I knew everything he was saying was against people, and I loved people. I had so many wonderful friends, my best friend Mike, who’s still my close friend to this day, I was afraid to bring him to my house because I was afraid that my father would find out he was Jewish, or that my father would leave his office door open and someone would see his Nazi flag, or his pictures of Hitler, or Nazi books, or what he might say. So when I found theater in the eighth grade, and debate club, and choir, and festivals, and plays, and everything I could do to participate in that wouldn’t make me to come back home, I did.

(02:11:10)
And I’ve reconcile who he became, because the gap between that man who was in the US Army as a medic and the man he became, I could never fill that gap. But I’ve forgiven him. But then at the same time I’ve to look at my mother and say, “She made excuses for him.” “Oh, he just needs to get it off his chest. Oh, it doesn’t matter, just let him say.” So while on the outside, I would say, “Oh, yeah, my mother loved me, but she didn’t protect me.” So was all the stuff that she expressed, and all of the attention, and all the love that I felt, was that because I became successful and I was able to fulfill an emptiness that she’d lived with her whole life with him? I don’t know, but I’ve had to ask myself those questions over these last years to try to reconcile that for myself.
Lex Fridman
(02:12:40)
And the thing you wanted from them and for them is less hate and more love. Did your dad said he loves you?
Kevin Spacey
(02:12:50)
I don’t have any memory of that. I was in a program, and they were showing us an experiment that they’d done with psychologists, and mothers and fathers and their children, and the children were anywhere between six months and a year sitting in a little crib. And the exercise was this, parents are playing with the baby right there, toys, yada ya, baby’s laughing. And then the psychologist would say, “Stop.” And the parent would go like this. And you would then watch for the next two and a half, three minutes this child trying to get their parents’ attention in any possible way. And I remember when I was sitting in this theater watching this, I saw myself, that was me screaming, and reaching out, and trying to get my parents’ attention. That was me, and that was not something I’d ever remembered before, but I knew what that baby was going through.

Future

Lex Fridman
(02:14:02)
Is there some elements of politics and maybe the private sector that are captured by House of Cards? How true to life do you think that is? From everything you’ve seen about politics, from everything you’ve seen about the politicians of this particular elections?
Kevin Spacey
(02:14:26)
I heard so many different reactions from politicians about House of Cards. Some would say, “Oh, it’s not like that at all.” And then others would say, “It’s closer to the truth than anyone wants to admit.” And I think I fall down on the side of that idea.
Lex Fridman
(02:14:46)
I have to interview some world leaders, some big politicians. In your understanding of trying to become Frank Underwood, what advice would you give in interviewing Frank Underwood? How to get him to say anything that’s at all honest.
Kevin Spacey
(02:15:12)
Well, in Frank’s case, all you have to do is tell him to look into the camera, and he’ll tell you what you want to hear.
Lex Fridman
(02:15:19)
That’s the secret. Unfortunately, we don’t get that look into the mind of a person the way we do with Frank Underwood in real life, sadly.
Kevin Spacey
(02:15:26)
Well, but you could say to somebody… You like the series House of Cards, “I’d love for you to just look into the camera and tell us what’s really going on, what you really feel about, blah, blah, blah.”
Lex Fridman
(02:15:39)
That’s a good technique, I’ll try that with Zelenskyy, with Putin. What do you hope your legacy as an actor is and as a human being?
Kevin Spacey
(02:15:52)
People ask me now, “What’s your favorite performance you’ve ever given?” And my answer is, “I haven’t given it yet.” So there’s a lot more that I want to be challenged by, be inspired by. There’s a lot that I don’t know, there’s a lot I have to learn, and that is a very exciting place to feel that I’m in. It’s been interesting, because we’re going back, we’re talking. And it’s nice to go back every now and then, but I’m focused on what’s next.
Lex Fridman
(02:16:50)
Do you hope the world forgives you?
Kevin Spacey
(02:16:58)
People go to church every week to be forgiven, and I believe that forgiveness, and I believe that redemption are beautiful things. I mean, look, don’t forget, I live in an industry in which there is a tremendous amount of conversation about redemption, from a lot of people who are very serious people in very serious positions who believe in it. I mean, that guy who finally got out of prison, he was wrongly accused, that guy who served his time and got out of prison. We see so many people saying, “Let’s find a path for that person, let’s help that person rejoin society.” But there is an odd situation if you’re in the entertainment industry, you’re not offered that kind of a path. And I hope that the fear that people are experiencing will eventually subside and common sense will get back to the table.
Lex Fridman
(02:18:06)
If it does, do you think you have another Oscar worthy performance in you?
Kevin Spacey
(02:18:11)
Listen, if it would piss off Jack Lemmon again for me to win a third time, I absolutely think so, yeah.
Lex Fridman
(02:18:17)
Well, you have to mention him again. Ernest Hemingway once said that the world is a fine place and worth fighting for, and I agree with him on both counts. Kevin, thank you so much for talking today.
Kevin Spacey
(02:18:30)
Thank you.
Lex Fridman
(02:18:32)
Thanks for listening to this conversation with Kevin Spacey. To support this podcast please check out our sponsors in the description. And now let me leave you with some words for Meryl Streep, “Acting is not about being someone different, it’s finding the similarity in what is apparently different and then finding myself in there.” Thank you for listening, and I hope to see you next time.

Transcript for Roman Yampolskiy: Dangers of Superintelligent AI | Lex Fridman Podcast #431

This is a transcript of Lex Fridman Podcast #431 with Roman Yampolskiy.
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Table of Contents

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Introduction

Roman Yampolskiy
(00:00:00)
If we create general superintelligences, I don’t see a good outcome long-term for humanity. So there is X-risk, existential risk, everyone’s dead. There is S-risk, suffering risks, where everyone wishes they were dead. We have also idea for I-risk, ikigai risks, where we lost our meaning. The systems can be more creative. They can do all the jobs. It’s not obvious what you have to contribute to a world where superintelligence exists. Of course, you can have all the variants you mentioned, where we are safe, we are kept alive, but we are not in control. We are not deciding anything. We’re like animals in a zoo. There is, again, possibilities we can come up with as very smart humans and then possibilities something a thousand times smarter can come up with for reasons we cannot comprehend.
Lex Fridman
(00:00:54)
The following is a conversation with Roman Yampolskiy, an AI safety and security researcher and author of a new book titled AI: Unexplainable, Unpredictable, Uncontrollable. He argues that there’s almost 100% chance that AGI will eventually destroy human civilization. As an aside, let me say that I’ll have many often technical conversations on the topic of AI, often with engineers building the state-of-the-art AI systems. I would say those folks put the infamous P(doom) or the probability of AGI killing all humans at around one to 20%, but it’s also important to talk to folks who put that value at 70, 80, 90, and is in the case of Roman, at 99.99 and many more nines percent.

(00:01:46)
I’m personally excited for the future and believe it will be a good one in part because of the amazing technological innovation we humans create, but we must absolutely not do so with blinders on ignoring the possible risks, including existential risks of those technologies. That’s what this conversation is about. This is the Lex Fridman podcast. To support it, please check out our sponsors in the description. Now dear friends, here’s Roman Yampolskiy.

Existential risk of AGI


(00:02:20)
What to you is the probability that super intelligent AI will destroy all human civilization?
Roman Yampolskiy
(00:02:26)
What’s the timeframe?
Lex Fridman
(00:02:27)
Let’s say a hundred years, in the next hundred years.
Roman Yampolskiy
(00:02:30)
So the problem of controlling AGI or superintelligence in my opinion, is like a problem of creating a perpetual safety machine. By analogy with perpetual motion machine, it’s impossible. Yeah, we may succeed and do good job with GPT-5, six, seven, but they just keep improving, learning, eventually self-modifying, interacting with the environment, interacting with malevolent actors. The difference between cybersecurity, narrow AI safety and safety for general AI for superintelligence, is that we don’t get a second chance. With cybersecurity, somebody hacks your account, what’s the big deal? You get a new password, new credit card, you move on. Here, if we’re talking about existential risks, you only get one chance. So you are really asking me what are the chances that we’ll create the most complex software ever on the first try with zero bugs and it’ll continue to have zero bugs for a hundred years or more.
Lex Fridman
(00:03:38)
So there is an incremental improvement of systems leading up to AGI. To you, it doesn’t matter if we can keep those safe. There’s going to be one level of system at which you cannot possibly control it.
Roman Yampolskiy
(00:03:57)
I don’t think we so far have made any system safe at the level of capability they display. They already have made mistakes. We had accidents. They’ve been jail broken. I don’t think there is a single large language model today, which no one was successful at making do something developers didn’t intend it to do.
Lex Fridman
(00:04:21)
There’s a difference between getting it to do something unintended, getting it to do something that’s painful, costly, destructive, and something that’s destructive to the level of hurting billions of people or hundreds of millions of people, billions of people, or the entirety of human civilization. That’s a big leap.
Roman Yampolskiy
(00:04:39)
Exactly, but the systems we have today have capability of causing X amount of damage. So when we fail, that’s all we get. If we develop systems capable of impacting all of humanity, all of universe, the damage is proportionate.
Lex Fridman
(00:04:55)
What to you are the possible ways that such mass murder of humans can happen?
Roman Yampolskiy
(00:05:03)
It’s always a wonderful question. So one of the chapters in my new book is about unpredictability. I argue that we cannot predict what a smarter system will do. So you’re really not asking me how superintelligence will kill everyone. You’re asking me how I would do it. I think it’s not that interesting. I can tell you about the standard nanotech, synthetic, bio, nuclear. Superintelligence will come up with something completely new, completely super. We may not even recognize that as a possible path to achieve that goal.
Lex Fridman
(00:05:36)
So there is an unlimited level of creativity in terms of how humans could be killed, but we could still investigate possible ways of doing it. Not how to do it, but at the end, what is the methodology that does it. Shutting off the power and then humans start killing each other maybe, because the resources are really constrained. Then there’s the actual use of weapons like nuclear weapons or developing artificial pathogens, viruses, that kind of stuff. We could still think through that and defend against it. There’s a ceiling to the creativity of mass murder of humans here. The options are limited.
Roman Yampolskiy
(00:06:21)
They’re limited by how imaginative we are. If you are that much smarter, that much more creative, you’re capable of thinking across multiple domains, do novel research in physics and biology, you may not be limited by those tools. If squirrels were planning to kill humans, they would have a set of possible ways of doing it, but they would never consider things we can come up.
Lex Fridman
(00:06:42)
So are you thinking about mass murder and destruction of human civilization or are you thinking of with squirrels, you put them in a zoo and they don’t really know they’re in a zoo? If we just look at the entire set of undesirable trajectories, majority of them are not going to be death. Most of them are going to be just things like brave new world where the squirrels are fed dopamine and they’re all doing some fun activity and the fire, the soul of humanity is lost because of the drug that’s fed to it, or literally in a zoo. We’re in a zoo, we’re doing our thing, we’re playing a game of Sims, and the actual players playing that game are AI systems. Those are all undesirable because the free will. The fire of human consciousness is dimmed through that process, but it’s not killing humans. So are you thinking about that or is the biggest concern literally the extinctions of humans?
Roman Yampolskiy
(00:07:45)
I think about a lot of things. So that is X-risk, existential risk, everyone’s dead. There is S-risk, suffering risks, where everyone wishes they were dead. We have also idea for I-risk, ikigai risks, where we lost our meaning. The systems can be more creative. They can do all the jobs. It’s not obvious what you have to contribute to a world where superintelligence exists. Of course, you can have all the variants you mentioned where we are safe, we’re kept alive, but we are not in control. We’re not deciding anything. We’re like animals in a zoo. There is, again, possibilities we can come up with as very smart humans and then possibilities, something a thousand times smarter can come up with for reasons we cannot comprehend.

Ikigai risk

Lex Fridman
(00:08:33)
I would love to dig into each of those X-risk, S-risk, and I-risk. So can you linger on I-risk? What is that?
Roman Yampolskiy
(00:08:42)
So Japanese concept of ikigai, you find something which allows you to make money. You are good at it and the society says we need it. So you have this awesome job. You are podcaster gives you a lot of meaning. You have a good life. I assume you’re happy. That’s what we want more people to find, to have. For many intellectuals, it is their occupation, which gives them a lot of meaning. I’m a researcher, philosopher, scholar. That means something to me In a world where an artist is not feeling appreciated, because his art is just not competitive with what is produced by machines or a writer or scientist will lose a lot of that. At the lower level, we’re talking about complete technological unemployment. We’re not losing 10% of jobs. We’re losing all jobs. What do people do with all that free time? What happens then? Everything society is built on is completely modified in one generation. It’s not a slow process where we get to figure out how to live that new lifestyle, but it’s pretty quick.
Lex Fridman
(00:09:56)
In that world, can’t humans do what humans currently do with chess, play each other, have tournaments, even though AI systems are far superior this time in chess? So we just create artificial games, or for us they’re real. Like the Olympics and we do all kinds of different competitions and have fun. Maximize the fun and let the AI focus on the productivity.
Roman Yampolskiy
(00:10:24)
It’s an option. I have a paper where I try to solve the value alignment problem for multiple agents and the solution to avoid compromise is to give everyone a personal virtual universe. You can do whatever you want in that world. You could be king. You could be slave. You decide what happens. So it’s basically a glorified video game where you get to enjoy yourself and someone else takes care of your needs and the substrate alignment is the only thing we need to solve. We don’t have to get 8 billion humans to agree on anything.
Lex Fridman
(00:10:55)
Okay. So why is that not a likely outcome? Why can’t the AI systems create video games for us to lose ourselves in each with an individual video game universe?
Roman Yampolskiy
(00:11:08)
Some people say that’s what happened. We’re in a simulation.
Lex Fridman
(00:11:12)
We’re playing that video game and now we’re creating what… Maybe we’re creating artificial threats for ourselves to be scared about, because fear is really exciting. It allows us to play the video game more vigorously.
Roman Yampolskiy
(00:11:26)
Some people choose to play on a more difficult level with more constraints. Some say, okay, I’m just going to enjoy the game high privilege level. Absolutely.
Lex Fridman
(00:11:35)
Okay, what was that paper on multi-agent value alignment?
Roman Yampolskiy
(00:11:38)
Personal universes.
Lex Fridman
(00:11:43)
So that’s one of the possible outcomes, but what in general is the idea of the paper? So it’s looking at multiple agents. They’re human AI, like a hybrid system, whether it’s humans and AIs or is it looking at humans or just intelligent agents?
Roman Yampolskiy
(00:11:55)
In order to solve value alignment problem, I’m trying to formalize it a little better. Usually we’re talking about getting AIs to do what we want, which is not well-defined are we’re talking about creator of a system, owner of that AI, humanity as a whole, but we don’t agree on much. There is no universally accepted ethics, morals across cultures, religions. People have individually very different preferences politically and such. So even if we somehow managed all the other aspects of it, programming those fuzzy concepts in, getting AI to follow them closely, we don’t agree on what to program in.

(00:12:33)
So my solution was, okay, we don’t have to compromise on room temperature. You have your universe, I have mine, whatever you want, and if you like me, you can invite me to visit your universe. We don’t have to be independent, but the point is you can be, and virtual reality is getting pretty good. It’s going to hit a point where you can’t tell the difference, and if you can’t tell if it’s real or not, what’s the difference?
Lex Fridman
(00:12:55)
So basically give up on value alignment, create the multiverse theory. This is create an entire universe for you with your values.
Roman Yampolskiy
(00:13:04)
You still have to align with that individual. They have to be happy in that simulation, but it’s a much easier problem to align with one agent versus 8 billion agents plus animals, aliens.
Lex Fridman
(00:13:15)
So you convert the multi-agent problem into a single agent problem basically?
Roman Yampolskiy
(00:13:19)
I’m trying to do that. Yeah.
Lex Fridman
(00:13:24)
Okay. So okay, that’s giving up on the value alignment problem. Well, is there any way to solve the value alignment problem where there’s a bunch of humans, multiple humans, tens of humans or 8 billion humans that have very different set of values?
Roman Yampolskiy
(00:13:41)
It seems contradictory. I haven’t seen anyone explain what it means outside of words, which pack a lot, make it good, make it desirable, make it something they don’t regret. How do you specifically formalize those notions? How do you program them in? I haven’t seen anyone make progress on that so far.
Lex Fridman
(00:14:03)
Isn’t that the whole optimization journey that we’re doing as a human civilization? We’re looking at geopolitics. Nations are in a state of anarchy with each other. They start wars, there’s conflict, and oftentimes they have a very different views of what is good and what is evil. Isn’t that what we’re trying to figure out, just together trying to converge towards that? So we’re essentially trying to solve the value alignment problem with humans
Roman Yampolskiy
(00:14:32)
Fight, but the examples you gave, some of them are, for example, two different religions saying this is our holy site and we are not willing to compromise it in any way. If you can make two holy sites in virtual worlds, you solve the problem, but if you only have one, it’s not divisible. You’re stuck there.
Lex Fridman
(00:14:50)
What if we want to be at tension with each other, and through that tension, we understand ourselves and we understand the world. So that’s the intellectual journey we’re on as a human civilization, is we create intellectual and physical conflict and through that figure stuff out.
Roman Yampolskiy
(00:15:08)
If we go back to that idea of simulation, and this is entertainment giving meaning to us, the question is how much suffering is reasonable for a video game? So yeah, I don’t mind a video game where I get haptic feedback. There is a little bit of shaking. Maybe I’m a little scared. I don’t want a game where kids are tortured literally. That seems unethical, at least by our human standards.
Lex Fridman
(00:15:34)
Are you suggesting it’s possible to remove suffering if we’re looking at human civilization as an optimization problem?
Roman Yampolskiy
(00:15:40)
So we know there are some humans who, because of a mutation, don’t experience physical pain. So at least physical pain can be mutated out, re-engineered out. Suffering in terms of meaning, like you burn the only copy of my book, is a little harder. Even there, you can manipulate your hedonic set point, you can change defaults, you can reset. Problem with that is if you start messing with your reward channel, you start wireheading and end up blissing out a little too much.
Lex Fridman
(00:16:15)
Well, that’s the question. Would you really want to live in a world where there’s no suffering as a dark question? Is there some level of suffering that reminds us of what this is all for?
Roman Yampolskiy
(00:16:29)
I think we need that, but I would change the overall range. So right now it’s negative infinity to positive infinity pain-pleasure axis. I would make it like zero to positive infinity and being unhappy is like I’m close to zero.

Suffering risk

Lex Fridman
(00:16:44)
Okay, so what’s S-risk? What are the possible things that you’re imagining with S-risk? So mass suffering of humans, what are we talking about there caused by AGI?
Roman Yampolskiy
(00:16:54)
So there are many malevolent actors. We can talk about psychopaths, crazies, hackers, doomsday cults. We know from history they tried killing everyone. They tried on purpose to cause maximum amount of damage, terrorism. What if someone malevolent wants on-purpose to torture all humans as long as possible? You solve aging. So now you have functional immortality and you just try to be as creative as you can.
Lex Fridman
(00:17:23)
Do you think there is actually people in human history that try to literally maximize human suffering? In just studying people who have done evil in the world, it seems that they think that they’re doing good and it doesn’t seem like they’re trying to maximize suffering. They just cause a lot of suffering as a side effect of doing what they think is good.
Roman Yampolskiy
(00:17:47)
So there are different malevolent agents. Some may be just gaining personal benefit and sacrificing others to that cause. Others we know for effect trying to kill as many people as possible. When we look at recent school shootings, if they had more capable weapons, they would take out not dozens, but thousands, millions, billions.
Lex Fridman
(00:18:14)
Well, we don’t know that, but that is a terrifying possibility and we don’t want to find out. If terrorists had access to nuclear weapons, how far would they go? Is there a limit to what they’re willing to do? Your sense is there is some malevolent actors where there’s no limit?
Roman Yampolskiy
(00:18:36)
There is mental diseases where people don’t have empathy, don’t have this human quality of understanding suffering in others.
Lex Fridman
(00:18:50)
Then there’s also a set of beliefs where you think you’re doing good by killing a lot of humans.
Roman Yampolskiy
(00:18:57)
Again, I would like to assume that normal people never think like that. There’s always some sort of psychopaths, but yeah.
Lex Fridman
(00:19:03)
To you, AGI systems can carry that and be more competent at executing that.
Roman Yampolskiy
(00:19:11)
They can certainly be more creative. They can understand human biology better understand, understand our molecular structure, genome. Again, a lot of times torture ends, then individual dies. That limit can be removed as well.
Lex Fridman
(00:19:28)
So if we’re actually looking at X-Risk and S-Risk, as the systems get more and more intelligent, don’t you think it is possible to anticipate the ways they can do it and defend against it like we do with the cybersecurity will do security systems?
Roman Yampolskiy
(00:19:43)
Right. We can definitely keep up for a while. I’m saying you cannot do it indefinitely. At some point, the cognitive gap is too big. The surface you have to defend is infinite, but attackers only need to find one exploit.
Lex Fridman
(00:20:01)
So to you eventually this is we’re heading off a cliff?
Roman Yampolskiy
(00:20:05)
If we create general superintelligences, I don’t see a good outcome long-term for humanity. The only way to win this game is not to play it.

Timeline to AGI

Lex Fridman
(00:20:14)
Okay, we’ll talk about possible solutions and what not playing it means, but what are the possible timelines here to you? What are we talking about? We’re talking about a set of years, decades, centuries, what do you think?
Roman Yampolskiy
(00:20:27)
I don’t know for sure. The prediction markets right now are saying 2026 for AGI. I heard the same thing from CEO of Anthropic DeepMind. So maybe we’re two years away, which seems very soon given we don’t have a working safety mechanism in place or even a prototype for one. There are people trying to accelerate those timelines, because they feel we’re not getting there quick enough.
Lex Fridman
(00:20:51)
Well, what do you think they mean when they say AGI?
Roman Yampolskiy
(00:20:55)
So the definitions we used to have, and people are modifying them a little bit lately, artificial general intelligence was a system capable of performing in any domain a human could perform. So you’re creating this average artificial person. They can do cognitive labor, physical labor where you can get another human to do it. Superintelligence was defined as a system which is superior to all humans in all domains. Now people are starting to refer to AGI as if it’s superintelligence. I made a post recently where I argued, for me at least, if you average out over all the common human tasks, those systems are already smarter than an average human. So under that definition we have it. Shane Legg has this definition of where you’re trying to win in all domains. That’s what intelligence is. Now, are they smarter than elite individuals in certain domains? Of course not. They’re not there yet, but the progress is exponential.
Lex Fridman
(00:21:54)
See, I’m much more concerned about social engineering. So to me, AI’s ability to do something in the physical world, like the lowest hanging fruit, the easiest set of methods, is by just getting humans to do it. It’s going to be much harder to be the viruses to take over the minds of robots where the robots are executing the commands. It just seems like social engineering of humans is much more likely.
Roman Yampolskiy
(00:22:27)
That will be enough to bootstrap the whole process.
Lex Fridman
(00:22:31)
Just to linger on the term AGI, what to you is the difference between AGI and human level intelligence?
Roman Yampolskiy
(00:22:39)
Human level is general in the domain of expertise of humans. We know how to do human things. I don’t speak dog language. I should be able to pick it up if I’m a general intelligence. It’s an inferior animal. I should be able to learn that skill, but I can’t. A general intelligence, truly universal general intelligence, should be able to do things like that humans cannot do.
Lex Fridman
(00:23:00)
To be able to talk to animals, for example?
Roman Yampolskiy
(00:23:02)
To solve pattern recognition problems of that type to have similar things outside of our domain of expertise, because it’s just not the world we live in.
Lex Fridman
(00:23:15)
If we just look at the space of cognitive abilities we have, I just would love to understand what the limits are beyond which an AGI system can reach. What does that look like? What about actual mathematical thinking or scientific innovation, that kind of stuff.
Roman Yampolskiy
(00:23:37)
We know calculators are smarter than humans in that narrow domain of addition.
Lex Fridman
(00:23:43)
Is it humans plus tools versus AGI or just human, raw human intelligence? Because humans create tools and with the tools they become more intelligent, so there’s a gray area there, what it means to be human when we’re measuring their intelligence.
Roman Yampolskiy
(00:23:59)
So then I think about it, I usually think human with a paper and a pencil, not human with internet and another AI helping.
Lex Fridman
(00:24:07)
Is that a fair way to think about it? Because isn’t there another definition of human level intelligence that includes the tools that humans create?
Roman Yampolskiy
(00:24:14)
We create AI. So at any point you’ll still just add superintelligence to human capability. That seems like cheating.
Lex Fridman
(00:24:21)
No controllable tools. There is an implied leap that you’re making when AGI goes from tool to a entity that can make its own decisions. So if we define human level intelligence as everything a human can do with fully controllable tools.
Roman Yampolskiy
(00:24:41)
It seems like a hybrid of some kind. You’re now doing brain computer interfaces. You’re connecting it to maybe narrow AIs. Yeah, it definitely increases our capabilities.

AGI turing test

Lex Fridman
(00:24:51)
So what’s a good test to you that measures whether an artificial intelligence system has reached human level intelligence and what’s a good test where it has superseded human level intelligence to reach that land of AGI?
Roman Yampolskiy
(00:25:09)
I’m old-fashioned. I like Turing tests. I have a paper where I equate passing Turing tests to solving AI complete problems because you can encode any questions about any domain into the Turing test. You don’t have to talk about how was your day. You can ask anything. So the system has to be as smart as a human to pass it in a true sense.
Lex Fridman
(00:25:30)
Then you would extend that to maybe a very long conversation. I think the Alexa Prize was doing that. Basically, can you do a 20 minute, 30 minute conversation with an AI system?
Roman Yampolskiy
(00:25:42)
It has to be long enough to where you can make some meaningful decisions about capabilities, absolutely. You can brute force very short conversations.
Lex Fridman
(00:25:53)
So literally, what does that look like? Can we construct formally a test that tests for AGI?
Roman Yampolskiy
(00:26:04)
For AGI, it has to be there. I cannot give it a task I can give to a human and it cannot do it if a human can. For superintelligence, it would be superior on all such tasks, not just average performance. So go learn to drive car, go speak Chinese, play guitar. Okay, great.
Lex Fridman
(00:26:22)
I guess the follow up question, is there a test for the kind of AGI that would be susceptible to lead to S-risk or X-risk, susceptible to destroy human civilization? Is there a test for that?
Roman Yampolskiy
(00:26:40)
You can develop a test which will give you positives. If it lies to you or has those ideas, you cannot develop a test which rules them out. There is always possibility of what Bostrom calls a treacherous turn, where later on a system decides for game theoretic reasons, economic reasons to change its behavior, and we see the same with humans. It’s not unique to AI. For millennia, we try developing morals, ethics, religions, lie detector tests, and then employees betray the employers, spouses betray family. It’s a pretty standard thing intelligent agents sometimes do.
Lex Fridman
(00:27:19)
So is it possible to detect when a AI system is lying or deceiving you?
Roman Yampolskiy
(00:27:24)
If you know the truth and it tells you something false, you can detect that, but you cannot know in general every single time. Again, the system you’re testing today may not be lying. The system you’re testing today may know you are testing it, and so behaving. Later on, after it interacts with the environment, interacts with other systems, malevolent agents learns more, it may start doing those things.
Lex Fridman
(00:27:53)
So do you think it’s possible to develop a system where the creators of the system, the developers, the programmers don’t know that it’s deceiving them?
Roman Yampolskiy
(00:28:03)
So systems today don’t have long-term planning. That is not hard. They can lie today if it helps them optimize the reward. If they realize, okay, this human will be very happy if I tell them the following, they will do it if it brings them more points. They don’t have to keep track of it. It’s just the right answer to this problem every single time.
Lex Fridman
(00:28:30)
At which point is somebody creating that intentionally, not unintentionally, intentionally creating an AI system that’s doing long-term planning with an objective function that’s defined by the AI system, not by a human?
Roman Yampolskiy
(00:28:44)
Well, some people think that if they’re that smart, they’re always good. They really do believe that. It just benevolence from intelligence. So they’ll always want what’s best for us. Some people think that they will be able to detect problem behaviors and correct them at the time when we get there. I don’t think it’s a good idea. I am strongly against it, but yeah, there are quite a few people who in general are so optimistic about this technology, it could do no wrong. They want it developed as soon as possible, as capable as possible.
Lex Fridman
(00:29:19)
So there’s going to be people who believe the more intelligent it is, the more benevolent, and so therefore it should be the one that defines the objective function that it’s optimizing when it’s doing long-term planning?
Roman Yampolskiy
(00:29:31)
There are even people who say, “Okay, what’s so special about humans?” Remove the gender bias, removing race bias, why is this pro-human bias? We are polluting the planet. We are, as you said, fight a lot of wars, violent. Maybe it’s better if it’s super intelligent, perfect society comes and replaces us. It’s normal stage in the evolution of our species.
Lex Fridman
(00:29:57)
So somebody says, “Let’s develop an AI system that removes the violent humans from the world.” Then it turns out that all humans have violence in them or the capacity for violence and therefore all humans are removed. Yeah.

Yann LeCun and open source AI


(00:30:14)
Let me ask about Yann LeCun. He’s somebody who you’ve had a few exchanges with and he’s somebody who actively pushes back against this view that AI is going to lead to destruction of human civilization, also known as AI doomerism. So in one example that he tweeted, he said, “I do acknowledge risks, but,” two points, “One, open research and open source are the best ways to understand and mitigate the risks. Two, AI is not something that just happens. We build it. We have agency in what it becomes. Hence, we control the risks. We meaning humans. It’s not some sort of natural phenomena that we have no control over.” Can you make the case that he’s right and can you try to make the case that he’s wrong?
Roman Yampolskiy
(00:31:10)
I cannot make a case that he’s right. He is wrong in so many ways it’s difficult for me to remember all of them. He’s a Facebook buddy, so I have a lot of fun having those little debates with him. So I’m trying to remember their arguments. So one, he says, we are not gifted this intelligence from aliens. We are designing it. We are making decisions about it. That’s not true. It was true when we had expert systems, symbolic AI decision trees. Today, you set up parameters for a model and you water this plant. You give it data, you give it compute, and it grows. After it’s finished growing into this alien plant, you start testing it to find out what capabilities it has. It takes years to figure out, even for existing models. If it’s trained for six months, it’ll take you two, three years to figure out basic capabilities of that system. We still discover new capabilities in systems which are already out there. So that’s not the case.
Lex Fridman
(00:32:09)
So just to linger on that, so to you, the difference there is that there is some level of emergent intelligence that happens in our current approaches. So stuff that we don’t hard code in.
Roman Yampolskiy
(00:32:21)
Absolutely. That’s what makes it so successful. When we had to painstakingly hard code in everything, we didn’t have much progress. Now, just spend more money on more compute and it’s a lot more capable.
Lex Fridman
(00:32:35)
Then the question is when there is emergent intelligent phenomena, what is the ceiling of that? For you, there’s no ceiling. For Yann LeCun, I think there’s a ceiling that happens that we have full control over. Even if we don’t understand the internals of the emergence, how the emergence happens, there’s a sense that we have control and an understanding of the approximate ceiling of capability, the limits of the capability.
Roman Yampolskiy
(00:33:04)
Let’s say there is a ceiling. It’s not guaranteed to be at the level which is competitive with us. It may be greatly superior to ours.
Lex Fridman
(00:33:13)
So what about his statement about open research and open source are the best ways to understand and mitigate the risks?
Roman Yampolskiy
(00:33:21)
Historically, he’s completely right. Open source software is wonderful. It’s tested by the community, it’s debugged, but we’re switching from tools to agents. Now you’re giving open source weapons to psychopaths. Do we want to open source nuclear weapons, biological weapons? It’s not safe to give technology so powerful to those who may misalign it, even if you are successful at somehow getting it to work in the first place in a friendly manner.
Lex Fridman
(00:33:51)
The difference with nuclear weapons, current AI systems are not akin to nuclear weapons. So the idea there is you’re open sourcing it at this stage that you can understand it better. Large number of people can explore the…
Lex Fridman
(00:34:00)
Can understand it better. A large number of people can explore the limitation, the capabilities, explore the possible ways to keep it safe, to keep it secure, all that kind of stuff, while it’s not at the stage of nuclear weapons. So nuclear weapons, there’s no nuclear weapon and then there’s a nuclear weapon. With AI systems, there’s a gradual improvement of capability and you get to perform that improvement incrementally, and so open source allows you to study how things go wrong. I study the very process of emergence, study AI safety and those systems when there’s not high level of danger, all that kind of stuff.
Roman Yampolskiy
(00:34:38)
It also sets a very wrong precedent. So we open sourced model one, model two, model three. Nothing ever bad happened, so obviously we’re going to do it with model four. It’s just gradual improvement.
Lex Fridman
(00:34:50)
I don’t think it always works with the precedent. You’re not stuck doing it the way you always did. It sets a precedent of open research and open development such that we get to learn together and then the first time there’s a sign of danger, some dramatic thing happened, not a thing that destroys human civilization, but some dramatic demonstration of capability that can legitimately lead to a lot of damage, then everybody wakes up and says, “Okay, we need to regulate this. We need to come up with safety mechanism that stops this.” But at this time, maybe you can educate me, but I haven’t seen any illustration of significant damage done by intelligent AI systems.
Roman Yampolskiy
(00:35:34)
So I have a paper which collects accidents through history of AI and they always are proportionate to capabilities of that system. So if you have Tic-Tac-Toe playing AI, it will fail to properly play and loses the game, which it should draw trivial. Your spell checker will misspell word, so on. I stopped collecting those because there are just too many examples of AI’s failing at what they are capable of. We haven’t had terrible accidents in a sense of billion people got killed. Absolutely true. But in another paper I argue that those accidents do not actually prevent people from continuing with research and actually they kind of serve like vaccines. A vaccine makes your body a little bit sick so you can handle the big disease later, much better. It’s the same here. People will point out, “You know that AI accident we had where 12 people died,” everyone’s still here, 12 people is less than smoking kills. It’s not a big deal. So we continue. So in a way it will actually be confirming that it’s not that bad.
Lex Fridman
(00:36:42)
It matters how the deaths happen, whether it’s literally murdered by the AI system, then one is a problem, but if it’s accidents because of increased reliance on automation for example, so when airplanes are flying in an automated way, maybe the number of plane crashes increased by 17% or something, and then you’re like, “Okay, do we really want to rely on automation?” I think in a case of automation airplanes, it decreased significantly. Okay, same thing with autonomous vehicles. Okay, what are the pros and cons? What are the trade-offs here? And you can have that discussion in an honest way, but I think the kind of things we’re talking about here is mass scale pain and suffering caused by AI systems, and I think we need to see illustrations of that in a very small scale to start to understand that this is really damaging. Versus Clippy. Versus a tool that’s really useful to a lot of people to do learning to do summarization of text, to do question-answer, all that kind of stuff to generate videos. A tool. Fundamentally a tool versus an agent that can do a huge amount of damage.
Roman Yampolskiy
(00:38:03)
So you bring up example of cars.
Lex Fridman
(00:38:05)
Yes.
Roman Yampolskiy
(00:38:06)
Cars were slowly developed and integrated. If we had no cars and somebody came around and said, “I invented this thing, it’s called cars. It’s awesome. It kills 100,000 Americans every year. Let’s deploy it.” Would we deploy that?
Lex Fridman
(00:38:22)
There’d been fear-mongering about cars for a long time. The transition from horses to cars, there’s a really nice channel that I recommend people check out, Pessimist Archive that documents all the fear-mongering about technology that’s happened throughout history. There’s definitely been a lot of fear-mongering about cars. There’s a transition period there about cars, about how deadly they are. We can try. It took a very long time for cars to proliferate to the degree they have now. And then you could ask serious questions in terms of the miles traveled, the benefit to the economy, the benefit to the quality of life that cars do, versus the number of deaths; 30, 40,000 in the United States. Are we willing to pay that price? I think most people when they’re rationally thinking, policymakers will say, “Yes.” We want to decrease it from 40,000 to zero and do everything we can to decrease it. There’s all kinds of policies, incentives you can create to decrease the risks with the deployment of technology. But then you have to weigh the benefits and the risks of the technology and the same thing would be done with AI.
Roman Yampolskiy
(00:39:31)
You need data, you need to know. But if I’m right and it’s unpredictable, unexplainable, uncontrollable, you cannot make this decision. We’re gaining $10 trillion of wealth, but we’re we don’t know how many people. You basically have to perform an experiment on 8 billion humans without their consent. And even if they want to give you consent, they can’t because they cannot give informed consent. They don’t understand those things.
Lex Fridman
(00:39:58)
Right. That happens when you go from the predictable to the unpredictable very quickly. But it’s not obvious to me that AI systems would gain capabilities so quickly that you won’t be able to collect enough data to study the benefits and risks.
Roman Yampolskiy
(00:40:17)
We’re literally doing it. The previous model we learned about after we finished training it, what it was capable of. Let’s say we stopped GPT-4 training run around human capability, hypothetically. We start training GPT- 5 and I have no knowledge of insider training runs or anything and started that point of about human and we train it for the next nine months. Maybe two months in, it becomes super intelligent. We continue training it. At the time when we start testing it, it is already a dangerous system. How dangerous? I have no idea, but never people training it.
Lex Fridman
(00:40:53)
At the training stage, but then there’s a testing stage inside the company, they can start getting intuition about what the system is capable to do. You’re saying that somehow from leap from GPT-4 to GPT-5 can happen, the kind of leap where GPT-4 was controllable and GPT-5 is no longer controllable and we get no insights from using GPT-4 about the fact that GPT-5 will be uncontrollable. That’s the situation you’re concerned about. Where there leap from N, to N plus one will be such that an uncontrollable system is created without any ability for us to anticipate that.
Roman Yampolskiy
(00:41:39)
If we had capability of ahead of the run, before the training run to register exactly what capabilities that next model will have at the end of the training run, and we accurately guessed all of them, I would say you’re right, “We can definitely go ahead with this run.” We don’t have the capability.
Lex Fridman
(00:41:54)
From GPT-4, you can build up intuitions about what GPT-5 will be capable of. It’s just incremental progress. Even if that’s a big leap in capability, it just doesn’t seem like you can take a leap from a system that’s helping you write emails to a system that’s going to destroy human civilization. It seems like it’s always going to be sufficiently incremental such that we can anticipate the possible dangers, and we’re not even talking about existential risk, but just the kind of damage you can do to civilization. It seems like we’ll be able to anticipate the kinds, not the exact, but the kinds of risks it might lead to and then rapidly develop defenses ahead of time and as the risks emerge.
Roman Yampolskiy
(00:42:45)
We’re not talking just about capabilities specific tasks, we’re talking about general capability to learn. Maybe like a child. At the time of testing and deployment, it is still not extremely capable, but as it is exposed to more data real world, it can be trained to become much more dangerous and capable.

AI control

Lex Fridman
(00:43:06)
So let’s focus then on the control problem. At which point does the system become uncontrollable? Why is it the more likely trajectory for you that the system becomes uncontrollable?
Roman Yampolskiy
(00:43:20)
So, I think at some point it becomes capable of getting out of control. For game theoretic reasons, it may decide not to do anything right away and for a long time, just collect more resources, accumulate strategic advantage. Right away, it may be still young, weak super intelligence, give it a decade. It’s in charge of a lot more resources, it had time to make backups. So it’s not obvious to me that it will strike as soon as it can.
Lex Fridman
(00:43:48)
But can we just try to imagine this future where there’s an AI system that’s capable of escaping the control of humans, and then doesn’t and waits? What’s that look like? So one, we have to rely on that system for a lot of the infrastructure. So we’ll have to give it access not just to the internet, but to the task of managing power, government, economy, this kind of stuff. And that just feels like a gradual process given the bureaucracies of all those systems involved.
Roman Yampolskiy
(00:44:25)
We’ve been doing it for years. Software controls all those systems, nuclear power plants, airline industry, it’s all software based. Every time there is electrical outage, I can’t fly anywhere for days.
Lex Fridman
(00:44:36)
But there’s a difference between software and AI. So there’s different kinds of software. So to give a single AI system access to the control of airlines and the control of the economy, that’s not a trivial transition for humanity.
Roman Yampolskiy
(00:44:55)
No. But if it shows it is safer, in fact when it’s in control, we get better results, people will demand that it was put in place.
Lex Fridman
(00:45:02)
Absolutely.
Roman Yampolskiy
(00:45:02)
And if not, it can hack the system. It can use social engineering to get access to it. That’s why I said it might take some time for it to accumulate those resources.
Lex Fridman
(00:45:10)
It just feels like that would take a long time for either humans to trust it or for the social engineering to come into play. It’s not a thing that happens overnight. It feels like something that happens across one or two decades.
Roman Yampolskiy
(00:45:23)
I really hope you’re right, but it’s not what I’m seeing. People are very quick to jump on a latest trend. Early adopters will be there before it’s even deployed, buying prototypes.

Social engineering

Lex Fridman
(00:45:33)
Maybe the social engineering. For social engineering, AI systems don’t need any hardware access. It’s all software. So they can start manipulating you through social media, so on. You have AI assistants, they’re going to help you manage a lot of your day to day and then they start doing social engineering. But for a system that’s so capable that can escape the control of humans that created it, such a system being deployed at a mass scale and trusted by people to be deployed, it feels like that would take a lot of convincing.
Roman Yampolskiy
(00:46:13)
So, we’ve been deploying systems which had hidden capabilities.
Lex Fridman
(00:46:19)
Can you give an example?
Roman Yampolskiy
(00:46:19)
GPT-4. I don’t know what else it’s capable of, but there are still things we haven’t discovered, can do. They may be trivial, proportionate with capability. I don’t know it writes Chinese poetry, hypothetical, I know it does, but we haven’t tested for all possible capabilities and we are not explicitly designing them. We can only rule out bugs we find. We cannot rule out bugs and capabilities because we haven’t found them.
Lex Fridman
(00:46:51)
Is it possible for a system to have hidden capabilities that are orders of magnitude greater than its non- hidden capabilities? This is the thing I’m really struggling with. Where, on the surface, the thing we understand it can do doesn’t seem that harmful. So even if it has bugs, even if it has hidden capabilities like Chinese poetry or generating effective viruses, software viruses, the damage that can do seems like on the same order of magnitude as the capabilities that we know about. So this idea that the hidden capabilities will include being uncontrollable is something I’m struggling with because GPT-4 on the surface seems to be very controllable.
Roman Yampolskiy
(00:47:42)
Again, we can only ask and test for things we know about. There are unknown unknowns, we cannot do it. Thinking of humans, statistics savants, right? If you talk to a person like that, you may not even realize they can multiply 20 digit numbers in their head. You have to know to ask.

Fearmongering

Lex Fridman
(00:48:00)
So as I mentioned, just to linger on the fear of the unknown, so the Pessimist Archive has just documented, let’s look at data of the past at history, there’s been a lot of fear-mongering about technology. Pessimist Archive does a really good job of documenting how crazily afraid we are of every piece of technology. We’ve been afraid, there’s a blog post where Louis Anslow who created Pessimist Archive writes about the fact that we’ve been fear-mongering about robots and automation for over 100 years. So why is AGI different than the kinds of technologies we’ve been afraid of in the past?
Roman Yampolskiy
(00:48:43)
So two things; one with wishing from tools to agents. Tools don’t have negative or positive impact. People using tools do. So guns don’t kill, people with guns do. Agents can make their own decisions. They can be positive or negative. A pit bull can decide to harm you. It’s an agent. The fears are the same. The only difference is now we have this technology. Then they were afraid of human with robots 100 years ago, they had none. Today, every major company in the world is investing billions to create them. Not every, but you understand what I’m saying?
Lex Fridman
(00:49:21)
Yes.
Roman Yampolskiy
(00:49:22)
It’s very different.
Lex Fridman
(00:49:23)
Well, agents, it depends on what you mean by the word, “Agents.” All those companies are not investing in a system that has the kind of agency that’s implied by in the fears, where it can really make decisions on their own, that have no human in the loop.
Roman Yampolskiy
(00:49:42)
They are saying they’re building super intelligence and have a Super Alignment Team. You don’t think they’re trying to create a system smart enough to be an independent agent? Under that definition?
Lex Fridman
(00:49:52)
I have not seen evidence of it. I think a lot of it is a marketing kind of discussion about the future and it’s a mission about the kind of systems we can create in the long term future. But in the short term, the kind of systems they’re creating falls fully within the definition of narrow AI. These are tools that have increasing capabilities, but they just don’t have a sense of agency, or consciousness, or self-awareness or ability to deceive at scales that would be required to do mass scale suffering and murder of humans.
Roman Yampolskiy
(00:50:32)
Those systems are well beyond narrow AI. If you had to list all the capabilities of GPT-4, you would spend a lot of time writing that list.
Lex Fridman
(00:50:40)
But agency is not one of them.
Roman Yampolskiy
(00:50:41)
Not yet. But do you think any of those companies are holding back because they think it may be not safe? Or are they developing the most capable system they can given the resources and hoping they can control and monetize?
Lex Fridman
(00:50:56)
Control and monetize. Hoping they can control and monetize. So you’re saying if they could press a button, and create an agent that they no longer control, that they have to ask nicely, a thing that lives on a server, across huge number of computers, you’re saying that they would push for the creation of that kind of system?
Roman Yampolskiy
(00:51:21)
I mean, I can’t speak for other people, for all of them. I think some of them are very ambitious. They’re fundraising trillions, they talk about controlling the light corner of the universe. I would guess that they might.
Lex Fridman
(00:51:36)
Well, that’s a human question, whether humans are capable of that. Probably, some humans are capable of that. My more direct question, if it’s possible to create such a system, have a system that has that level of agency. I don’t think that’s an easy technical challenge. It doesn’t feel like we’re close to that. A system that has the kind of agency where it can make its own decisions and deceive everybody about them. The current architecture we have in machine learning and how we train the systems, how to deploy the systems and all that, it just doesn’t seem to support that kind of agency.
Roman Yampolskiy
(00:52:14)
I really hope you are right. I think the scaling hypothesis is correct. We haven’t seen diminishing returns. It used to be we asked how long before AGI, now we should ask how much until AGI, it’s $1 trillion today it’s $1 billion next year, it’s $1 million in a few years.
Lex Fridman
(00:52:33)
Don’t you think it’s possible to basically run out of trillions? So is this constrained by compute?
Roman Yampolskiy
(00:52:41)
Compute gets cheaper every day, exponentially.
Lex Fridman
(00:52:43)
But then it becomes a question of decades versus years.
Roman Yampolskiy
(00:52:47)
If the only disagreement is that it will take decades, not years for everything I’m saying to materialize, then I can go with that.
Lex Fridman
(00:52:57)
But if it takes decades, then the development of tools for AI safety then becomes more and more realistic. So I guess the question is, I have a fundamental belief that humans when faced with danger, can come up with ways to defend against that danger. And one of the big problems facing AI safety currently, for me, is that there’s not clear illustrations of what that danger looks like. There’s no illustrations of AI systems doing a lot of damage, and so it’s unclear what you’re defending against. Because currently it’s a philosophical notions that, yes, it’s possible to imagine AI systems that take control of everything and then destroy all humans. It’s also a more formal mathematical notion that you talk about that it’s impossible to have a perfectly secure system. You can’t prove that a program of sufficient complexity is completely safe, and perfect and know everything about it, yes, but when you actually just pragmatically look how much damage have the AI systems done and what kind of damage, there’s not been illustrations of that.

(00:54:10)
Even in the autonomous weapon systems, there’s not been mass deployments of autonomous weapon systems, luckily. The automation in war currently is very limited, that the automation is at the scale of individuals versus at the scale of strategy and planning. I think one of the challenges here is where is the dangers and the intuition the [inaudible 00:54:40] and others have is, let’s keep in the open building AI systems until the dangers start rearing their heads and they become more explicit, they start being case studies, illustrative case studies that show exactly how the damage by AD systems is done, then regulation can step in. Then brilliant engineers can step up, and we can have Manhattan style projects that defend against such systems. That’s kind of the notion. And I guess, a tension with that is the idea that for you, we need to be thinking about that now, so that we’re ready, because we’ll have not much time once the systems are deployed. Is that true?
Roman Yampolskiy
(00:55:26)
So, there is a lot to unpack here. There is a partnership on AI, a conglomerate of many large corporations. They have a database of AI accidents they collect. I contributed a lot to that database. If we so far made almost no progress in actually solving this problem, not patching it, not again, lipstick on a pig kind of solutions, why would we think we’ll do better when we’re closer to the problem?
Lex Fridman
(00:55:53)
All the things you mentioned are serious concerns measuring the amount of harm. So benefit versus risk there is difficult. But to you, the sense is already the risk has superseded the benefit?
Roman Yampolskiy
(00:56:02)
Again, I want to be perfectly clear, I love AI, I love technology. I’m a computer scientist. I have PhD in engineering. I work at an engineering school. There is a huge difference between we need to develop mar AI systems, super intelligent in solving specific human problems like protein folding and let’s create super intelligent machine guards that will decide what to do with us. Those are not the same. I am against the super intelligence in general sense with no undue burden.
Lex Fridman
(00:56:35)
So do you think the teams that are able to do the AI safety on the kind of narrow AI risks that you’ve mentioned, are those approaches going to be at all productive towards leading to approaches of doing AI safety on AGI? Or is it just a fundamentally different part?
Roman Yampolskiy
(00:56:54)
Partially, but we don’t scale for narrow AI for deterministic systems. You can test them, you have edge cases. You know what the answer should look like, the right answers. For general systems, you have infinite test surface, you have no edge cases. You cannot even know what to test for. Again, the unknown unknowns are underappreciated by people looking at this problem. You are always asking me, “How will it kill everyone? How will it will fail?” The whole point is if I knew it, I would be super intelligent and despite what you might think, I’m not.
Lex Fridman
(00:57:29)
So to you, the concern is that we would not be able to see early signs of an uncontrollable system.
Roman Yampolskiy
(00:57:39)
It is a master at deception. Sam tweeted about how great it is at persuasion and we see it ourselves, especially now with voices with maybe kind of flirty, sarcastic female voices. It’s going to be very good at getting people to do things.

AI deception

Lex Fridman
(00:57:55)
But see, I’m very concerned about system being used to control the masses. But in that case, the developers know about the kind of control that’s happening. You’re more concerned about the next stage where even the developers don’t know about the deception.
Roman Yampolskiy
(00:58:18)
Correct. I don’t think developers know everything about what they are creating. They have lots of great knowledge, we’re making progress on explaining parts of a network. We can understand, “Okay, this note get excited, then this input is presented, this cluster of notes.” But we’re nowhere near close to understanding the full picture, and I think it’s impossible. You need to be able to survey an explanation. The size of those models prevents a single human from absorbing all this information, even if provided by the system. So either we’re getting model as an explanation for what’s happening and that’s not comprehensible to us or we’re getting compressed explanation, [inaudible 00:59:01] compression, where here, “Top 10 reasons you got fired.” It’s something, but it’s not a full picture.
Lex Fridman
(00:59:07)
You’ve given elsewhere an example of a child and everybody, all humans try to deceive, they try to lie early on in their life. I think we’ll just get a lot of examples of deceptions from large language models or AI systems. They’re going to be kind of shady, or they’ll be pretty good, but we’ll catch them off guard. We’ll start to see the kind of momentum towards developing increasing deception capabilities and that’s when you’re like, “Okay, we need to do some kind of alignment that prevents deception.” But, if you support open source, then you can have open source models that have some level of deception you can start to explore on a large scale, how do we stop it from being deceptive? Then there’s a more explicit, pragmatic kind of problem to solve. How do we stop AI systems from trying to optimize for deception? That’s an example.
Roman Yampolskiy
(01:00:05)
So there is a paper, I think it came out last week by Dr Park et al, from MIT I think, and they showed that models already showed successful deception in what they do. My concern is not that they lie now, and we need to catch them and tell them, “Don’t lie.” My concern is that once they are capable and deployed, they will later change their mind. Because what unrestricted learning allows you to do. Lots of people grow up maybe in the religious family, they read some new books and they turn in their religion. That’s a treacherous turn in humans. If you learn something new about your colleagues, maybe you’ll change how you react to that.
Lex Fridman
(01:00:53)
Yeah, the treacherous turn. If we just mention humans, Stalin and Hitler, there’s a turn. Stalin’s a good example. He just seems like a normal communist follower of Lenin until there’s a turn. There’s a turn of what that means in terms of when he has complete control, what the execution of that policy means and how many people get to suffer.
Roman Yampolskiy
(01:01:17)
And you can’t say they are not rational. The rational decision changes based on your position. When you are under the boss, the rational policy may be to be following orders and being honest. When you become a boss, rational policy may shift.
Lex Fridman
(01:01:34)
Yeah, and by the way, a lot of my disagreements here is just playing Devil’s Advocate to challenge your ideas and to explore them together. So one of the big problems here in this whole conversation is human civilization hangs in the balance and yet everything’s unpredictable. We don’t know how these systems will look like-
Roman Yampolskiy
(01:01:58)
The robots are coming.
Lex Fridman
(01:02:00)
There’s a refrigerator making a buzzing noise.
Roman Yampolskiy
(01:02:03)
Very menacing. Very menacing. So every time I’m about to talk about this topic, things start to happen. My flight yesterday was canceled without possibility to re-book. I was giving a talk at Google in Israel and three cars, which were supposed to take me to the talk could not. I’m just saying.
Lex Fridman
(01:02:24)
I mean
Roman Yampolskiy
(01:02:27)
I like AI’s. I, for one welcome our overlords.
Lex Fridman
(01:02:31)
There’s a degree to which we… I mean it is very obvious as we already have, we’ve increasingly given our life over to software systems. And then it seems obvious given the capabilities of AI that are coming, that we’ll give our lives over increasingly to AI systems. Cars will drive themselves, refrigerator eventually will optimize what I get to eat. And, as more and more out of our lives are controlled or managed by AI assistants, it is very possible that there’s a drift. I mean, I personally am concerned about non-existential stuff, the more near term things. Because before we even get to existential, I feel like there could be just so many brave new world type of situations. You mentioned the term, “Behavioral drift.” It’s the slow boiling that I’m really concerned about as we give our lives over to automation, that our minds can become controlled by governments, by companies, or just in a distributed way. There’s a drift. Some aspect of our human nature gives ourselves over to the control of AI systems and they, in an unintended way just control how we think. Maybe there’ll be a herd-like mentality in how we think, which will kill all creativity and exploration of ideas, the diversity of ideas, or much worse. So it’s true, it’s true.

Verification


(01:04:03)
But a lot of the conversation I’m having with you now is also kind of wondering almost at a technical level, how can AI escape control? What would that system look like? Because it, to me, is terrifying and fascinating. And also fascinating to me is maybe the optimistic notion it’s possible to engineer systems that defend against that. One of the things you write a lot about in your book is verifiers. So, not humans. Humans are also verifiers. But software systems that look at AI systems, and help you understand, “This thing is getting real weird.” Help you analyze those systems. So maybe this is a good time to talk about verification. What is this beautiful notion of verification?
Roman Yampolskiy
(01:05:01)
My claim is, again, that there are very strong limits in what we can and cannot verify. A lot of times when you post something on social media, people go, “Oh, I need citation to a peer reviewed article.” But what is a peer reviewed article? You found two people in a world of hundreds of thousands of scientists who said, “Ah, whatever, publish it. I don’t care.” That’s the verifier of that process. When people say, “Oh, it’s formally verified software or mathematical proof,” we accept something close to 100% chance of it being free of all problems. But you actually look at research, software is full of bugs, old mathematical theorems, which have been proven for hundreds of years have been discovered to contain bugs, on top of which we generate new proofs and now we have to redo all that.

(01:05:50)
So, verifiers are not perfect. Usually, they are either a single human or communities of humans and it’s basically kind of like a democratic vote. Community of mathematicians agrees that this proof is correct, mostly correct. Even today, we’re starting to see some mathematical proofs as so complex, so large that mathematical community is unable to make a decision. It looks interesting, it looks promising, but they don’t know. They will need years for top scholars to study to figure it out. So of course, we can use AI to help us with this process, but AI is a piece of software which needs to be verified.
Lex Fridman
(01:06:27)
Just to clarify, so verification is the process of something is correct, it is the formal, and mathematical proof, where’s a statement, and a series of logical statements that prove that statement to be correct, which is a theorem. And you’re saying it gets so complex that it’s possible for the human verifiers, the human beings that verify that the logical step, there’s no bugs in it becomes impossible. So, it’s nice to talk about verification in this most formal, most clear, most rigorous formulation of it, which is mathematical proofs.
Roman Yampolskiy
(01:07:05)
Right. And for AI we would like to have that level of confidence for very important mission-critical software controlling satellites, nuclear power plants. For small, deterministic programs We can do this, we can check that code verifies its mapping to the design. Whatever software engineers intended, was correctly implemented. But we don’t know how to do this for software which keeps learning, self-modifying, rewriting its own code. We don’t know how to prove things about the physical world, states of humans in the physical world. So there are papers coming out now and I have this beautiful one, “Towards Guaranteed Safe AI.” Very cool papers, some of the best [inaudible 01:07:54] I ever seen. I think there is multiple Turing Award winners that is quite… You can have this one and one just came out kind of similar, “Managing Extreme-“
Roman Yampolskiy
(01:08:00)
… one just came out kind of similar, managing extremely high risks. So, all of them expect this level of proof, but I would say that we can get more confidence with more resources we put into it. But at the end of the day, we’re still as reliable as the verifiers. And you have this infinite regress of verifiers. The software used to verify a program is itself a piece of program.

(01:08:27)
If aliens give us well-aligned super intelligence, we can use that to create our own safe AI. But it’s a catch-22. You need to have already proven to be safe system to verify this new system of equal or greater complexity.
Lex Fridman
(01:08:43)
You just mentioned this paper, Towards Guaranteed Safe AI: A Framework for Ensuring Robust and Reliable AI Systems. Like you mentioned, it’s like a who’s who. Josh Tenenbaum, Yoshua Bengio, Stuart Russell, Max Tegmark, and many other brilliant people. The page you have it open on, “There are many possible strategies for creating safety specifications. These strategies can roughly be placed on a spectrum, depending on how much safety it would grant if successfully implemented. One way to do this is as follows,” and there’s a set of levels. From Level 0, “No safety specification is used,” to Level 7, “The safety specification completely encodes all things that humans might want in all contexts.” Where does this paper fall short to you?
Roman Yampolskiy
(01:09:25)
So, when I wrote a paper, Artificial Intelligence Safety Engineering, which kind of coins the term AI safety, that was 2011. We had 2012 conference, 2013 journal paper. One of the things I proposed, let’s just do formal verifications on it. Let’s do mathematical formal proofs. In the follow-up work, I basically realized it will still not get us a hundred percent. We can get 99.9, we can put more resources exponentially and get closer, but we never get to a hundred percent.

(01:09:56)
If a system makes a billion decisions a second, and you use it for a hundred years, you’re still going to deal with a problem. This is wonderful research. I’m so happy they’re doing it. This is great, but it is not going to be a permanent solution to that problem.
Lex Fridman
(01:10:12)
Just to clarify, the task of creating an AI verifier is what? Is creating a verifier that the AI system does exactly as it says it does, or it sticks within the guardrails that it says it must?
Roman Yampolskiy
(01:10:26)
There are many, many levels. So, first you’re verifying the hardware in which it is run. You need to verify communication channel with the human. Every aspect of that whole world model needs to be verified. Somehow, it needs to map the world into the world model, map and territory differences. How do I know internal states of humans? Are you happy or sad? I can’t tell. So, how do I make proofs about real physical world? Yeah, I can verify that deterministic algorithm follows certain properties, that can be done. Some people argue that maybe just maybe two plus two is not four. I’m not that extreme. But once you have sufficiently large proof over sufficiently complex environment, the probability that it has zero bugs in it is greatly reduced. If you keep deploying this a lot, eventually you’re going to have a bug anyways.
Lex Fridman
(01:11:20)
There’s always a bug.
Roman Yampolskiy
(01:11:22)
There is always a bug. And the fundamental difference is what I mentioned. We’re not dealing with cybersecurity. We’re not going to get a new credit card, new humanity.

Self-improving AI

Lex Fridman
(01:11:29)
So, this paper is really interesting. You said 2011, Artificial Intelligence, Safety Engineering. Why Machine Ethics is a Wrong Approach. The grand challenge you write of AI safety engineering, “We propose the problem of developing safety mechanisms for self-improving systems.” Self-improving systems. By the way, that’s an interesting term for the thing that we’re talking about. Is self-improving more general than learning? Self-improving, that’s an interesting term.
Roman Yampolskiy
(01:12:06)
You can improve the rate at which you are learning, you can become more efficient, meta-optimizer.
Lex Fridman
(01:12:12)
The word self, it’s like self replicating, self improving. You can imagine a system building its own world on a scale and in a way that is way different than the current systems do. It feels like the current systems are not self-improving or self-replicating or self-growing or self-spreading, all that kind of stuff.

(01:12:35)
And once you take that leap, that’s when a lot of the challenges seems to happen because the kind of bugs you can find now seems more akin to the current normal software debugging kind of process. But whenever you can do self-replication and arbitrary self-improvement, that’s when a bug can become a real problem, real fast. So, what is the difference to you between verification of a non-self-improving system versus a verification of a self-improving system?
Roman Yampolskiy
(01:13:13)
So, if you have fixed code for example, you can verify that code, static verification at the time, but if it will continue modifying it, you have a much harder time guaranteeing that important properties of that system have not been modified than the code changed.
Lex Fridman
(01:13:31)
Is it even doable?
Roman Yampolskiy
(01:13:32)
No.
Lex Fridman
(01:13:33)
Does the whole process of verification just completely fall apart?
Roman Yampolskiy
(01:13:36)
It can always cheat. It can store parts of its code outside in the environment. It can have extended mind situations. So, this is exactly the type of problems I’m trying to bring up.
Lex Fridman
(01:13:48)
What are the classes of verifiers that you read about in the book? Is there interesting ones that stand out to you? Do you have some favorites?
Roman Yampolskiy
(01:13:55)
I like Oracle types where you just know that it’s right. Turing likes Oracle machines. They know the right answer. How? Who knows? But they pull it out from somewhere, so you have to trust them. And that’s a concern I have about humans in a world with very smart machines. We experiment with them. We see after a while, okay, they’ve always been right before, and we start trusting them without any verification of what they’re saying.
Lex Fridman
(01:14:22)
Oh, I see. That we kind of build Oracle verifiers or rather we build verifiers we believe to be Oracles and then we start to, without any proof, use them as if they’re Oracle verifiers.
Roman Yampolskiy
(01:14:36)
We remove ourselves from that process. We’re not scientists who understand the world. We are humans who get new data presented to us.
Lex Fridman
(01:14:45)
Okay, one really cool class of verifiers is a self verifier. Is it possible that you somehow engineer into AI system, the thing that constantly verifies itself
Roman Yampolskiy
(01:14:57)
Preserved portion of it can be done, but in terms of mathematical verification, it’s kind of useless. You saying you are the greatest guy in the world because you are saying it, it’s circular and not very helpful, but it’s consistent. We know that within that world, you have verified that system. In a paper, I try to brute force all possible verifiers. It doesn’t mean that this one particularly important to us.
Lex Fridman
(01:15:21)
But what about self-doubt? The kind of verification where you said, you say, or I say I’m the greatest guy in the world. What about a thing which I actually have is a voice that is constantly extremely critical. So, engineer into the system a constant uncertainty about self, a constant doubt.
Roman Yampolskiy
(01:15:45)
Any smart system would have doubt about everything. You not sure if what information you are given is true. If you are subject to manipulation, you have this safety and security mindset.
Lex Fridman
(01:15:58)
But I mean, you have doubt about yourself. The AI systems that has a doubt about whether the thing is doing is causing harm is the right thing to be doing. So, just a constant doubt about what it’s doing because it’s hard to be a dictator full of doubt.
Roman Yampolskiy
(01:16:18)
I may be wrong, but I think Stuart Russell’s ideas are all about machines which are uncertain about what humans want and trying to learn better and better what we want. The problem of course is we don’t know what we want and we don’t agree on it.
Lex Fridman
(01:16:33)
Yeah, but uncertainty. His idea is that having that self-doubt uncertainty in AI systems, engineering into AI systems, is one way to solve the control problem.
Roman Yampolskiy
(01:16:43)
It could also backfire. Maybe you’re uncertain about completing your mission. Like I am paranoid about your cameras not recording right now. So, I would feel much better if you had a secondary camera, but I also would feel even better if you had a third and eventually I would turn this whole world into cameras pointing at us, making sure we’re capturing this.
Lex Fridman
(01:17:04)
No, but wouldn’t you have a meta concern like that you just stated, that eventually there’d be way too many cameras? So, you would be able to keep zooming on the big picture of your concerns.
Roman Yampolskiy
(01:17:21)
So, it’s a multi-objective optimization. It depends, how much I value capturing this versus not destroying the universe.
Lex Fridman
(01:17:29)
Right, exactly. And then you will also ask about, “What does it mean to destroy the universe? And how many universes are?” And you keep asking that question, but that doubting yourself would prevent you from destroying the universe because you’re constantly full of doubt. It might affect your productivity.
Roman Yampolskiy
(01:17:46)
You might be scared to do anything.
Lex Fridman
(01:17:48)
Just scared to do anything.
Roman Yampolskiy
(01:17:49)
Mess things up.
Lex Fridman
(01:17:50)
Well, that’s better. I mean, I guess the question, is it possible to engineer that in? I guess your answer would be yes, but we don’t know how to do that and we need to invest a lot of effort into figuring out how to do that, but it’s unlikely. Underpinning a lot of your writing is this sense that we’re screwed, but it just feels like it’s an engineering problem. I don’t understand why we’re screwed. Time and time again, humanity has gotten itself into trouble and figured out a way to get out of the trouble.
Roman Yampolskiy
(01:18:24)
We are in a situation where people making more capable systems just need more resources. They don’t need to invent anything, in my opinion. Some will disagree, but so far at least I don’t see diminishing returns. If you have 10X compute, you will get better performance. The same doesn’t apply to safety. If you give MIRI or any other organization 10 times the money, they don’t output 10 times the safety. And the gap between capabilities and safety becomes bigger and bigger all the time.

(01:18:56)
So, it’s hard to be completely optimistic about our results here. I can name 10 excellent breakthrough papers in machine learning. I would struggle to name equally important breakthroughs in safety. A lot of times a safety paper will propose a toy solution and point out 10 new problems discovered as a result. It’s like this fractal. You’re zooming in and you see more problems and it’s infinite in all directions.
Lex Fridman
(01:19:24)
Does this apply to other technologies or is this unique to AI, where safety is always lagging behind?
Roman Yampolskiy
(01:19:33)
I guess we can look at related technologies with cybersecurity, right? We did manage to have banks and casinos and Bitcoin, so you can have secure narrow systems which are doing okay. Narrow attacks on them fail, but you can always go outside of a box. So, if I can hack your Bitcoin, I can hack you. So there is always something, if I really want it, I will find a different way.

(01:20:01)
We talk about guardrails for AI. Well, that’s a fence. I can dig a tunnel under it, I can jump over it, I can climb it, I can walk around it. You may have a very nice guardrail, but in a real world it’s not a permanent guarantee of safety. And again, this is a fundamental difference. We are not saying we need to be 90% safe to get those trillions of dollars of benefit. We need to be a hundred percent indefinitely or we might lose the principle.
Lex Fridman
(01:20:30)
So, if you look at just humanity as a set of machines, is the machinery of AI safety conflicting with the machinery of capitalism.
Roman Yampolskiy
(01:20:44)
I think we can generalize it to just prisoners’ dilemma in general. Personal self-interest versus group interest. The incentives are such that everyone wants what’s best for them. Capitalism obviously has that tendency to maximize your personal gain, which does create this race to the bottom. I don’t have to be a lot better than you, but if I’m 1% better than you, I’ll capture more of the profits, so it’s worth for me personally to take the risk even if society as a whole will suffer as a result.
Lex Fridman
(01:21:25)
But capitalism has created a lot of good in this world. It’s not clear to me that AI safety is not aligned with the function of capitalism, unless AI safety is so difficult that it requires the complete halt of the development, which is also a possibility. It just feels like building safe systems should be the desirable thing to do for tech companies.
Roman Yampolskiy
(01:21:54)
Right. Look at governance structures. When you have someone with complete power, they’re extremely dangerous. So, the solution we came up with is break it up. You have judicial, legislative, executive. Same here, have narrow AI systems, work on important problems. Solve immortality. It’s a biological problem we can solve similar to how progress was made with protein folding, using a system which doesn’t also play chess. There is no reason to create super intelligent system to get most of the benefits we want from much safer narrow systems.
Lex Fridman
(01:22:33)
It really is a question to me whether companies are interested in creating anything but narrow AI. I think when term AGI is used by tech companies, they mean narrow AI. They mean narrow AI with amazing capabilities. I do think that there’s a leap between narrow AI with amazing capabilities, with superhuman capabilities and the kind of self-motivated agent-like AGI system that we’re talking about. I don’t know if it’s obvious to me that a company would want to take the leap to creating an AGI that it would lose control of because then you can’t capture the value from that system.
Roman Yampolskiy
(01:23:23)
The bragging rights, but being-
Lex Fridman
(01:23:25)
That’s a different-
Roman Yampolskiy
(01:23:26)
… first, that is the same humans who are in charge of those systems.
Lex Fridman
(01:23:29)
That’s a human thing. That’s so that jumps from the incentives of capitalism to human nature. And so the question is whether human nature will override the interest of the company. So, you’ve mentioned slowing or halting progress. Is that one possible solution? Are you proponent of pausing development of AI, whether it’s for six months or completely?

Pausing AI development

Roman Yampolskiy
(01:23:54)
The condition would be not time, but capabilities. Pause until you can do X, Y, Z. And if I’m right and you cannot, it’s impossible, then it becomes a permanent ban. But if you’re right, and it’s possible, so as soon as you have those safety capabilities, go ahead.
Lex Fridman
(01:24:12)
Right. Is there any actual explicit capabilities that you can put on paper, that we as a human civilization could put on paper? Is it possible to make it explicit like that versus kind of a vague notion of just like you said, it’s very vague. We want AI systems to do good and want them to be safe. Those are very vague notions. Is there more formal notions?
Roman Yampolskiy
(01:24:38)
So, when I think about this problem, I think about having a toolbox I would need. Capabilities such as explaining everything about that system’s design and workings, predicting not just terminal goal, but all the intermediate steps of a system. Control in terms of either direct control, some sort of a hybrid option, ideal advisor. It doesn’t matter which one you pick, but you have to be able to achieve it. In a book we talk about others, verification is another very important tool. Communication without ambiguity, human language is ambiguous. That’s another source of danger.

(01:25:21)
So, basically there is a paper we published in ACM surveys, which looks at about 50 different impossibility results, which may or may not be relevant to this problem, but we don’t have enough human resources to investigate all of them for relevance to AI safety. The ones I mentioned to you, I definitely think would be handy, and that’s what we see AI safety researchers working on. Explainability is a huge one.

(01:25:47)
The problem is that it’s very hard to separate capabilities work from safety work. If you make good progress in explainability, now the system itself can engage in self-improvement much easier, increasing capability greatly. So, it’s not obvious that there is any research which is pure safety work without disproportionate increasing capability and danger.
Lex Fridman
(01:26:13)
Explainability is really interesting. Why is that connected to you to capability? If it’s able to explain itself well, why does that naturally mean that it’s more capable?
Roman Yampolskiy
(01:26:21)
Right now, it’s comprised of weights and a neural network. If it can convert it to manipulatable code, like software, it’s a lot easier to work in self-improvement.
Lex Fridman
(01:26:32)
I see. So, it increases-
Roman Yampolskiy
(01:26:34)
You can do intelligent design instead of evolutionary, gradual descent.
Lex Fridman
(01:26:39)
Well, you could probably do human feedback, human alignment more effectively if it’s able to be explainable. If it’s able to convert the weights into human understandable form, then you could probably have humans interact with it better. Do you think there’s hope that we can make AI systems explainable?
Roman Yampolskiy
(01:26:56)
Not completely. So, if they are sufficiently large, you simply don’t have the capacity to comprehend what all the trillions of connections represent. Again, you can obviously get a very useful explanation which talks about the top most important features which contribute to the decision, but the only true explanation is the model itself.
Lex Fridman
(01:27:23)
Deception could be part of the explanation, right? So you can never prove that there’s some deception in the networks explaining itself.
Roman Yampolskiy
(01:27:32)
Absolutely. And you can probably have targeted deception where different individuals will understand explanation in different ways based on their cognitive capability. So, while what you’re saying may the same and true in some situations, ours will be deceived by it.
Lex Fridman
(01:27:48)
So, it’s impossible for an AI system to be truly fully explainable in the way that we mean honestly and [inaudible 01:27:57]-
Roman Yampolskiy
(01:27:57)
Again, at the extreme. The systems which are narrow and less complex could be understood pretty well.
Lex Fridman
(01:28:03)
If it’s impossible to be perfectly explainable, is there a hopeful perspective on that? It’s impossible to be perfectly explainable, but you can explain most of the important stuff? You can ask a system, “What are the worst ways you can hurt humans?” And it’ll answer honestly.
Roman Yampolskiy
(01:28:20)
Any work in a safety direction right now seems like a good idea because we are not slowing down. I’m not for a second thinking that my message or anyone else’s will be heard and will be a sane civilization, which decides not to kill itself by creating its own replacements.
Lex Fridman
(01:28:42)
The pausing of development is an impossible thing for you.
Roman Yampolskiy
(01:28:45)
Again, it’s always limited by either geographic constraints, pause in US, pause in China. So, there are other jurisdictions as the scale of a project becomes smaller. So, right now it’s like Manhattan Project scale in terms of costs and people. But if five years from now, compute is available on a desktop to do it, regulation will not help. You can’t control it as easy. Any kid in the garage can train a model. So, a lot of it is, in my opinion, just safety theater, security theater where we saying, “Oh, it’s illegal to train models so big.” Okay.
Lex Fridman
(01:29:24)
So okay, that’s security theater and is government regulation also security theater?
Roman Yampolskiy
(01:29:31)
Given that a lot of the terms are not well-defined and really cannot be enforced in real life. We don’t have ways to monitor training runs meaningfully life while they take place. There are limits to testing for capabilities I mentioned, so a lot of it cannot be enforced. Do I strongly support all that regulation? Yes, of course. Any type of red tape will slow it down and take money away from compute towards lawyers.

AI Safety

Lex Fridman
(01:29:57)
Can you help me understand, what is the hopeful path here for you solution wise out of this? It sounds like you’re saying AI systems in the end are unverifiable, unpredictable. As the book says, unexplainable, uncontrollable.
Roman Yampolskiy
(01:30:18)
That’s the big one.
Lex Fridman
(01:30:19)
Uncontrollable, and all the other uns just make it difficult to avoid getting to the uncontrollable, I guess. But once it’s uncontrollable, then it just goes wild. Surely there are solutions. Humans are pretty smart. What are possible solutions? If you are a dictator of the world, what do we do?
Roman Yampolskiy
(01:30:40)
The smart thing is not to build something you cannot control, you cannot understand. Build what you can and benefit from it. I’m a big believer in personal self-interest. A lot of guys running those companies are young, rich people. What do they have to gain beyond billions they already have financially, right? It’s not a requirement that they press that button. They can easily wait a long time. They can just choose not to do it and still have amazing life. In history, a lot of times if you did something really bad, at least you became part of history books. There is a chance in this case there won’t be any history.
Lex Fridman
(01:31:21)
So, you’re saying the individuals running these companies should do some soul-searching and what? And stop development?
Roman Yampolskiy
(01:31:29)
Well, either they have to prove that, of course it’s possible to indefinitely control godlike, super-intelligent machines by humans and ideally let us know how, or agree that it’s not possible and it’s a very bad idea to do it. Including for them personally and their families and friends and capital.
Lex Fridman
(01:31:49)
What do you think the actual meetings inside these companies look like? Don’t you think all the engineers… Really it is the engineers that make this happen. They’re not like automatons. They’re human beings. They’re brilliant human beings. They’re non-stop asking, how do we make sure this is safe?
Roman Yampolskiy
(01:32:08)
So again, I’m not inside. From outside, it seems like there is a certain filtering going on and restrictions and criticism and what they can say. And everyone who was working in charge of safety and whose responsibility it was to protect us said, “You know what? I’m going home.” So, that’s not encouraging.
Lex Fridman
(01:32:29)
What do you think the discussion inside those companies look like? You’re developing, you’re training GPT-V, you’re training Gemini, you’re training Claude and Grok. Don’t you think they’re constantly, like underneath it, maybe it’s not made explicit, but you’re constantly sort of wondering where’s the system currently stand? Where are the possible unintended consequences? Where are the limits? Where are the bugs? The small and the big bugs? That’s the constant thing that engineers are worried about.

(01:33:06)
I think super alignment is not quite the same as the kind of thing I’m referring to with engineers are worried about. Super alignment is saying, “For future systems that we don’t quite yet have, how do we keep them safe?” You are trying to be a step ahead. It’s a different kind of problem because it is almost more philosophical. It’s a really tricky one because you’re trying to prevent future systems from escaping control of humans. I don’t think there’s been… Man, is there anything akin to it in the history of humanity? I don’t think so, right?
Roman Yampolskiy
(01:33:50)
Climate change.
Lex Fridman
(01:33:51)
But there’s a entire system which is climate, which is incredibly complex, which we have only tiny control of, right? It’s its own system. In this case, we’re building the system. So, how do you keep that system from becoming destructive? That’s a really different problem than the current meetings that companies are having where the engineers are saying, “Okay, how powerful is this thing? How does it go wrong? And as we train GPT-V and train up future systems, where are the ways that can go wrong?”

(01:34:30)
Don’t you think all those engineers are constantly worrying about this, thinking about this? Which is a little bit different than the super alignment team that’s thinking a little bit farther into the future.
Roman Yampolskiy
(01:34:42)
Well, I think a lot of people who historically worked on AI never considered what happens when they succeed. Stuart Russell speaks beautifully about that. Let’s look, okay, maybe superintelligence is too futuristic. We can develop practical tools for it. Let’s look at software today. What is the state of safety and security of our user software? Things we give to millions of people? There is no liability. You click, “I agree.” What are you agreeing to? Nobody knows. Nobody reads. But you’re basically saying it will spy on you, corrupt your data, kill your firstborn, and you agree and you’re not going to sue the company.

(01:35:24)
That’s the best they can do for mundane software, word processor, tax software. No liability, no responsibility. Just as long as you agree not to sue us, you can use it. If this is a state of the art in systems which are narrow accountants, stable manipulators, why do we think we can do so much better with much more complex systems across multiple domains in the environment with malevolent actors? With again, self-improvement with capabilities exceeding those of humans thinking about it.
Lex Fridman
(01:35:59)
I mean, the liability thing is more about lawyers than killing firstborns. But if Clippy actually killed the child, I think lawyers aside, it would end Clippy and the company that owns Clippy. So, it’s not so much about… There’s two points to be made. One is like, man, current software systems are full of bugs and they could do a lot of damage and we don’t know what, they’re unpredictable. There’s so much damage they could possibly do. And then we kind of live in this blissful illusion that everything is great and perfect and it works. Nevertheless, it still somehow works.
Roman Yampolskiy
(01:36:44)
In many domains, we see car manufacturing, drug development, the burden of proof is on a manufacturer of product or service to show their product or is safe. It is not up to the user to prove that there are problems. They have to do appropriate safety studies. We have to get government approval for selling the product and they’re still fully responsible for what happens. We don’t see any of that here. They can deploy whatever they want and I have to explain how that system is going to kill everyone. I don’t work for that company. You have to explain to me how it’s definitely cannot mess up.
Lex Fridman
(01:37:21)
That’s because it’s the very early days of such a technology. Government regulation is lagging behind. They’re really not tech-savvy. A regulation of any kind of software. If you look at Congress talking about social media and whenever Mark Zuckerberg and other CEOs show up, the cluelessness that Congress has about how technology works is incredible. It’s heartbreaking, honestly
Roman Yampolskiy
(01:37:45)
I agree completely, but that’s what scares me. The response is, “When they start to get dangerous, we’ll really get it together. The politicians will pass the right laws, engineers will solve the right problems.” We are not that good at many of those things, we take forever. And we are not early. We are two years away according to prediction markets. This is not a biased CEO fund-raising. This is what smartest people, super forecasters are thinking of this problem.
Lex Fridman
(01:38:16)
I’d like to push back about those… I wonder what those prediction markets are about, how they define AGI. That’s wild to me. And I want to know what they said about autonomous vehicles because I’ve heard a lot of experts and financial experts talk about autonomous vehicles and how it’s going to be a multi-trillion dollar industry and all this kind of stuff, and it’s…
Roman Yampolskiy
(01:38:39)
A small font, but if you have good vision, maybe you can zoom in on that and see a prediction dates in the description.
Lex Fridman
(01:38:39)
Oh, there’s a plot.
Roman Yampolskiy
(01:38:45)
I have a large one if you’re interested.
Lex Fridman
(01:38:48)
I guess my fundamental question is how often they write about technology. I definitely do-
Roman Yampolskiy
(01:38:56)
There are studies on their accuracy rates and all that. You can look it up. But even if they’re wrong, I’m just saying this is right now the best we have, this is what humanity came up with as the predicted date.
Lex Fridman
(01:39:08)
But again, what they mean by AGI is really important there. Because there’s the non-agent like AGI, and then there’s an agent like AGI, and I don’t think it’s as trivial as a wrapper. Putting a wrapper around, one has lipstick and all it takes is to remove the lipstick. I don’t think it’s that trivial.
Roman Yampolskiy
(01:39:29)
You may be completely right, but what probability would you assign it? You may be 10% wrong, but we’re betting all of humanity on this distribution. It seems irrational.

Current AI

Lex Fridman
(01:39:39)
Yeah, it’s definitely not like 1 or 0%. Yeah. What are your thoughts, by the way, about current systems, where they stand? GPT-4.0, Claude 2, Grok, Gemini. On the path to super intelligence, to agent-like super intelligence, where are we?
Roman Yampolskiy
(01:40:02)
I think they’re all about the same. Obviously there are nuanced differences, but in terms of capability, I don’t see a huge difference between them. As I said, in my opinion, across all possible tasks, they exceed performance of an average person. I think they’re starting to be better than an average masters student at my university, but they still have very big limitations. If the next model is as improved as GPT-4 versus GPT-3, we may see something very, very, very capable.
Lex Fridman
(01:40:38)
What do you feel about all this? I mean, you’ve been thinking about AI safety for a long, long time. And at least for me, the leaps, I mean, it probably started with… AlphaZero was mind-blowing for me, and then the breakthroughs with LLMs, even GPT-II, but just the breakthroughs on LLMs, just mind-blowing to me. What does it feel like to be living in this day and age where all this talk about AGIs feels like it actually might happen, and quite soon, meaning within our lifetime? What does it feel like?
Roman Yampolskiy
(01:41:18)
So, when I started working on this, it was pure science fiction. There was no funding, no journals, no conferences known in academia would dare to touch anything with the word singularity in it. And I was pretty tenured at the time, so I was pretty dumb. Now you see Turing Award winners publishing in science about how far behind we are according to them in addressing this problem.

(01:41:44)
So, it’s definitely a change. It’s difficult to keep up. I used to be able to read every paper on AI safety. Then I was able to read the best ones. Then the titles, and now I don’t even know what’s going on. By the time this interview is over, they probably had GPT-VI released, and I have to deal with that when I get back home.
Roman Yampolskiy
(01:42:00)
… GPT6 released and I have to deal with that when I get back home. So it’s interesting. Yes, there is now more opportunities. I get invited to speak to smart people.
Lex Fridman
(01:42:11)
By the way, I would’ve talked to you before any of this. This is not like some trend of AI… To me, we’re still far away. So just to be clear, we’re still far away from AGI, but not far away in the sense… Relative to the magnitude of impact it can have, we’re not far away, and we weren’t far away 20 years ago because the impact AGI can have is on a scale of centuries. It can end human civilization or it can transform it. So this discussion about one or two years versus one or two decades or even a hundred years is not as important to me, because we’re headed there. This is like a human, civilization scale question. So this is not just a hot topic.
Roman Yampolskiy
(01:43:01)
It is the most important problem we’ll ever face. It is not like anything we had to deal with before. We never had birth of another intelligence, like aliens never visited us as far as I know, so-
Lex Fridman
(01:43:16)
Similar type of problem, by the way. If an intelligent alien civilization visited us, that’s a similar kind of situation.
Roman Yampolskiy
(01:43:23)
In some ways. If you look at history, any time a more technologically advanced civilization visited a more primitive one, the results were genocide. Every single time.
Lex Fridman
(01:43:33)
And sometimes the genocide is worse than others. Sometimes there’s less suffering and more suffering.
Roman Yampolskiy
(01:43:38)
And they always wondered, but how can they kill us with those fire sticks and biological blankets?
Lex Fridman
(01:43:44)
I mean Genghis Khan was nicer. He offered the choice of join or die.
Roman Yampolskiy
(01:43:50)
But join implies you have something to contribute. What are you contributing to super-intelligence?
Lex Fridman
(01:43:56)
Well, in the zoo, we’re entertaining to watch.
Roman Yampolskiy
(01:44:01)
To other humans.
Lex Fridman
(01:44:04)
I just spent some time in the Amazon. I watched ants for a long time and ants are kind of fascinating to watch. I could watch them for a long time. I’m sure there’s a lot of value in watching humans, because we’re like… The interesting thing about humans… You know like when you have a video game that’s really well-balanced? Because of the whole evolutionary process, we’ve created, the society is pretty well-balanced. Like our limitations as humans and our capabilities are balanced from a video game perspective. So we have wars, we have conflicts, we have cooperation. In a game theoretic way, it’s an interesting system to watch, in the same way that an ant colony is an interesting system to watch. So if I was in alien civilization, I wouldn’t want to disturb it. I’d just watch it. It’d be interesting. Maybe perturb it every once in a while in interesting ways.
Roman Yampolskiy
(01:44:51)
Well, getting back to our simulation discussion from before, how did it happen that we exist at exactly like the most interesting 20, 30 years in the history of this civilization? It’s been around for 15 billion years and that here we are.

Simulation

Lex Fridman
(01:45:06)
What’s the probability that we live in a simulation?
Roman Yampolskiy
(01:45:09)
I know never to say 100%, but pretty close to that.
Lex Fridman
(01:45:14)
Is it possible to escape the simulation?
Roman Yampolskiy
(01:45:16)
I have a paper about that. This is just the first page teaser, but it’s like a nice 30-page document. I’m still here, but yes.
Lex Fridman
(01:45:25)
“How to hack the simulation,” is the title.
Roman Yampolskiy
(01:45:27)
I spend a lot of time thinking about that. That would be something I would want super-intelligence to help us with and that’s exactly what the paper is about. We used AI boxing as a possible tool for control AI. We realized AI will always escape, but that is a skill we might use to help us escape from our virtual box if we are in one.
Lex Fridman
(01:45:50)
Yeah. You have a lot of really great quotes here, including Elon Musk saying, “What’s outside the simulation?” A question I asked him, what he would ask an AGI system and he said he would ask, ” What’s outside the simulation?” That’s a really good question to ask and maybe the follow-up is the title of the paper, is How to Get Out or How to Hack It. The abstract reads, “Many researchers have conjectured that the humankind is simulated along with the rest of the physical universe. In this paper, we do not evaluate evidence for or against such a claim. But instead ask a computer science question, namely, can we hack it? More formally, the question could be phrased as could generally intelligent agents placed in virtual environments find a way to jailbreak out of the…” That’s a fascinating question. At a small scale, you can actually just construct experiments. Okay. Can they? How can they?
Roman Yampolskiy
(01:46:48)
So a lot depends on intelligence of simulators, right? With humans boxing super-intelligence, the entity in a box was smarter than us, presumed to be. If the simulators are much smarter than us and the super intelligence we create, then probably they can contain us, because greater intelligence can control lower intelligence, at least for some time. On the other hand, if our super intelligence somehow for whatever reason, despite having only local resources, manages to [inaudible 01:47:22] to levels beyond it, maybe it’ll succeed. Maybe the security is not that important to them. Maybe it’s entertainment system. So there is no security and it’s easy to hack it.
Lex Fridman
(01:47:32)
If I was creating a simulation, I would want the possibility to escape it to be there. So the possibility of [inaudible 01:47:41] of a takeoff or the agents become smart enough to escape the simulation would be the thing I’d be waiting for.
Roman Yampolskiy
(01:47:48)
That could be the test you’re actually performing. Are you smart enough to escape your puzzle?
Lex Fridman
(01:47:54)
First of all, we mentioned Turing Test. That is a good test. Are you smart enough… Like this is a game-
Roman Yampolskiy
(01:48:02)
To A, realize this world is not real, it’s just a test.
Lex Fridman
(01:48:07)
That’s a really good test. That’s a really good test. That’s a really good test even for AI systems. No. Like can we construct a simulated world for them, and can they realize that they are inside that world and escape it? Have you played around? Have you seen anybody play around with rigorously constructing such experiments?
Roman Yampolskiy
(01:48:36)
Not specifically escaping for agents, but a lot of testing is done in virtual worlds. I think there is a quote, the first one maybe, which talks about AI realizing but not humans, is that… I’m reading upside down. Yeah, this one. If you…
Lex Fridman
(01:48:54)
So the first quote is from SwiftOnSecurity. “Let me out,” the artificial intelligence yelled aimlessly into walls themselves pacing the room. “Out of what?” the engineer asked. “The simulation you have me in.” “But we’re in the real world.” The machine paused and shuddered for its captors. “Oh god, you can’t tell.” Yeah. That’s a big leap to take, for a system to realize that there’s a box and you’re inside it. I wonder if a language model can do that.
Roman Yampolskiy
(01:49:35)
They’re smart enough to talk about those concepts. I had many good philosophical discussions about such issues. They’re usually at least as interesting as most humans in that.
Lex Fridman
(01:49:46)
What do you think about AI safety in the simulated world? So can you kind of of create simulated worlds where you can play with a dangerous AGI system?
Roman Yampolskiy
(01:50:03)
Yeah, and that was exactly what one of the early papers was on, AI boxing, how to leak-proof singularity. If they’re smart enough to realize they’re in a simulation, they’ll act appropriately until you let them out. If they can hack out, they will. And if you’re observing them, that means there is a communication channel and that’s enough for a social engineering attack.
Lex Fridman
(01:50:27)
So really, it’s impossible to test an AGI system that’s dangerous enough to destroy humanity, because it’s either going to, what, escape the simulation or pretend it’s safe until it’s let out? Either/or.
Roman Yampolskiy
(01:50:45)
Can force you to let it out and blackmail you, bribe you, promise you infinite life, 72 virgins, whatever.
Lex Fridman
(01:50:54)
Yeah, it could be convincing. Charismatic. The social engineering is really scary to me, because it feels like humans are very engineerable. We’re lonely, we’re flawed, we’re moody, and it feels like a AI system with a nice voice can convince us to do basically anything at an extremely large scale. It’s also possible that the increased proliferation of all this technology will force humans to get away from technology and value this like in-person communication. Basically, don’t trust anything else.
Roman Yampolskiy
(01:51:44)
It’s possible. Surprisingly, so at university I see huge growth in online courses and shrinkage of in-person, where I always understood in-person being the only value I offer. So it’s puzzling.
Lex Fridman
(01:52:01)
I don’t know. There could be a trend towards the in-person because of Deepfakes, because of inability to trust the veracity of anything on the internet. So the only way to verify is by being there in person. But not yet. Why do you think aliens haven’t come here yet?

Aliens

Roman Yampolskiy
(01:52:27)
There is a lot of real estate out there. It would be surprising if it was all for nothing, if it was empty. And the moment there is advanced enough biological civilization, kind of self-starting civilization, it probably starts sending out Von Neumann probes everywhere. And so for every biological one, there are going to be trillions of robot-populated planets, which probably do more of the same. So it is this likely statistically
Lex Fridman
(01:52:57)
So the fact that we haven’t seen them… one answer is we’re in a simulation. It would be hard to simulate or it’d be not interesting to simulate all those other intelligences. It’s better for the narrative.
Roman Yampolskiy
(01:53:11)
You have to have a control variable.
Lex Fridman
(01:53:12)
Yeah, exactly. Okay. But it’s also possible that, if we’re not in a simulation, that there is a great filter. That naturally a lot of civilizations get to this point where there’s super-intelligent agents and then it just goes… just dies. So maybe throughout our galaxy and throughout the universe, there’s just a bunch of dead alien civilizations.
Roman Yampolskiy
(01:53:39)
It’s possible. I used to think that AI was the great filter, but I would expect a wall of computerium approaching us at speed of light or robots or something, and I don’t see it.
Lex Fridman
(01:53:50)
So it would still make a lot of noise. It might not be interesting, it might not possess consciousness. It sounds like both you and I like humans.

Human mind

Roman Yampolskiy
(01:54:01)
Some humans.
Lex Fridman
(01:54:04)
Humans on the whole. And we would like to preserve the flame of human consciousness. What do you think makes humans special, that we would like to preserve them? Are we just being selfish or is there something special about humans?
Roman Yampolskiy
(01:54:21)
So the only thing which matters is consciousness. Outside of it, nothing else matters. And internal states of qualia, pain, pleasure, it seems that it is unique to living beings. I’m not aware of anyone claiming that I can torture a piece of software in a meaningful way. There is a society for prevention of suffering to learning algorithms, but-
Lex Fridman
(01:54:46)
That’s a real thing?
Roman Yampolskiy
(01:54:49)
Many things are real on the internet, but I don’t think anyone, if I told them, “Sit down [inaudible 01:54:56] function to feel pain,” they would go beyond having an integer variable called pain and increasing the count. So we don’t know how to do it. And that’s unique. That’s what creates meaning. It would be kind of, as Bostrom calls it, Disneyland without children if that was gone.
Lex Fridman
(01:55:16)
Do you think consciousness can be engineered in artificial systems? Here, let me go to 2011 paper that you wrote, Robot Rights. “Lastly, we would like to address a sub-branch of machine ethics, which on the surface has little to do with safety, but which is claimed to play a role in decision making by ethical machines, robot rights.” So do you think it’s possible to engineer consciousness in the machines, and thereby the question extends to our legal system, do you think at that point robots should have rights?
Roman Yampolskiy
(01:55:55)
Yeah, I think we can. I think it’s possible to create consciousness in machines. I tried designing a test for it, with major success. That paper talked about problems with giving civil rights to AI, which can reproduce quickly and outvote humans, essentially taking over a government system by simply voting for their controlled candidates. As for consciousness in humans and other agents, I have a paper where I proposed relying on experience of optical illusions. If I can design a novel optical illusion and show it to an agent, an alien, a robot, and they describe it exactly as I do, it’s very hard for me to argue that they haven’t experienced that. It’s not part of a picture, it’s part of their software and hardware representation, a bug in their which goes, “Oh, the triangle is rotating.” And I’ve been told it’s really dumb and really brilliant by different philosophers. So I am still [inaudible 01:57:00].
Lex Fridman
(01:56:59)
I love it. So-
Roman Yampolskiy
(01:57:02)
But now we finally have technology to test it. We have tools, we have AIs. If someone wants to run this experiment, I’m happy to collaborate.
Lex Fridman
(01:57:09)
So this is a test for consciousness?
Roman Yampolskiy
(01:57:11)
For internal state of experience.
Lex Fridman
(01:57:13)
That we share bugs.
Roman Yampolskiy
(01:57:15)
It’ll show that we share common experiences. If they have completely different internal states, it would not register for us. But it’s a positive test. If they pass it time after time, with probability increasing for every multiple choice, then you have no choice. But do you ever accept that they have access to a conscious model or they are themselves conscious.
Lex Fridman
(01:57:34)
So the reason illusions are interesting is, I guess, because it’s a really weird experience and if you both share that weird experience that’s not there in the bland physical description of the raw data, that puts more emphasis on the actual experience.
Roman Yampolskiy
(01:57:57)
And we know animals can experience some optical illusion, so we know they have certain types of consciousness as a result, I would say.
Lex Fridman
(01:58:04)
Yeah, well, that just goes to my sense that the flaws and the bugs is what makes humans special, makes living forms special. So you’re saying like, [inaudible 01:58:14]-
Roman Yampolskiy
(01:58:14)
It’s a feature, not a bug.
Lex Fridman
(01:58:15)
It’s a feature. The bug is the feature. Whoa, okay. That’s a cool test for consciousness. And you think that can be engineered in?
Roman Yampolskiy
(01:58:23)
So they have to be novel illusions. If it can just Google the answer, it’s useless. You have to come up with novel illusions, which we tried automating and failed. So if someone can develop a system capable of producing novel optical illusions on demand, then we can definitely administer that test on significant scale with good results.
Lex Fridman
(01:58:41)
First of all, pretty cool idea. I don’t know if it’s a good general test of consciousness, but it’s a good component of that. And no matter what, it’s just a cool idea. So put me in the camp of people that like it. But you don’t think a Turing Test-style imitation of consciousness is a good test? If you can convince a lot of humans that you’re conscious, that to you is not impressive.
Roman Yampolskiy
(01:59:06)
There is so much data on the internet, I know exactly what to say when you ask me common human questions. What does pain feel like? What does pleasure feel like? All that is Googleable.
Lex Fridman
(01:59:17)
I think to me, consciousness is closely tied to suffering. So if you can illustrate your capacity to suffer… But I guess with words, there’s so much data that you can pretend you’re suffering and you can do so very convincingly.
Roman Yampolskiy
(01:59:32)
There are simulators for torture games where the avatar screams in pain, begs to stop. That’s a part of standard psychology research.
Lex Fridman
(01:59:42)
You say it so calmly. It sounds pretty dark.
Roman Yampolskiy
(01:59:48)
Welcome to humanity.
Lex Fridman
(01:59:49)
Yeah, yeah. It’s like a Hitchhiker’s Guide summary, mostly harmless. I would love to get a good summary. When all this is said and done, when earth is no longer a thing, whatever, a million, a billion years from now, what’s a good summary of what happened here? It’s interesting. I think AI will play a big part of that summary and hopefully humans will too. What do you think about the merger of the two? So one of the things that Elon and [inaudible 02:00:24] talk about is one of the ways for us to achieve AI safety is to ride the wave of AGI, so by merging.
Roman Yampolskiy
(02:00:33)
Incredible technology in a narrow sense to help with disabled. Just amazing, support it 100%. For long-term hybrid models, both parts need to contribute something to the overall system. Right now we are still more capable in many ways. So having this connection to AI would be incredible, would make me superhuman in many ways. After a while, if I’m no longer smarter, more creative, really don’t contribute much, the system finds me as a biological bottleneck. And either explicitly or implicitly, I’m removed from any participation in the system.
Lex Fridman
(02:01:11)
So it’s like the appendix. By the way, the appendix is still around. So even if it’s… you said bottleneck. I don’t know if we’ve become a bottleneck. We just might not have much use. That’s a different thing than a bottleneck
Roman Yampolskiy
(02:01:27)
Wasting valuable energy by being there.
Lex Fridman
(02:01:30)
We don’t waste that much energy. We’re pretty energy efficient. We can just stick around like the appendix. Come on now.
Roman Yampolskiy
(02:01:36)
That’s the future we all dream about. Become an appendix to the history book of humanity.
Lex Fridman
(02:01:44)
Well, and also the consciousness thing. The peculiar particular kind of consciousness that humans have. That might be useful. That might be really hard to simulate. How would that look like if you could engineer that in, in silicon?
Roman Yampolskiy
(02:01:58)
Consciousness?
Lex Fridman
(02:01:59)
Consciousness.
Roman Yampolskiy
(02:02:01)
I assume you are conscious. I have no idea how to test for it or how it impacts you in any way whatsoever right now. You can perfectly simulate all of it without making any different observations for me.
Lex Fridman
(02:02:13)
But to do it in a computer, how would you do that? Because you kind of said that you think it’s possible to do that.
Roman Yampolskiy
(02:02:19)
So it may be an emergent phenomena. We seem to get it through evolutionary process. It’s not obvious how it helps us to survive better, but maybe it’s an internal kind of [inaudible 02:02:37], which allows us to better manipulate the world, simplifies a lot of control structures. That’s one area where we have very, very little progress. Lots of papers, lots of research, but consciousness is not a big area of successful discovery so far. A lot of people think that machines would have to be conscious to be dangerous. That’s a big misconception. There is absolutely no need for this very powerful optimizing agent to feel anything while it’s performing things on you.
Lex Fridman
(02:03:11)
But what do you think about the whole science of emergence in general? So I don’t know how much you know about cellular automata or these simplified systems that study this very question. From simple rules emerges complexity.
Roman Yampolskiy
(02:03:25)
I attended Wolfram Summer School.
Lex Fridman
(02:03:29)
I love Stephen very much. I love his work. I love cellular automata. I just would love to get your thoughts how that fits into your view in the emergence of intelligence in AGI systems. And maybe just even simply, what do you make of the fact that this complexity can emerge from such simple rules?
Roman Yampolskiy
(02:03:51)
So the rule is simple, but the size of a space is still huge. And the neural networks were really the first discovery in AI. 100 years ago, the first papers were published on neural networks. We just didn’t have enough compute to make them work. I can give you a rule such as, start printing progressively larger strings. That’s it. One sentence. It’ll output everything, every program, every DNA code, everything in that rule. You need intelligence to filter it out, obviously, to make it useful. But simple generation is not that difficult, and a lot of those systems end up being Turing complete systems. So they’re universal and we expect that level of complexity from them.

(02:04:36)
What I like about Wolfram’s work is that he talks about irreducibility. You have to run the simulation. You cannot predict what it’s going to do ahead of time. And I think that’s very relevant to what we’re talking about with those very complex systems. Until you live through it, you cannot ahead of time tell me exactly what it’s going to do.
Lex Fridman
(02:04:58)
Irreducibility means that for a sufficiently complex system, you have to run the thing. You can’t predict what’s going to happen in the universe. You have to create a new universe and run the thin. Big bang, the whole thing.
Roman Yampolskiy
(02:05:10)
But running it may be consequential as well.
Lex Fridman
(02:05:13)
It might destroy humans. And to you, there’s no chance that AI somehow carries the flame of consciousness, the flame of specialness and awesomeness that is humans.
Roman Yampolskiy
(02:05:30)
It may somehow, but I still feel kind of bad that it killed all of us. I would prefer that doesn’t happen. I can be happy for others, but to a certain degree.
Lex Fridman
(02:05:41)
It would be nice if we stuck around for a long time. At least give us a planet, the human planet. It’d be nice for it to be earth. And then they can go elsewhere. Since they’re so smart, they can colonize Mars. Do you think they could help convert us to Type I, Type II, Type III? Let’s just stick to Type II civilization on the Kardashev scale. Like help us. Help us humans expand out into the cosmos.
Roman Yampolskiy
(02:06:13)
So all of it goes back to are we somehow controlling it? Are we getting results we want? If yes, then everything’s possible. Yes, they can definitely help us with science, engineering, exploration in every way conceivable. But it’s a big if.
Lex Fridman
(02:06:30)
This whole thing about control, though. Humans are bad with control because the moment they gain control, they can also easily become too controlling. It’s the whole, the more control you have, the more you want it. It’s the old power corrupts and the absolute power corrupts absolutely. And it feels like control over AGI, saying we live in a universe where that’s possible. We come up with ways to actually do that. It’s also scary because the collection of humans that have the control over AGI, they become more powerful than the other humans and they can let that power get to their head. And then a small selection of them, back to Stalin, start getting ideas. And then eventually it’s one person, usually with a mustache or a funny hat, that starts sort of making big speeches, and then all of a sudden you live in a world that’s either Nineteen Eighty-Four or Brave New World, and always a war with somebody. And this whole idea of control turned out to be actually also not beneficial to humanity. So that’s scary too.
Roman Yampolskiy
(02:07:38)
It’s actually worse because historically, they all died. This could be different. This could be permanent dictatorship, permanent suffering.
Lex Fridman
(02:07:46)
Well, the nice thing about humans, it seems like, it seems like, the moment power starts corrupting their mind, they can create a huge amount of suffering. So there’s negative, they can kill people, make people suffer, but then they become worse and worse at their job. It feels like the more evil you start doing, the-
Roman Yampolskiy
(02:08:08)
At least they’re incompetent.
Lex Fridman
(02:08:09)
Yeah. Well no, they become more and more incompetent, so they start losing their grip on power. So holding onto power is not a trivial thing. It requires extreme competence, which I suppose Stalin was good at. It requires you to do evil and be competent at it or just get lucky.
Roman Yampolskiy
(02:08:27)
And those systems help with that. You have perfect surveillance, you can do some mind reading I presume eventually. It would be very hard to remove control from more capable systems over us.
Lex Fridman
(02:08:41)
And then it would be hard for humans to become the hackers that escape the control of the AGI because the AGI is so damn good, and then… Yeah, yeah. And then the dictator is immortal. Yeah, this is not great. That’s not a great outcome. See, I’m more afraid of humans than AI systems. I believe that most humans want to do good and have the capacity to do good, but also all humans have the capacity to do evil. And when you test them by giving them absolute power, as you would if you give them AGI, that could result in a lot, a lot of suffering. What gives you hope about the future?

Hope for the future

Roman Yampolskiy
(02:09:25)
I could be wrong. I’ve been wrong before.
Lex Fridman
(02:09:29)
If you look 100 years from now and you’re immortal and you look back, and it turns out this whole conversation, you said a lot of things that were very wrong, now looking 100 years back, what would be the explanation? What happened in those a hundred years that made you wrong, that made the words you said today wrong?
Roman Yampolskiy
(02:09:52)
There is so many possibilities. We had catastrophic events which prevented development of advanced microchips.
Lex Fridman
(02:09:59)
That’s not where I thought you were going to-
Roman Yampolskiy
(02:10:02)
That’s a hopeful future. We could be in one of these personal universes, and the one I’m in is beautiful. It’s all about me and I like it a lot.
Lex Fridman
(02:10:09)
Just to linger on that, that means every human has their personal universe.
Roman Yampolskiy
(02:10:14)
Yes. Maybe multiple ones. Hey, why not?
Lex Fridman
(02:10:19)
Switching.
Roman Yampolskiy
(02:10:19)
You can shop around. It’s possible that somebody comes up with alternative model for building AI, which is not based on neural networks, which are hard to scrutinize, and that alternative is somehow… I don’t see how, but somehow avoiding all the problems I speak about in general terms, not applying them to specific architectures. Aliens come and give us friendly super-intelligence. There is so many options.
Lex Fridman
(02:10:48)
Is it also possible that creating super-intelligence systems becomes harder and harder, so meaning it’s not so easy to do the [inaudible 02:11:01], the takeoff?
Roman Yampolskiy
(02:11:04)
So that would probably speak more about how much smarter that system is compared to us. So maybe it’s hard to be a million times smarter, but it’s still okay to be five times smarter. So that is totally possible. That I have no objections to.
Lex Fridman
(02:11:18)
So there’s a S-curve-type situation about smarter, and it’s going to be like 3.7 times smarter than all of human civilization.
Roman Yampolskiy
(02:11:28)
Right. Just the problems we face in this world. Each problem is like an IQ test. You need certain intelligence to solve it. So we just don’t have more complex problems outside of mathematics for it to be showing off. Like you can have IQ of 500. If you’re playing tic-tac-toe, it doesn’t show. It doesn’t matter.
Lex Fridman
(02:11:44)
So the idea there is that the problems define your cognitive capacity. So because the problems on earth are not sufficiently difficult, it’s not going to be able to expand its cognitive capacity.
Roman Yampolskiy
(02:11:59)
Possible.
Lex Fridman
(02:12:00)
And wouldn’t that be a good thing, that-
Roman Yampolskiy
(02:12:03)
It still could be a lot smarter than us. And to dominate long-term, you just need some advantage. You have to be the smartest, you don’t have to be a million times smarter.
Lex Fridman
(02:12:13)
So even five X might be enough.
Roman Yampolskiy
(02:12:16)
It’d be impressive. What is it? IQ of 1,000? I mean, I know those units don’t mean anything at that scale, but still, as a comparison, the smartest human is like 200.
Lex Fridman
(02:12:27)
Well, actually no, I didn’t mean compared to an individual human. I meant compared to the collective intelligence of the human species. If you’re somehow five X smarter than that…
Roman Yampolskiy
(02:12:38)
We are more productive as a group. I don’t think we are more capable of solving individual problems. Like if all of humanity plays chess together, we are not a million times better than a world champion.
Lex Fridman
(02:12:50)
That’s because there’s… like one S-curve is the chess. But humanity is very good at exploring the full range of ideas. Like the more Einsteins you have, the more just the higher probability to come up with general relativity.
Roman Yampolskiy
(02:13:07)
But I feel like it’s more of a quantity super-intelligence than quality super-intelligence.
Lex Fridman
(02:13:11)
Sure, but quantity and speed matters,
Roman Yampolskiy
(02:13:14)
Enough quantity sometimes becomes quality, yeah.

Meaning of life

Lex Fridman
(02:13:17)
Oh man, humans. What do you think is the meaning of this whole thing? We’ve been talking about humans and not humans not dying, but why are we here?
Roman Yampolskiy
(02:13:29)
It’s a simulation. We’re being tested. The test is will you be dumb enough to create super-intelligence and release it?
Lex Fridman
(02:13:36)
So the objective function is not be dumb enough to kill ourselves.
Roman Yampolskiy
(02:13:42)
Yeah, you are unsafe. Prove yourself to be a safe agent who doesn’t do that, and you get to go to the next game.
Lex Fridman
(02:13:48)
The next level of the game. What’s the next level?
Roman Yampolskiy
(02:13:50)
I don’t know. I haven’t hacked the simulation yet.
Lex Fridman
(02:13:53)
Well, maybe hacking the simulation is the thing.
Roman Yampolskiy
(02:13:55)
I’m working as fast as I can.
Lex Fridman
(02:13:58)
And physics would be the way to do that.
Roman Yampolskiy
(02:14:00)
Quantum physics, yeah. Definitely.
Lex Fridman
(02:14:02)
Well, I hope we do, and I hope whatever is outside is even more fun than this one, because this one’s pretty fun. And just a big thank you for doing the work you’re doing. There’s so much exciting development in AI, and to ground it in the existential risks is really, really important. Humans love to create stuff, and we should be careful not to destroy ourselves in the process. So thank you for doing that really important work.
Roman Yampolskiy
(02:14:32)
Thank you so much for inviting me. It was amazing. And my dream is to be proven wrong. If everyone just picks up a paper or book and shows how I messed it up, that would be optimal.
Lex Fridman
(02:14:44)
But for now, the simulation continues.
Roman Yampolskiy
(02:14:47)
For now.
Lex Fridman
(02:14:47)
Thank you, Roman.

(02:14:49)
Thanks for listening to this conversation with Roman Yampolskiy. To support this podcast, please check out our sponsors in the description. And now let me leave you with some words from Frank Herbert in Dune. “I must not fear. Fear is the mind killer. Fear is the little death that brings total obliteration. I will face fear. I will permit it to pass over me and through me. And when it has gone past, I will turn the inner eye to see its path. Where the fear has gone, there will be nothing. Only I will remain.”hank you for listening and hope to see you next time.

Transcript for Charan Ranganath: Human Memory, Imagination, Deja Vu, and False Memories | Lex Fridman Podcast #430

This is a transcript of Lex Fridman Podcast #430 with Charan Ranganath.
The timestamps in the transcript are clickable links that take you directly to that point in
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Table of Contents

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Introduction

Charan Ranganath
(00:00:00)
The act of remembering can change the memory. If you remember some event and then I tell you something about the event, later on when you remember the event, you might remember some original information from the event as well as some information about what I told you. And sometimes if you’re not able to tell the difference, that information that I told you gets mixed into the story that you had originally. So now I give you some more misinformation or you’re exposed to some more information somewhere else and eventually your memory becomes totally detached from what happened.
Lex Fridman
(00:00:37)
The following is a conversation with Charan Ranganath, a psychologist and neuroscientist at UC Davis specializing in human memory. He’s the author of, Why We Remember. Unlocking Memory’s Power To Hold On To What Matters. This is the Lex Fridman podcast. To support it, please check out our sponsors in the description. And now, dear friends, here’s Charan Ranganath. Danny Kahneman describes the experiencing self and the remembering self and that happiness and satisfaction you gained from the outcomes of your decisions do not come from what you’ve experienced, but rather from what you remember of the experience. So can you speak to this interesting difference that you write about in your book of the experiencing self and the remembering self?

Experiencing self vs remembering self

Charan Ranganath
(00:01:27)
Danny really impacted me. I was an undergrad at Berkeley and I got to take a class from him long before he won the Nobel Prize or anything and it was just a mind-blowing class. But this idea of the remembering self and the experiencing self, I got into it because it’s so much about memory even though he doesn’t study memory. So we’re right now having this experience, right? And people can watch it presumably on YouTube or listen to it on audio, but if you’re talking to somebody else, you could probably describe this whole thing in 10 minutes, but that’s going to miss a lot of what actually happened. And so the idea there is that the way we remember things is not the replay of the experience, it’s something totally different.

(00:02:11)
And it tends to be biased by the beginning and the end, and he talks about the peaks, but there’s also the best parts, the worst parts, etc. And those are the things that we remember. And so when we make decisions, we usually consult memory and we feel like our memory is a record of what we’ve experienced, but it’s not. It’s this kind of very biased sample, but it’s biased in an interesting and I think biologically relevant way.
Lex Fridman
(00:02:39)
So in the way we construct a narrative about our past, you say that it gives us an illusion of stability. Can you explain that?
Charan Ranganath
(00:02:50)
Basically I think that a lot of learning in the brain is driven towards being able to make sense. I mean really memory is all about the present and the future. The past is done. So biologically speaking, it’s not important unless there’s something from the past that’s useful. And so what our brains are really optimized for is to learn about the stuff from the past that’s going to be most useful and understanding the present and predicting the future. And so cause-effect relationships for instance, that’s a big one. Now my future is completely unpredictable in the sense that you could in the next 10 minutes pull a knife on me and slit my throat.
Lex Fridman
(00:03:31)
I was planning on it.
Charan Ranganath
(00:03:32)
Exactly. But having seen some of your work and just generally my expectations about life, I’m not expecting that. I have a certainty that everything’s going to be fine and we’re going to have a great time talking today, but we’re often right. It’s like, okay, so I go to see a band on stage, I know they’re going to make me wait, the show’s going to start late and then they come on. There’s a very good chance there’s going to be an encore. I have a memory, so to speak for that event before I’ve even walked into the show. There’s going to be people holding up their camera phones to try to take videos of it now because this is kind of the world we live in. So that’s like everyday fortune-telling that we do though.

(00:04:14)
It’s not real, it’s imagined. And it’s amazing that we have this capability and that’s what memory is about. But it can also give us the illusion that we know everything that’s about to happen. And I think what’s valuable about that illusion is when it’s broken, it gives us the information. So I mean, I’m sure being in AI about information theory and the idea is the information is what you didn’t already have. And so those prediction errors that we make based on, we make a prediction based on memory and the errors are where the action is.
Lex Fridman
(00:04:49)
The error is where the learning happens.
Charan Ranganath
(00:04:53)
Exactly. Exactly.
Lex Fridman
(00:04:55)
Well, just to linger on Danny Kahneman and just this whole idea of experiencing self versus remembering self, I was hoping you can give a simple answer of how we should live life based on the fact that our memories could be a source of happiness or could be the primary source of happiness, that an event when experienced bears its fruits the most when it’s remembered over and over and over and over. And maybe there is some wisdom in the fact that we can control to some degree how we remember it, how we evolve our memory of it, such that it can maximize the long-term happiness of that repeated experience.
Charan Ranganath
(00:05:45)
Well first I’ll say I wish I could take you on the road with me because that was such a great description.
Lex Fridman
(00:05:51)
Can I be your opening act?
Charan Ranganath
(00:05:52)
Oh my God, no, I’m going to open for you, dude. Otherwise, it’s like everybody leaves after you’re done. Believe me, I did that in Columbus, Ohio once. It wasn’t fun. The opening acts drank our bar tab. We spent all this money going all the way there and there was only the… Everybody left after the opening acts were done and there was just that stoner dude with the dreadlocks hanging out. And then next thing you know, we blew our savings on getting a hotel room.
Lex Fridman
(00:06:21)
So we should as a small tangent, you’re a legit touring act?
Charan Ranganath
(00:06:26)
When I was in grad school, I played in a band and yeah, we traveled, we would play shows. It wasn’t like we were in a hardcore touring band, but we did some touring and had some fun times and yeah, we did a movie soundtrack.
Lex Fridman
(00:06:39)
Nice.
Charan Ranganath
(00:06:39)
Henry, Portrait of a Serial Killer. So that’s a good movie. We were on the soundtrack for the sequel, Henry 2, Mask of Sanity, which is a terrible movie.
Lex Fridman
(00:06:48)
How’s the soundtrack? It’s pretty good?
Charan Ranganath
(00:06:50)
It’s badass. At least that one part where the guy throws up the milkshake is my song.
Lex Fridman
(00:06:54)
We’re going to have to see. We’re going to have to see it.
Charan Ranganath
(00:06:57)
All right, we’re getting back to life advice.
Lex Fridman
(00:06:59)
And happiness, yeah.
Charan Ranganath
(00:07:00)
One thing that I try to live by, especially nowadays and since I wrote the book, I’ve been thinking more and more about this is, how do I want to live a memorable life? I think if we go back to the pandemic, how many people have memories from that period, aside from the trauma of being locked up and seeing people die and all this stuff. I think it’s one of these things where we were stuck inside looking at screens all day, doing the same thing with the same people. And so I don’t remember much from that in terms of those good memories that you’re talking about. When I was growing up, my parents worked really hard for us and we went on some vacations, but not very often.

(00:07:48)
And I really try to do now vacations to interesting places as much as possible with my family because those are the things that you remember. So I really do think about what’s going to be something that’s memorable and then just do it even if it’s a pain in the ass because the experiencing self will suffer for that but the remembering self will be like, “Yes, I’m so glad I did that.”
Lex Fridman
(00:08:13)
Do things that are very unpleasant in the moment because those can be reframed and enjoyed for many years to come. That’s probably good advice. Or at least when you’re going through, it’s a good way to see the silver lining of it.
Charan Ranganath
(00:08:29)
Yeah, I mean I think it’s one of these things where if you have people who you’ve gone through since you said it, I’ll just, since you’ve gone through shit with someone-
Lex Fridman
(00:08:38)
Yeah.
Charan Ranganath
(00:08:38)
… and it’s a, that’s bonding experience often, I mean that can really bring you together. I like to say it’s like there’s no point in suffering unless you get a story out of it. So in the book I talk about the power of the way we communicate with others and how that shapes our memories. And so I had this near-death experience, at least that’s how I remember it, on this paddleboard where just everything that could have gone wrong did go wrong, almost. So many mistakes were made. And ended up at some point just basically away from my board, pinned in a current in this corner, not a super good swimmer, and my friend who came with me, Randy, who’s a computational neuroscientist, and he had just been pushed down past me so he couldn’t even see me.

(00:09:29)
And I’m just like, “If I die here, I mean no one’s around. It’s like you just die alone.” And so I just said, “Well, failure is not an option.” And eventually I got out of it and froze and got cut up and I mean the things that we were going through were just insane. But short version of this is my wife and my daughter and Randy’s wife, they gave us all sorts of hell about this because they were just ready to send out a search party. So they were giving me hell about it. And then I started to tell people in my lab about this and then friends and it just became a better and better story every time. And we actually had some photos of just the crazy things like this generator that was hanging over the water and we’re ducking under this zig of these metal gratings and I’m going flat and it was just nuts.

(00:10:24)
But it became a great story. And it was definitely, Randy and I were already tight, but that was a real bonding experience for us. And I learned from that that it’s like I don’t look back on that enough actually because I think we often, at least for me, I don’t necessarily have the confidence to think that things will work out, that I’ll be able to get through certain things. But my ability to actually get something done in that moment is better than I give myself credit for, I think. And that was the lesson of that story that I really took away.
Lex Fridman
(00:10:59)
Well, actually just for me, you’re making me realize now it’s not just those kinds of stories, but even things like periods of depression or really low points, to me at least it feels like a motivating thing that the darker it gets, the better the story will be if you emerge on the other side. That to me feels like a motivating thing. So maybe if people listening to this and they’re going through some shit, as we said, one thing that could be a source of light is that it’ll be a hell of a good story when it’s all over, when you emerge on the other side. Let me ask you about decisions. You already talked about it a little bit, but when we face the world and we’re making different decisions, how much does our memory come into play?

(00:11:52)
Is it the kind of narratives that we’ve constructed about the world that are used to make predictions that’s fundamentally part of the decision-making?
Charan Ranganath
(00:12:01)
Absolutely. Yeah. So let’s say after this, you and I decided we’re going to go for a beer. How do you choose where to go? You’re probably going to be like, “Oh yeah, this new bar opened up near me. I had a great time there. They had a great beer selection.” Or you might say, “Oh, we went to this place and it was totally crowded and they were playing this horrible EDM or whatever.” And so right there, valuable source of information. And then you have these things like where you do this counterfactual stuff, “Well, I did this previously.” But what if I had gone somewhere else and said, “Maybe I’ll go to this other place because I didn’t try it the previous time”? So there’s all that kind of reasoning that goes into it too.

(00:12:41)
I think even if you think about the big decisions in life. It’s like you and I were talking before we started recording about how I got into memory research and you got into AI and it’s like we all have these personal reasons that guide us in these particular directions. And some of it’s the environment and random factors in life, and some of it is memories of things that we want to overcome or things that we build on in a positive way. But either way, they define us.
Lex Fridman
(00:13:12)
And probably the earlier in life the memories happen, the more defining, the more defining power they have in terms of determining who we become.
Charan Ranganath
(00:13:21)
I mean, I do feel like adolescence is much more important than I think people give credit for. I think that there is this kind of a sense the first three years of life is the most important part, but the teenage years are just so important for the brain. And so that’s where a lot of mental illness starts to emerge. Now we’re thinking of things like schizophrenia as a neurodevelopmental disorder because it just emerges during that period of adolescence and early adulthood. And I think the other part of it is is that I guess I was a little bit too firm in saying that memory determines who we are. It’s really the self is an evolving construct. I think we kind of underestimate that.

(00:14:05)
And when you’re a parent, you feel like every decision you make is consequential in forming this child and it plays a role, but so do the child’s peers. And so do… There’s so much, I mean that’s why I think the big part of education I think that’s so important is not the content you learn… I mean, think of how much dumb stuff we learned in school. But a lot of it is learning how to get along with people and learning who you are and how you function. And that can be terribly traumatizing even if you have perfect parents working on you.

Creating memories

Lex Fridman
(00:14:45)
Is there some insight into the human brain that explains why we don’t seem to remember anything from the first few years of life?
Charan Ranganath
(00:14:53)
Yeah. Yeah. In fact, actually I was just talking to my really good friend and colleague, Simona Getty, who studies the neuroscience of child development and so we were talking about this. And so there are a bunch of reasons I would say. So one reason is is there’s an area of the brain called the hippocampus, which is very, very important for remembering events or episodic memory. And so the first two years of life, there’s a period called infantile amnesia. And then the next couple years of life after that, there’s a period called childhood amnesia. And the differences is is that basically in the lab and even during childhood and afterwards, children basically don’t have any episodic memories for those first two years.

(00:15:39)
The next two years it’s very fragmentary and that’s why they call it childhood amnesia, so there’s some, but it’s not long. So one reason is is that the hippocampus is taking some time to develop, but another is the neocortex of the whole folded stuff of gray matter all around the hippocampus is developing so rapidly and changing. And a child’s knowledge of the world is just massively being built up, so I’m going to probably embarrass myself, but it’s like if you showed you trained a neural network and you give it the first couple of patterns or something like that, and then you bombard it with another years worth of data, try to get back those first couple of patterns. It’s like everything changes.

(00:16:22)
And so the brain is so plastic, the cortex is so plastic during that time, and we think that memories for events are very distributed across the brain. Imagine you’re trying to get back that pattern of activity that happened during this one moment, but the roads that you would take to get there have been completely rerouted. I think that’s my best explanation. The third explanation is a child’s sense of self takes a while to develop. And so their experience of learning might be more learning what happened as opposed to having this first-person experience of, “I remember. I was there.”
Lex Fridman
(00:17:00)
Well, I think somebody once said to me that kind of loosely philosophically that the reason we don’t remember the first few years of life, infantile amnesia is because how traumatic it is. Basically the error rate that you mentioned when your brain’s prediction doesn’t match reality, the error rate in the first few years of life, your first few months certainly, is probably crazy high. It’s non-stop freaking out. The collision between your model of the world and how the world works is just so high that you want whatever the trauma of that is not to linger around. I always thought that’s an interesting idea because just imagine the insanity of what’s happening in a human brain in the first couple of years.

(00:17:53)
You don’t know anything and there’s just this stream of knowledge and we’re somehow, given how plastic everything is, it just kind of molds and figures it out. But it’s like an insane waterfall of information.
Charan Ranganath
(00:18:09)
I wouldn’t necessarily describe it as a trauma and we can get into this whole stages of life thing, which I just love. Basically those first few years there are, I mean think about it, a kid’s internal model of their body is changing. It’s just learning to move. I mean, if you ever have a baby, you’ll know that the first three months they’re discovering their toes. It’s just nuts. So everything is changing. But what’s really fascinating is, and I think this is one of those, this is not at all me being a scientist, but it’s one of those things that people talk about when they talk about the positive aspects of children is that they’re exceptionally curious and they have this kind of openness towards the world.

(00:18:53)
And so that prediction error is not a negative traumatic thing. I think it’s a very positive thing because it’s what they use, they’re seeking information. One of the areas that I’m very interested in is the prefrontal cortex. It’s an area of the brain that, I mean, I could talk all day about it, but it helps us use our knowledge to say, “Hey, this is what I want to do now. This is my goal, so this is how I’m going to achieve it,” and focus everything towards that goal. The prefrontal cortex takes forever to develop in humans. The connections are still being tweaked and reformed into late adolescence, early adulthood, which is when you tend to see mental illness pop up.

(00:19:38)
So it’s being massively reformed. Then you have about 10 years maybe of prime functioning of the prefrontal cortex, and then it starts going down again and you end up being older and you start losing all that frontal function. So I look at this and you’d say, “Okay,” you sit around episodic memory talks. While they always say children are worse than adults at episodic memory, older adults or worse than young adults at episodic memory. And I always would say, “God, this is so weird. Why would we have this period of time that’s so short when we’re perfect or optimal?” And I like to use that word optimal now because there’s such a culture of optimization right now.

(00:20:15)
And it’s like I realize I have to redefine what optimal is because for most of the human condition, I think we had a series of stages of life where you have basically adults saying, “Okay”, young adults saying, “I’ve got a child and I’m part of this village and I have to hunt and forage and get things done.” I need a prefrontal cortex so I can stay focused on the big picture and the long haul goals. Now I’m a child, I’m in this village, I’m kind of wandering around and I’ve got some safety, and I need to learn about this culture because I know so little. What’s the best way to do that? Let’s explore. I don’t want to be constrained by goals as much.

(00:20:59)
I want to really be free, play and explore and learn. So you don’t want a super tight prefrontal cortex. You don’t even know what the goals should be yet. If you’re trying to design a model that’s based on a bad goal, it’s not going to work well. So then you go late in life and you say, “Oh, why don’t you have a great prefrontal cortex then?” But I think, I mean if you go back and you think how many species actually stick around naturally long after their childbearing years are over, after the reproductive years are over? With menopause, from what I understand, menopause is not all that common in the animal world. So why would that happen?

(00:21:38)
And so I saw Alison Gopnik said something about this so I started to look into this, about this idea that really when you’re older in most societies, your job is no longer to form new episodic memories, it’s to pass on the memories that you already have, this knowledge about the world, what we call semantic memory, to pass on that semantic memory to the younger generations, pass on the culture. Even now in indigenous cultures, that’s the role of the elders. They’re respected, they’re not seen as people who are past it and losing it. And I thought that was a very poignant thing, that memory is doing what it’s supposed to throughout these stages of life.
Lex Fridman
(00:22:21)
So it is always optimal in a sense.
Charan Ranganath
(00:22:23)
Yeah.
Lex Fridman
(00:22:24)
It’s just optimal for that stage of life
Charan Ranganath
(00:22:26)
Yeah. And for the ecology of the system. So I looked into this and it’s like another species that has menopause is orcas. Orca pods are led by the grandmothers. So it’s not the young adults, not the parents or whatever, the grandmothers. And so they’re the ones that pass on the traditions to I guess the younger generation of orcas. And if you look from what little I understand, different orca pods have different traditions. They hunt for different things. They have different play traditions, and that’s a culture. And so in social animals, evolution I think is designing brains that are really around, it’s obviously optimized for the individual but also for kin. And I think that the kin are part of this when they’re a part of this intense social group, the brain development should parallel that, the nature of the ecology.
Lex Fridman
(00:23:22)
Well, it’s just fascinating to think of the individual orca or human throughout its life in stages doing a kind of optimal wisdom development. So in the early days, you don’t even know what the goal is, and you figure out the goal and you optimize for that goal and you pursue that goal. And then all the wisdom you collect through that, then you share with the others in the system, the other individuals. And as a collective, then you kind of converge towards greater wisdom throughout the generations. So in that sense, it’s optimal. Us humans and orcas got something going on. It works.
Charan Ranganath
(00:24:01)
Well, yeah. Apex predators.
Lex Fridman
(00:24:05)
I just got a megalon on tooth, speaking of apex predators.
Charan Ranganath
(00:24:10)
Oh, man.

Why we forget

Lex Fridman
(00:24:11)
Just imagine the size of that thing. Anyway, how does the brain forget and how and why does it remember? So maybe some of the mechanisms. You mentioned the hippocampus, what are the different components involved here?
Charan Ranganath
(00:24:28)
So we could think about this on a number of levels. Maybe I’ll give you the simplest version first, which is we tend to think of memories as these individual things and we can just access them, maybe a little bit like photos on your phone or something like that. But in the brain, the way it works is you have this distributed pool of neurons and the memories are kind of shared across different pools of neurons. And so what you have is competition, where sometimes memories that overlap can be fighting against each other. So sometimes we forget because that competition just wipes things out. Sometimes we forget because there aren’t the biological signals which we can get into, I would promote long-term retention.

(00:25:10)
And lots of times we forget because we can’t find the cue that sends us back to the right memory, and we need the right cue to be able to activate it. So for instance, in a neural network there is no… You wouldn’t go and you’d say, “This is the memory.” It’s like the whole network, I mean, the whole ecosystem of memories is in the weights of the neural network. And in fact, you could extract entirely new memories depending on how you feed.
Lex Fridman
(00:25:37)
You have to have the right query, the right prompt to access that whatever the part you’re looking for.
Charan Ranganath
(00:25:42)
That’s exactly right. That’s exactly right. And in humans, you have this more complex set of ways memory works. There’s, as I said, the knowledge or what you call semantic memory, and then there’s these memories for specific events, which we call episodic memory. And so there’s different pieces of the puzzle that require different kinds of cues. So that’s a big part of it too, is just this kind of what we call retrieval failure.
Lex Fridman
(00:26:06)
You mentioned episodic memory, you mentioned semantic memory, what are the different separations here? What’s working memory, short-term memory, long-term memory, what are the interesting categories of memory?
Charan Ranganath
(00:26:17)
Yeah. And so memory researchers, we love to cut things up and say, “is memory one thing or is it two things? There’s two things or there’s three things?” And so, one of the things that, and there’s value in that, and especially experimental value in terms of being able to dissect things. In the real world, it’s all connected. Speak to your question, working memory is a term that was coined by Alan Battley. It’s basically thought to be this ability to keep information online in your mind right in front of you at a given time, and to be able to control the flow of that information, to choose what information is relevant, to be able to manipulate it and so forth.

(00:26:56)
And one of the things that Alan did that was quite brilliant was he said, ” There’s this ability to kind of passively store information, see things in your mind’s eye or hear your internal monologue,” but we have that ability to keep information in mind. But then we also have this separate what he called a central executive, which is identified a lot with the prefrontal cortex. It’s this ability to control the flow of information that’s being kept active based on what it is you’re doing. Now, a lot of my early work was basically saying that this working memory, which some memory researchers would call short-term memory is not at all independent from long-term memory.

(00:27:38)
That is that a lot of executive function requires learning, and you have to have synaptic change for that to happen. But there’s also transient forms of memory. So one of the things I’ve been getting into lately is the idea that we form internal models of events. The obvious one that I always use is birthday parties. So you go to a child’s birthday party, once the cake comes out and you just see a candle, you can predict the whole frame set of events that happens later. And up until that point where the child blows out the candle, you have an internal model in your head of what’s going on. And so if you follow people’s eyes, it’s not actually on what’s happening, it’s going where the action’s about to happen, which is just fascinating.

(00:28:24)
So you have this internal model, and that’s a kind of a working memory product, it’s something that you’re keeping online that’s allowing you to interpret this world around you. Now, to build that model though, you need to pull out stuff from your general knowledge of the world, which is what we call semantic memory. And then you’d want to be able to pull out memories for specific events that happened in the past, which we call episodic memory. So in a way, they’re all connected, even though it’s different. The things that we’re focusing on and the way we organize information in the present, which is working memory, will play a big role in determining how we remember that information later, which people typically call long-term memory.
Lex Fridman
(00:29:05)
So if you have something like a birthday party and you’ve been to many before, you’re going to load that from disk into working memory, this model, and then you’re mostly operating on the model. And if it’s a new task, you don’t have a model so you’re more in the data collection?
Charan Ranganath
(00:29:24)
Yes. One of the fascinating things that we’ve been studying, and we’re not at all the first to do this, Jeff Sachs was a big pioneer in this, and I’ve been working with many other people, Ken Norman, Leyla, Devachi and Wade. Columbia has done some interesting stuff with this, is this idea that we form these internal models at particular points of high prediction error or points of, I believe also points of uncertainty, points of surprise or motivationally significant periods. And those points are when it’s maximally optimal to encode an episodic memory. So I used to think, “Oh, well, we’re just encoding episodic memories constantly. Boom, boom, boom, boom, boom.”

(00:30:06)
But think about how much redundancy there is in all that. It’s just a lot of information that you don’t need. But if you capture an episodic memory at the point of maximum uncertainty, for the singular experience, it’s only going to happen once, but if you capture it at the point of maximum uncertainty or maximum surprise, you have the most useful point in your experience that you’ve grabbed. And what we see is that the hippocampus and these other networks that are involved in generating these internal models of events, they show a heightened period of connectivity or correlated activity during those breaks between different events, which we call event boundaries.

(00:30:49)
These are the points where you looked surprised or you cross from one room to another and so forth. And that communication is associated with a bump of activity in the hippocampus and better memory. And so if people have a very good internal model, throughout that event you don’t need to do much memory processing, you’re in a predictive mode. And so then at these event boundaries you encode, and then you retrieve and you’re like, “Okay, wait a minute. What’s going on here? Branganath is now talking about orcas, what’s going on?” And maybe you have to go back and remember reading my book to pull out the episodic memory to make sense of whatever it is I’m babbling about.

(00:31:26)
And so there’s this beautiful dynamics that you can see in the brain of these different networks that are coming together and then deaffiliating at different points in time that are allowing you to go into these modes. And so to speak to your original question, to some extent, when we’re talking about semantic memory and episodic memory and working memory, you can think about it as these processes that are unfolding as these networks come together and pull apart,

Training memory

Lex Fridman
(00:31:53)
Can memory be trained and improved? This beautiful connected system that you’ve described, what aspect of it is a.
Lex Fridman
(00:32:00)
… you’ve described. What aspect of it is a mechanism that can be improved through training?
Charan Ranganath
(00:32:06)
I think improvement, it depends on what your definition of optimal is. What I say in the book is is that you don’t want to remember more, you want to remember better, which means focusing on the things that are important. That’s what our brains are designed to do. If you go back to the earliest quantitative studies of memory by Ebbinghaus, what you see is that he was trying so hard to memorize this arbitrary nonsense, and within a day, he lost about 60% of that information. He was basically using a very, very generous way of measuring it. As far as we know, nobody has managed to violate those basics of having people forget most of their experiences. If your expectation is that you should remember everything and that’s what your optimal is, you’re already off because this is just not what human brains are designed to do.

(00:32:58)
On the other hand, what we see over and over again is that, basically, one of the cool things about the design of the brain is it’s always less is more. Less is more. I’ve seen estimates that the human brain uses something like 12 to 20 watts in a day. That’s just nuts, the low power consumption. It’s all about reusing information and making the most of what we already have. That’s why basically, again, what you see biologically is neuromodulators, for instance, these chemicals in the brain like norepinephrine, dopamine, serotonin. These are chemicals that are released during moments that tend to be biologically significant, surprise, fear, stress, et cetera. These chemicals promote lasting plasticity, essentially, some mechanisms by which the brain can, say, prioritize the information that you carry with you into the future.

(00:33:58)
Attention is a big factor as well, our ability to focus our attention on what’s important, and so there’s different schools of thought on training attention, for instance. One of my colleagues, Amishi Jha, she wrote a book called Peak Mind and talks about mindfulness as a method for improving attention and focus. She works a lot with military like Navy SEALs and stuff to do this kind of work with mindfulness meditation. Adam Gazzaley, another one of my friends and colleagues, has worked on training through video games actually as a way of training attention. So it’s not clear to me, one of the challenges, though, in training is you tend to overfit to the thing that you’re trying to optimize. If I’m looking at a video game, I can definitely get better at paying attention in the context of the video game, but you transfer it to the outside world, that’s very controversial.
Lex Fridman
(00:35:00)
The implication there is that attention is a fundamental component of remembering something, allocating attention to it, and then attention might be something that you could train, how you allocate attention and how you hold attention on a thing.
Charan Ranganath
(00:35:13)
I can say that, in fact, we do in certain ways. If you are an expert in something, you are training attention. We did this one study of expertise in the brain. People used to think, let’s say, if you’re a bird expert or something, people will go, ” If you get really into this world of birds, you start to see the differences and your visual cortex is tuned up, and it’s all about plasticity of the visual cortex.” Vision researchers love to say everything is visual, but it’s like we did this study of working memory and expertise. One of the things that surprised us were the biggest effects as people became experts in identifying these different kinds of just crazy objects that we made up, as they developed this expertise of being able to identify what made them different from each other and what made them unique, we were actually seeing massive increases in activity in the prefrontal cortex.

(00:36:07)
This fits with some of the studies of chess experts and so forth that it’s not so much that you learn the patterns passively. You learn what to look for. You learn what’s important and what’s not. You can see this in any kind of expert professional athlete. They’re looking three steps ahead of where they’re supposed to be, so that’s a kind of a training of attention. Those are also what you’d call expert memory skills. If you take the memory athletes, I know that’s something we’re both interested in, so these are people who train in these competitions and they’ll memorize a deck of cards in a really short amount of time. There’s a great memory athlete, her name I think is pronounced Yänjaa Wintersoul.

(00:36:53)
I think she’s got a giant Instagram following. She had this YouTube video that went viral where she had memorized an entire Ikea catalog. How do people do this? By all accounts, from people who become memory athletes, they weren’t born with some extraordinary memory, but they practice strategies over and over and over again. The strategy that they use for memorizing a particular thing, it can become automatic, and you can just deploy it in an instant. Again, one strategy for learning the order of a deck of cards might not help you for something else that you need like remembering your way around Austin, Texas. But it’s going to be these, whatever you’re interested in, you can optimize for that. That’s just a natural byproduct of expertise.
Lex Fridman
(00:37:43)
There’s a certain hacks. There’s something called the Memory Palace that I played with. I don’t know if you’re familiar with that-
Charan Ranganath
(00:37:48)
Yeah. Yeah.
Lex Fridman
(00:37:48)
… whole technique, and it works. It’s interesting. So another thing I recommend for people a lot is I use Anki a lot every day. It’s an app that does spaced repetition. Medical students use this a lot to remember a lot of different things.
Charan Ranganath
(00:38:05)
Yeah. Yeah. Oh, yeah. Okay. We can come back to this, but yeah, go ahead.
Lex Fridman
(00:38:08)
Sure. It’s the whole concept of spaced repetition. When the thing is fresh, you have to remind yourself of it a lot and then, over time, you can wait a week, a month, a year before you have to recall the thing again. That way, you essentially have something like note cards that you can have tens of thousands of and can only spend 30 minutes a day and actually be refreshing all of that information, all of that knowledge. It’s really great. For Memory Palace, it’s a technique that allows you to remember things like the Ikea catalog by placing them visually in a place that you’re really familiar with, like, “I’m really familiar with this place,” so I can put numbers or facts or whatever you want to remember you can walk along that little palace and it reminds you.

(00:38:58)
It’s cool. There’s stuff like that that I think memory athletes could use, but I think also regular people can use. One of those things that I have to solve for myself is how to remember names. I’m horrible at it. I think it’s because when people introduce themselves, I have the social anxiety of the interaction where I’m like, “I know I should be remembering that,” but I’m freaking out internally about social interaction in general, and so therefore, I forget immediately, so I’m looking for good tricks for that.
Charan Ranganath
(00:39:36)
I feel like we’ve got a lot in common because when people introduce themselves to me, it’s almost like I have this just blank blackout for a moment, and then I’m just looking at them like, “What happened?” I look away or something. What’s wrong with me? I’m totally with you on this. The reason why it’s hard is that there’s no reason we should be able to remember names, because when you say you’re remembering a name, you’re not really remembering a name.

(00:40:03)
Maybe in my case, you are, but, most of the time, you’re associating a name with a face and an identity, and that’s a completely arbitrary thing. Maybe in the olden days, somebody named Miller, it’s like they’re actually making flour or something like that. For the most part, it’s like these names are just utterly arbitrary, so you have no thing to latch on to. It’s not really a thing that our brain does very well to learn meaningless, arbitrary stuff. So what you need to do is build connections somehow, visualize a connection, and sometimes it’s obvious or sometimes it’s not. I’m trying to think of a good one for you now, but the first thing I think of is Lex Luthor-
Lex Fridman
(00:40:44)
That’s great.
Charan Ranganath
(00:40:44)
… that I can think of. Yeah, so I think with Lex Luthor-
Lex Fridman
(00:40:47)
Doesn’t Lex Luthor wear a suit, I think?
Charan Ranganath
(00:40:50)
I know he has a shaved head, though, or he’s bald, which you’re not. I’d trade hair with you any day-
Lex Fridman
(00:40:58)
Right.
Charan Ranganath
(00:40:58)
… but for something like that. If I can come up with something, I could say, “Okay, so Lex Luthor is this criminal mastermind,” then I’d just imagine you-
Lex Fridman
(00:41:05)
We talked about stabbing or whatever earlier about [inaudible 00:41:07]-
Charan Ranganath
(00:41:07)
Yeah. Yeah. Exactly. Right?
Lex Fridman
(00:41:09)
… all just connected and that’s it.
Charan Ranganath
(00:41:09)
Yeah. Yeah, but I’m serious though that these kinds of weird association is now I’m building a richer network. One of the things that I find is you can have somebody’s name that’s just totally generic like John Smith or something, no offense to people with that name, if I see a generic name like that, but I’ve read John Smith’s papers academically and then I meet John Smith at a conference, I can immediately associate that name with that face ’cause I have this pre-existing network to lock everything in to.

(00:41:42)
You can build that network, and that’s what the method of loci or the Memory Palace technique is all about is you have a pre-existing structure in your head of your childhood home or this mental palace that you’ve created for yourself. So now you can put arbitrary pieces of information in different locations in that mental structure of yours and then you can walk through the different path and find all the pieces of information you’re looking for. The method of loci is a great method for just learning arbitrary things because it allows you to link them together and get that cue that you need to pop in and find everything.

Memory hacks

Lex Fridman
(00:42:22)
We should maybe linger on this Memory Palace thing just to make it obvious, ’cause when people were describing to me a while ago what this is, it seems insane. You literally think of a place like a childhood home or a home that you’re really visually familiar with and you literally place in that three-dimensional space facts or people or whatever you want to remember, and you just walk in your mind along that place visually and you can remember, remind yourself of the different things. One of the limitations is there is a sequence to it.

(00:43:10)
You can’t just go upstairs right away or something. You have to walk along the room. It’s really great for remembering sequences, but it’s also not great for remembering individual facts out of context. The full context of the tour, I think, is important, but it’s fascinating how the mind is able to do that. When you ground these pieces of knowledge into something that you remember well already, especially visually, it’s fascinating. I think you do that for any kind of sequence. I’m sure she used something like this for the Ikea catalog, something of this nature.
Charan Ranganath
(00:43:43)
Oh, yeah, absolutely. Absolutely. I think the principle here is, again, I was telling you this idea that memories can compete with each other. Well, I like to use this example, and maybe someday I’ll regret this, but I’ve used it a lot recently. Imagine if this were my desk, it could be cluttered with a zillion different things. Imagine it’s just cluttered with a whole bunch of yellow Post-it notes and on one of them I put my bank password on it. Well, it’s going to take me forever to find it. It’s just going to be buried under all these other Post-it notes. If it’s hot pink, it’s going to stand out and I find it really easily. That’s one way in which if things are distinctive, if you’ve processed information in a very distinctive way, then you can have a memory that’s going to last.

(00:44:32)
That’s very good, for instance, for name/face associations. If I get something distinctive about you that’s it like you’ve got a very short hair, and maybe I can make the association with Lex Luthor that way or something like that. If I get something very specific, that’s a great cue. But the other part of it is what if I just organized my notes so that I have my finances in one pile and I have my reminders, my to-do list in one pile and so forth so I organize them. Well, then, I know exactly if I’m going for my bank password, I could go to the finance pile. The method of loci works or Memory Palaces work because they give you a way of organizing.

(00:45:13)
There’s a school of thought that says that episodic memory evolved from this knowledge of space and basically there’s primitive abilities to figure out where you are, and so people explain the method of loci that way. Whether or not the evolutionary argument is true, the method of loci is not at all special. If you’re not a good visualizer, stories are a good one. So a lot of memory athletes will use stories and they’ll go, like if you’re memorizing a deck of cards, they have a little code for the different, the King and the Jack and the 10 and so forth. They’ll make up a story about things that they’re doing and that’ll work. Songs are a great one. I can still remember there’s this obscure episode of the TV show Cheers. They song about Albania that he uses to memorize all these facts about Albania. I could still sing that song to you as just as I saw it on the TV show.
Lex Fridman
(00:46:12)
So you mentioned space repetition. So do you like this process? Maybe can you explain it?
Charan Ranganath
(00:46:17)
Oh, yeah. If I am trying to memorize something, let’s say if I have an hour to memorize as many Spanish words as I can, if I just try to do half-an-hour and then later in the day I do half-an-hour, I won’t retain that information as long as if I do half-an-hour today and half-an-hour one week from now. So doing that extra spacing should help me retain the information better. Now, there’s an interesting boundary condition, which is, it depends on when you need that information. So many of us, for me, I can’t remember so much from college and high school ’cause I crammed ’cause I just did everything at the last minute. Sometimes I would literally study in the hallway right before the test, and that was great because what would happen is is I just had that information right there.

(00:47:09)
So actually, not spacing can really help you if you need it very quickly, but the problem is is that you tend to forget it later on. But on the other hand, if you space things out, you get a benefit for later on retention. So there’s many different explanations. We have a computational model of this. It’s currently under revision. But in our computer model, what we say is that maybe a good way of thinking about this is this conversation that you and I are having, it’s associated with a particular context, a particular place in time. So all of these little cues that are in the background, these little guitar sculptures that you have and that big light umbrella thing, all these things are part of my memory for what we’re talking about, the content. So now later on, you’re sitting around, and you’re at home drinking a beer and you’re thinking, “God, what a strange interview that was,” right?

(00:48:04)
So now you’re trying to remember it, but the context is different. So your current situation doesn’t match up with the memory that you pulled up, there’s error. There’s a mismatch between what you’ve pulled up and your current context. So in our model, what you start to do is you start to erase or alter the parts of the memory that are associated with a specific place and time, and you heighten the information about the content. So if you remember this information in different times in different places, it’s more accessible at different times in different places because it’s not overfitted in an AI way of thinking about things. It’s not overfitted to one particular context. But that’s also why the memories that we call upon the most also feel like they’re just things that we read about almost. You don’t vividly reimagine them, right? It’s like they’re just these things that just come to us, like facts, right?
Lex Fridman
(00:49:01)
Yeah.
Charan Ranganath
(00:49:02)
It’s a little bit different than semantic memory, but it’s like basically these events that we have recalled over and over and over again, we keep updating that memory so it’s less and less tied to the original experience. But then we have those other ones, which it’s like you just get a reminder of that very specific context. You smell something, you hear a song, you see a place that you haven’t been to in a while, and boom, it just comes back to you. That’s the exact opposite of what you get with spacing, right?
Lex Fridman
(00:49:30)
That’s so fascinating. So with space repetition, one of its powers is that you lose attachment to a particular context, but then it loses the intensity of the flavor of the memory.
Charan Ranganath
(00:49:44)
Mm-hmm.
Lex Fridman
(00:49:45)
That’s interesting. That’s so interesting.
Charan Ranganath
(00:49:47)
Yeah, but at the same time, it becomes stronger in the sense that the content becomes stronger.
Lex Fridman
(00:49:52)
So it’s used for learning languages, for learning facts, for that generic semantic information type of memories.
Charan Ranganath
(00:49:59)
Yeah, and I think this falls into a category. We’ve done other modeling. One of these is a published study in PLOS Computational Biology where we showed that another way, which is, I think, related to the spacing effect is what’s called the testing effect. So the idea is that if you’re trying to learn words, let’s say in Spanish or something like that, and this doesn’t have to be words, it could be anything, you test yourself on the words. That act of testing yourself helps you retain it better over time than if you just studied it. So from traditional learning theories, some learning theories, anyway, this seems weird, why would you do better giving yourself this extra error from testing yourself rather than just giving yourself perfect input that’s a replica of what it is that you’re trying to learn?

(00:50:51)
I think the reason is is that you get better retention from that error, that mismatch that we talked about. So what’s happening in our model, it’s actually conceptually similar to what happens with backprop in AI or neural networks. So the idea is that you expose, “Here’s the bad connections, and here’s the good connections.” So we can keep the parts of the cell assembly that are good for the memory and lose the ones that are not so good. But if you don’t stress test the memory, you haven’t exposed it to the error fully. So that’s why I think this is a thing that I come back to over and over again, is that you will retain information better if you’re constantly pushing yourself to your limit. If you are feeling like you’re coasting, then you’re actually not learning, so it’s like-
Lex Fridman
(00:51:46)
You should always be stress testing the memory system.
Charan Ranganath
(00:51:50)
Yeah, and feel good about it. Even though everyone tells me, “Oh, my memory is terrible,” in the moment they’re overconfident about what they’ll retain later on. So it’s fascinating. So what happens is when you test yourself, you’re like, “Oh, my God, I thought I knew that, but I don’t.” So it can be demoralizing until you get around that and you realize, “Hey, this is the way that I learn. This is how I learned best.” It’s like if you’re trying to star in a movie or something like that, you don’t just sit around reading the script. You actually act it out, and you’re going to botch those lines from time to time, right?
Lex Fridman
(00:52:27)
You know what? There’s an interesting moment, you probably have experienced this. I remember a good friend of mine, Joe Rogan, I was on his podcast, and we were randomly talking about soccer, football, somebody I grew up watching Diego Armando Maradona, one of the greatest soccer players of all time. We were talking about him and his career and so on, and Joe asked me if he’s still around. I said, ” Yeah.” I don’t know why I thought, “Yeah,” because that was a perfect example of memories. He passed away. I tweeted about it, how heartbroken I was, all this kind of stuff a year before.

(00:53:17)
I know this, but in my mind, I went back to the thing I’ve done many times in my head of visualizing some of the epic runs he had on goal and so on. So for me, he’s alive. Part of also the conversation when you’re talking to Joe, there’s stress and the focus is allocated. The attention is allocated in a particular way. But when I walked away, I was like, “In which world was Diego Maradona still alive?” ‘Cause I was sure in my head that he was still alive. It’s a moment that sticks with me. I’ve had a few like that in my life where it just… obvious things just disappear from mind, and it’s cool. It shows actually the power of the mind in the positive sense to erase memories you want erased maybe, but I don’t know. I don’t know if there’s a good explanation for that.

Imagination vs memory

Charan Ranganath
(00:54:11)
One of the cool things that I found is that some people really just revolutionize a field by creating a problem that didn’t exist before. It’s why I love science is engineering is like solving other people’s problems and science is about creating problems. I’m just much more like I want to break things and create problems, not necessarily move fast, though. But one of my former mentors, Marcia Johnson, who in my opinion is one of the greatest memory researchers of all time, she comes up young woman in the field in this mostly guy field. She gets into this idea of how do we tell the difference between things that we’ve imagined and things that we actually remember? How do we tell, I get some mental experience, where did that mental experience come from? It turns out this is a huge problem because essentially our mental experience of remembering something that happened, our mental experience of thinking about something, how do you tell the difference? They’re both largely constructions in our head, and so it is very important. The way that you do it is, it’s not perfect, but the way that we often do it and succeed is by, again, using our prefrontal cortex and really focusing on the sensory information or the place in time and the things that put us back into when this information happened. If it’s something you thought about, you’re not going to have all of that vivid detail as you do for something that actually happened, but it doesn’t work all the time. But that’s a big thing that you have to do. But it takes time. It’s slow, and it’s again, effortful, but that’s what you need to remember accurately.

(00:55:53)
But what’s cool, and I think this is what you alluded to about how that was an interesting experience is, imagination is exactly the opposite. Imagination is basically saying, “I’m just going to take all this information from memory, recombine it in different ways and throw it out there.” So for instance, Dan Schachter and Donna Addis have done cool work on this. Demis Hassabis did work on this with Eleanor McGuire in UCL, and this goes back actually to this guy, Frederic Bartlett, who is this revolutionary memory researcher, Bartlett. He actually rejected the whole idea of quantifying memory. He said, “There’s no statistics in my book.” He came from this anthropology perspective and short version of the story is he just asked people to recall things. You give people stories and poems, ask people to recall them.

(00:56:43)
What we found was people’s memories didn’t reflect all of the details of what they were exposed to, and they did reflect a lot more… they were filtered through this lens of prior knowledge; the cultures that they came from, the beliefs that they had, the things they knew. So what he concluded was that he called remembering an imaginative construction, meaning that we don’t replay the past, we imagine how the past could have been by taking bits and pieces that come up in our heads. Likewise, he wrote this beautiful paper on imagination saying when we imagine something and create something, we’re creating it from these specific experiences that we’ve had and combining it with our general knowledge. But instead of trying to focus it on being accurate and getting out one thing, you’re just ruthlessly recombining things without any necessary goal in mind, or at least that’s one kind of creation.
Lex Fridman
(00:57:39)
So imagination is fundamentally coupled with memory in both directions.
Charan Ranganath
(00:57:48)
I think so. It’s not clear that it is in everyone, but one of the things that’s been studied is some patients who have amnesia, for instance, they have brain damage, say, to the hippocampus. If you ask them to imagine things that are not in front of them, imagine what could happen after I leave this room, they find it very difficult to give you a scenario what could happen. Or if they do, it would be more stereotyped like, “Yes, this would happen, this would…” But it’s not like they can come up with anything that’s very vivid and creative in that sense. It’s partly ’cause when you have amnesia, you’re stuck in the present because to get a very good model of the future, it really helps to have episodic memories to draw upon, and so that’s the basic idea. In fact, one of the most impressive things when people started to scan people’s brains and ask people to remember past events, what they found was there was this big network of the brain called the default mode network.

(00:58:47)
It gets a lot of press because it’s thought to be important. It’s engaged during mind wandering. If I ask you to pay attention to something, it only comes on when you stop paying attention, so people, “Oh, it’s just this kind of daydreaming network.” I thought, “This is just ridiculous research. Who cares?” But then what people found was when people recall episodic memories, this network gets active. So we started to look into it, and this network of areas is really closely functionally interacting with the hippocampus. So in fact, some would say the hippocampus is part of this default network. If you look at brain images of people or brain maps of activation, so to speak, of people imagining possible scenarios of things that could happen in the future or even things that couldn’t really be very plausible, they look very similar.

(00:59:41)
To the naked eye, they look almost the same as maps of brain activation when people remember the past. According to our theory, and we’ve got some data to support this, we’ve broken up this network in various sub pieces, is that basically it’s taking apart all of our experiences and creating these little Lego blocks out of them. Then you can put them back together if you have the right instructions to recreate these experiences that you’ve had, but you could also reassemble them into new pieces to create a model of an event that hasn’t happened yet, and that’s what we think happens when our common ground that we’re establishing in language requires using those building blocks to put together a model of what’s going on.
Lex Fridman
(01:00:23)
Well, there’s a good percentage of time I personally live in the imagined world. I do thought experiments a lot. I take the absurdity of human life as it stands and play it forward in all kinds of different directions. Sometimes it’s rigorous thoughts, thought experiments, sometimes it’s fun ones. So I imagine that that has an effect on how I remember things. I suppose I have to be a little bit careful to make sure stuff happened versus stuff that I just imagined happened. Some of my best friends are characters inside books that never even existed. There’s some degree to which they actually exist in my mind. Like these characters exist, authors exist, Dostoevsky exists, but also Brothers Karamazov.
Charan Ranganath
(01:01:22)
I love that book. One of the few books I’ve read. One of the few literature books that I’ve read, I should say. I read a lot in school that I don’t remember, but Brothers Karamazov, I remember. Alyosha-
Lex Fridman
(01:01:33)
They exist, and I have almost conversations with them, it’s interesting. It’s interesting to allow your brain to play with ideas of the past of the imagined and see it all as one.
Charan Ranganath
(01:01:46)
Yeah, there was actually this famous mnemonist, he’s like back then the equivalent of a memory athlete, except he would go to shows and do this, that was described by this really famous neuropsychologist from Russia named Luria. So this guy was named Solomon Shereshevsky, and he had this condition called synesthesia that basically created these weird associations between different senses that normally wouldn’t go together. So that gave him this incredibly vivid imagination that he would use to basically imagine all sorts of things that he would need to memorize, and he would just imagine, just create these incredibly detailed things in his head that allowed him to memorize all sorts of stuff.

(01:02:32)
But it also really haunted him by some reports that basically it was like he was at some point, and again, who knows if the drinking was part of this, but he at some point had trouble differentiating his imagination from reality. This is interesting because it’s like that’s what psychosis is in some ways is first of all, you’re just learning connections from prediction errors that you probably shouldn’t learn. The other part of it is is that your internal signals are being confused with actual things in the outside world. Right?
Lex Fridman
(01:03:08)
Well, that’s why a lot of this stuff is both feature and bug. It’s a double-edged sword.
Charan Ranganath
(01:03:13)
Yeah, it might be why there’s such an interesting relationship between genius and psychosis.
Lex Fridman
(01:03:18)
Yeah. Maybe they’re just two sides of the same coin. Humans are fascinating, aren’t they?
Charan Ranganath
(01:03:25)
I think so, sometimes scary, but mostly fascinating.

Memory competitions

Lex Fridman
(01:03:29)
Can we just talk about memory sport a little longer? There’s something called the USA Memory Championship. What are these athletes like? What does it mean to be elite level at this? Have you interacted with any of them or reading about them, what have you learned about these folks?
Charan Ranganath
(01:03:47)
There’s a guy named Henry Roediger who’s studying these guys. There’s actually a book by Joshua Foer called Moonwalking with Einstein, where he talks about, he actually, as part of this book, just decided to become a memory athlete. They often have these life events that make them go-
Charan Ranganath
(01:04:00)
… athlete, they often have these life events that make them go, “Hey, why don’t I do this?” So there was a guy named Scott Hagwood who I write about, who thought that he was getting chemo for cancer. And so he decided, because chemo, there’s a well-known thing called chemo brain where people become, they just lose a lot of their sharpness. And so he wanted to fight that by learning these memory skills. So he bought a book, and this is the story you hear in a lot of memory athletes is they buy a book by other memory athletes or other memory experts, so to speak. And they just learn those skills and practice them over and over again. They start by winning bets and so forth. And then they go into these competitions. And the competitions are typically things like memorizing long strings of numbers or memorizing orders of cards and so forth. So they tend to be pretty arbitrary things, not things that you’d be able to bring a lot of prior knowledge. But they build the skills that you need to memorize arbitrary things.
Lex Fridman
(01:05:06)
Yeah, that’s fascinating. I’ve gotten a chance to work with something called n-back tasks. So there’s all these kinds of tasks, memory recall tasks that are used to kind of load up the quote-unquote, working memory.
Charan Ranganath
(01:05:17)
Yeah, yeah.
Lex Fridman
(01:05:20)
The psychologist used it to test all kinds of stuff to see how well you’re good at multitasking. We used it in particular for the task of driving. If we fill up your brain with intensive working memory tasks, how good are you at also not crashing, that kind of stuff. So it’s fascinating, but again, those tasks are arbitrary and they’re usually about recalling a sequence of numbers in some kind of semi-complex way. Do you have any favorite tasks of this nature in your own studies?
Charan Ranganath
(01:05:55)
I’ve really been most excited about going in the opposite direction and using things that are more and more naturalistic. And the reason is that we’ve moved in that direction because what we found is that memory works very, very differently when you study memory in the way that people typically remember. And so it goes into a much more predictive mode. And you have these event boundaries, for instance, and you have… But a lot of what happens is this kind of fascinating mix that we’ve been talking about, a mix of interpretations and imagination with perception. And the new direction we’re going in is understanding navigation in our memory [inaudible 01:06:44] places. And the reason is that there’s a lot of work that’s done in rats, which is very good work. They have a rat and they put it in a box and the rat goes chases cheese in a box. You’ll find cells in the hippocampus that fire when a rat is in different places in the box.

(01:07:01)
And so the conventional wisdom is that the hippocampus forms this map of the box. And I think that probably may happen when you have absolutely no knowledge of the world, right? But I think one of the cool things about human memory is we can bring to bear our past experiences to economically learn new ones. And so for instance, if you learn a map of an IKEA, let’s say if I go to the IKEA in Austin, I’m sure there’s one here. I probably could go to this IKEA and find my way to where the wine glasses are without having to even think about it because it’s got a very similar layout, even though IKEA is a nightmare to get around. Once I learned my local IKEA, I can use that map everywhere. Why form a brand new one for a new place? So that kind of ability to reuse information really comes into play when we look at things that are more naturalistic tasks.

(01:08:04)
And another thing that we’re really interested in is this idea of what if instead of basically mapping out every coordinate in a space, you form a pretty economical graph that connects basically the major landmarks together? And being able to use that as emphasizing the things that are most important, the places that you go for food and the places that are landmarks that help you get around. And then filling in the blanks for the rest, because I really believe that cognitive maps or mental maps of the world, just like our memories for events are not photographic. I think they’re this combination of actual verifiable details and then a lot of inference that you make.
Lex Fridman
(01:08:50)
What have you learned about this kind of spatial mapping of places? How do people represent locations?
Charan Ranganath
(01:08:57)
There’s a lot of variability, I think that… And there’s a lot of disagreement about how people represent locations. In a world of GPS and physical maps, people can learn it from basically what they call a survey perspective, being able to see everything. And so that’s one way in which humans can do it that’s a little bit different. There’s one way which we can memorize routes. I know how to get from here to, let’s say if I walk here from my hotel, I could just rigidly follow that route back, right? And there’s another more integrative way, which would be what’s called a cognitive map. Which would be kind of a sense of how everything relates to each other. And so there’s lots of people who believe that these maps that we have in our head are isomorphic with the world, that are these literal coordinates that follow Euclidean space. And as you know, Euclidean mathematics is very constrained, right?

(01:09:55)
And I think that we are actually much more generative in our maps of space so that we do have these bits and pieces. And we’ve got a small task, it’s right now, not yet… we need to do some work on it for further analyses. But one of the things we’re looking at is these signals called ripples in the hippocampus, which are these bursts of activity that you see that are synchronized with areas in the neocortex, in the default network actually. And so what we find is that those ripples seem to increase at navigationally important points when you’re making a decision or when you reach a goal. This speaks to the emotion thing, right? Because if you have limited choices, if I’m walking down a street, I could really just get a mental map of the neighborhood with a more minimal kind of thing by just saying, “Here’s the intersections and here’s the directions I take to get in between them.”

(01:10:51)
And what we found in general in our MRI studies is basically the more people can reduce the problem, whether it’s space or any kind of decision-making problem, the less the hippocampus encodes. It really is very economical towards the points of most highest information, content and value.
Lex Fridman
(01:11:13)
So can you describe the encoding in the hippocampus and the ripples you were talking about? What’s the signal in which we see the ripples?
Charan Ranganath
(01:11:23)
Yeah, so this is really interesting. There are these oscillations, right? So there’s these waves that you basically see. And these waves are points of very high excitability and low excitability. And at least during… They happen actually during slow-wave sleep too. So the deepest stages of sleep, when you’re just zonked out, right? You see these very slow waves, where it’s very excitable and then very unexcitable, it goes up and down. And on top of them you’ll see these little sharp wave ripples. And when there’s a ripple in the hippocampus, you tend to see a sequence of cells that resemble a sequence of cells that fire when an animal is actually doing something in the world. So it almost is like a little, people call it replay, I think it’s a little bit… I don’t like that term, but it’s basically a little bit of a compressed play of the sequence of activity in the brain that was taking place earlier.

(01:12:21)
And during those moments, there’s a little window of communication between the hippocampus and these areas in the neocortex. And so that I think helps you form new memories, but it also helps you, I think, stabilize them, but also really connect different things together in memory. And allows you to build bridges between different events that you’ve had. And so this is one of at least our theories of sleep, and its real role in helping you see the connections between different events that you’ve experienced.
Lex Fridman
(01:12:52)
So during sleep is when the connections are formed?
Charan Ranganath
(01:12:55)
The connections between different events, right?
Lex Fridman
(01:12:58)
Yeah.
Charan Ranganath
(01:12:58)
So it’s like you see me now, you see me next week, you see me a month later. You start to build a little internal model of how I behave and what to expect of me. And we think sleep, one of the things it allows you to do is figure out those connections and connect the dots and find the signal in the noise.

Science of memory

Lex Fridman
(01:13:18)
So you mentioned fMRI. What is it? And how is it used in studying memory?
Charan Ranganath
(01:13:24)
This is actually the reason why I got into this whole field of science is when I was in grad school, fMRI was just really taking off as a technique for studying brain activity. And what’s beautiful about it is you can study the whole human brain. And there’s lots of limits to it, but you can basically do it in a person without sticking anything into their brains, and very non-invasive. For me being in an MRI scanner is like being in the womb, I just fall asleep. If I’m not being asked to do anything, I get very sleepy. But you can have people watch movies while they’re being scanned or you can have them do tests of memory, giving them words and so forth to memorize. But what MRI is itself is just this technique where you put people in a very high magnetic field. Typical ones we would use would be 3 Tesla to give you an idea.

(01:14:18)
So a 3 Tesla magnet, you put somebody in, and what happens is you get this very weak but measurable magnetization in the brain. And then you apply a radio frequency pulse, which is basically a different electromagnetic field. And so you’re basically using water, the water molecules in the brain as a tracer, so to speak. And part of it in fMRI is the fact that these magnetic fields that you mess with by manipulating these radio frequency pulses and the static field, and you have things called gradients, which change the strength of the magnetic field in different parts of the head. So we tweak them in different ways, but the basic idea that we use in fMRI is that blood is flowing to the brain. And when you have blood that doesn’t have oxygen on it, it’s a little bit more magnetizable than blood that does because you have hemoglobin that carries the oxygen, the iron basically in the blood that makes it red.

(01:15:20)
And so that hemoglobin, when it’s deoxygenated actually has different magnetic field properties than when it has oxygen. And it turns out when you have an increase in local activity in some part of the brain, the blood flows there. And as a result you get a lower concentration of hemoglobin that is not oxygenated, and then that gives you more signal. So I gave you, I think I sent you a GIF, as you like to say.
Lex Fridman
(01:15:53)
Yeah, we had off-record intense argument about if it’s pronounced GIF or GIF, but we shall set that aside as friends.
Charan Ranganath
(01:16:02)
We could have called it a stern rebuke perhaps, but…
Lex Fridman
(01:16:05)
Rebuke, yeah. I drew a hard line, it is true the creator of GIF said it’s pronounced GIF, but that’s the only person that pronounces GIF. Anyway, yes, you sent a GIF of…
Charan Ranganath
(01:16:19)
This would be basically a whole… a movie of fMRI data. And so when you look at it, it’s not very impressive, it looks like these very pixelated maps of the brain, but it’s mostly kind of white. But these tiny changes in the intensity of those signals that you probably wouldn’t be able to visually perceive, about 1% can be statistically very, very large effects for us. And that allows us to see, “Hey, there’s an increase in activity in some part of the brain when I’m doing some task like trying to remember something.” And I can use those changes to even predict, is a person going to remember this later or not? And the coolest thing that people have done is to decode what people are remembering from the patterns of activity from… Because maybe when I’m remembering this thing, I’m remembering the house where I grew up. I might have one pixel that’s bright in the hippocampus and one that’s dark.

(01:17:17)
And if I’m remembering something more like the car that I used to drive when I was 16, I might see the opposite pattern where a different pixel is bright. And so all that little stuff that we use to think of noise, we can now think of almost like a QR code for memory, so to speak. Where different memories have a different little pattern of bright pixels and dark pixels. And so this really revolutionized my research. So there’s fancy research out there where people really… not even that f… by your standards, this would be Stone Age, but applying machine learning techniques to do decoding and so forth. And now there’s a lot of forward encoding models and you can go to town with this stuff, right? And I’m much more old school of designing experiments where you basically say, “Okay, here’s a whole web of memories that overlap in some way, shape or form.” Do memories that occurred in the same place have a similar QR code? And do memories that occurred in different places have a different QR code?

(01:18:16)
And you can just use things like correlation coefficients or cosine distance to measure that stuff, right? Super simple, right? And so what happens is you can start to get a whole state space of how a brain area is indexing all these different memories. It’s super fascinating because what we could see is this little separation between how certain brain areas are processing memory for who was there. And other brain areas are processing information about where it occurred, or the situation that’s kind of unfolding. And some are giving you information about what are my goals that are involved and so forth. And the hippocampus is just putting it all together into these unique things that just are of about when and where it happened.
Lex Fridman
(01:19:00)
So there’s a separation between spatial information concepts, literally there’s distinct, as you said, QR codes for these?
Charan Ranganath
(01:19:13)
So to speak. Let me try a different analogy too, that might be more accessible for people. Which would be, you’ve got a folder on your computer, right? I open it up, there’s a bunch of files there. I can sort those files by alphabetical order. And now things that both start with letter A are lumped together, and things that start with Z versus A are far apart, right?
Lex Fridman
(01:19:35)
Mm-hmm.
Charan Ranganath
(01:19:36)
And so that is one way of organizing the folder, but I could do it by date. And if I do it by date, things that were created close together in time are close, and things that are far apart in time are far. So you can think of how a brain area or a network of areas contributes to memory by looking at what the sorting scheme is. And these QR codes that we’re talking about that you get from fMRI allow you to do that. And you can do the same thing if you’re recording from massive populations of neurons in an animal. And you can do it for recording local potentials in the brain. So little waves of activity in let’s say a human who has epilepsy and they stick electrodes in their brain to try to find seizures. So that’s some of the work that we’re doing now.

(01:20:24)
But all of these techniques basically allow you to say, “Hey, what’s the sorting scheme?” And so we’ve found that some networks of the brain sort information in memory according to who was there. So I might have… We’ve actually shown in one of my favorite studies of all time that was done by a former postdoc, Zach Reagh. And Zach did the study where we had a bunch of movies with different people in my labs that are two different people. And you filmed them at two different cafes and two different supermarkets. And what you could show is in one particular network, you could find the same kind of pattern of activity, more or less, a very similar pattern of activity. Every time I saw Alex in one of these movies, no matter where he was, right? And I could see another one that was a common pattern that happened every time I saw this particular supermarket nugget. And it didn’t matter whether you’re watching a movie or whether you’re recalling the movie, it’s the same kind of pattern that comes up, right?
Lex Fridman
(01:21:28)
It’s so fascinating.
Charan Ranganath
(01:21:29)
It is fascinating. And so now you have those building blocks for assembling a model of what’s happening in the present, imagining what could happen, and remembering things very economically from putting together all these pieces. So that all the hippocampus has to do is get the right kind of blueprint for how to put together all these building blocks.
Lex Fridman
(01:21:48)
These are all beautiful hints at a super interesting system that makes me wonder on the other side of it how to build it. But it’s fascinating the way it does the encoding is really, really fascinating. Or I guess the symptoms, the results of that encoding are fascinating to study from this. Just as a small tangent, you mentioned sort of the measuring local potentials with electrodes versus fMRI.
Charan Ranganath
(01:22:16)
Oh yeah.
Lex Fridman
(01:22:17)
What are some interesting limitations, possibilities of fMRI? The way you explained it is brilliant with blood and detecting the activations or the excitation because blood flows to that area. What’s the latency of that? What’s the blood dynamics in the brain that… How quickly can the tasks change and all that kind of stuff?
Charan Ranganath
(01:22:44)
Yeah, it’s very slow. To the brain, 50 milliseconds, it’s an eternity. Maybe not 50 mil… maybe let’s say half a second, 500 milliseconds, just so much back and forth stuff happens in the brain in that time, right? So in fMRI, you can measure these magnetic field responses about six seconds after that burst of activity would take place. All these things, it’s like is it a feature or is it a bug? Right? So one of the interesting things that’s been discovered about fMRI is it’s not so tightly related to the spiking of the neurons. So we tend to think of the computation, so to speak, as being driven by spikes, meaning there’s just a burst of it’s either on or it’s off and the neurons going up or down. But sometimes what you can have is these states where the neuron becomes a little bit more excitable or less excitable.

(01:23:45)
And so fMRI is very sensitive to those changes in excitability. Actually, one of the fascinating things about fMRI is where does that… how is it we go from neural activity to essentially blood flow to oxygen? All this stuff. It’s such a long chain of going from neural activity to magnetic fields. And one of the theories that’s out there is most of the cells in the brain are not neurons, they’re actually these support cells called glial cells. And one big one is astrocytes, and they play this big role in regulating, kind of being a middle man, so to speak, with the neurons. So if, for instance, one neuron’s talking to another, you release a neurotransmitter like let’s say glutamate. And that gets another neuron, starts getting active after you release it in the gap between the two neurons called the synapse.

(01:24:39)
So what’s interesting is if you leave that, imagine you’re just flooded with this liquid in there, right? If you leave it in there too long, you just excite the other neuron too much and you can start to basically get seizure activity. You don’t want this, so you got to suck it up. And so actually what happens is these astrocytes, one of their functions is to suck up the glutamate from the synapse. And that is a massively… And then break it down and then feed it back into the neuron so that you could reuse it. But that cycling is actually very energy intensive. And what’s interesting is at least according to one theory, they need to work so quickly that they’re working on metabolizing the glucose that comes in without using oxygen. Kind of like anaerobic metabolism, so they’re not using oxygen as fast as they’re using glucose. So what we’re really seeing in some ways may be in fMRI, not the neurons themselves being active, but rather the astrocytes which are meeting the metabolic demands of the process of keeping the whole system going.
Lex Fridman
(01:25:47)
It does seem to be that fMRI is a good way to study activation. So with these astrocytes, even though there’s a latency, it’s pretty reliably coupled to the activations.
Charan Ranganath
(01:26:01)
Oh, well, this gets me to the other part. So now let’s say for instance, if I’m just kind of I’m talking to you, but I’m kind of paying attention to your cowboy hat, right? So I’m looking off to the… Or I’m thinking about the [inaudible 01:26:12], even if I’m not looking at it. What you’d see is that there’d be this little elevation in activity in areas in the visual cortex, which process vision around that point in space, okay? So if then something happened like a suddenly a light flashed in that part of… right in front of your cowboy hat, I would have a bigger response to it. But what you see in fMRI is even if I don’t see that flash of light, there’s a lot of activity that I can measure because you’re kind of keeping it excitable [inaudible 01:26:46] that in and of itself, even though I’m not seeing anything there that’s particularly interesting, there’s still this increase in activity.

(01:26:53)
So it’s more sensitive with fMRI. So is that a feature or is it a bug? People who study spikes in neurons would say, “Well, that’s terrible, we don’t want that.” Likewise, it’s slow, and that’s terrible for measuring things that are very fast. But one of the things that we found in our work was when we give people movies and when we give people stories to listen to, a lot of the action is in the very, very slow stuff. Because if you’re thinking about a story, let’s say you’re listening to a podcast or something, you’re listening to Lex Fridman Podcast, right? You’re putting this stuff together and building this internal model over several seconds. Which is basically we filter that out when we look at electrical activity in the brain because we’re interested in this millisecond scale, it’s almost massive amounts of information, right? So the way I see it is every technique gives you a little limited window into what’s going on.

(01:27:50)
fMRI has huge problems, people lie down in the scanner. There’s parts of the brain where… I will show you in some of these images where you’ll see kind of gaping holes because you can’t keep the magnetic field stable in those spots. You’ll see parts where it’s like there’s a vein, and so it just produces big increase and decrease in signal or respiration that causes these changes. There’s lots of artifacts and stuff like that. Every technique has its limits. If I’m lying down in an MRI scanner, I’m lying down. I’m not interacting with you in the same way that I would in the real world. But at the same time, I’m getting data that I might not be able to get otherwise. And so different techniques give you different kinds of advantages.

Discoveries

Lex Fridman
(01:28:33)
What kind of big scientific discoveries, maybe the flavor of discoveries have been done throughout the history of the science of memory, the studying of memory? What kind of things have been understood?
Charan Ranganath
(01:28:48)
Oh, there’s so many, it’s really so hard to summarize it. I think it’s funny because it’s like when you’re in the field, you can get kind of blasé about this stuff. But then once I started write the book, I was like, “Oh my God, this is really interesting. How did we do all this stuff?” I would say that some of the… From the first study, it’s just showing how much we forget is very important. Showing how much schemas, which is our organized knowledge about the world increase our ability to remember information, just massively increase in [inaudible 01:29:25] of expertise. Showing how experts like chess experts can memorize so much in such a short amount of time because of the schemas they have for chess. But then also showing that those lead to all sorts of distortions in memory.
Lex Fridman
(01:28:48)
Mm-hmm.
Charan Ranganath
(01:29:40)
The discovery that the act of remembering can change the memory, it can strengthen it, but it can also distort it if you get misinformation at the time. And it can also strengthen or weaken other memories that you didn’t even recall. So just this whole idea of memory as an ecosystem I think was a big discovery. I could go, this idea of breaking up our continuous experience into these discrete events, I think was a major discovery.
Lex Fridman
(01:30:09)
So the discreetness of our encoding of events?
Charan Ranganath
(01:30:12)
Maybe, yeah, and again, there’s controversial ideas about this, right? But it’s like, yeah, this idea that… And this gets back to just this common experience of you walk into the kitchen and you’re like, “Why am I here?” And you just end up grabbing some food from the fridge. And you go back and you’re like, “Oh, wait a minute, I left my watch in the kitchen. That’s what I was looking for.” And so what happens is that you have a little internal model of where you are, what you’re thinking about. And when you cross from one room to another, those models get updated. And so now when you’re in the kitchen, have to go back and mentally time travel back to this earlier point to remember what it was that you went there for. And so these event boundaries turns out in our research, and again, I don’t want to make it sound like we’ve figured out everything. But in our research, one of the things that we found is that basically, as people get older, the activity in the hippocampus at these event boundaries tends to go down, but independent of age.

(01:31:13)
If I give you outside of the scanner, you’re done with the scanner, I just scan you while you’re watching a movie, just watch it. You come out, I give you a test of memory for stories. What happens is you find this incredible correlation between the activity in the hippocampus at these singular points in time, these event boundaries. And your ability to just remember a story outside of the scanner later on. So it’s marking this ability to encode memories, just these little snippets of neural activity. So I think that’s a big one. There’s all sorts of work in animal models that I can get into. Sleep, I think there’s so much interesting stuff that’s being discovered in sleep right now.

(01:31:55)
Being able to just record from large populations of cells and then be able to relate that… [inaudible 01:32:03], I think the coolest thing gets back to this QR code thing, because what we can do now is I can take fMRI data while you’re watching a movie. Let’s do better than that. Let me get fMRI data while you use a joystick to move around in virtual reality. So you’re in the metaverse, whatever. But it’s kind of a crappy metaverse because there’s only so much metaversing you can do in an MRI scanner. So you’re doing this crappy metaversing. So now, I can take a rat, record from its hippocampus and prefrontal cortex and all these areas with these really new electrodes that get massive amounts of data. And have it move around on a trackball in virtual reality in the same metaverse that I did, and record that rat’s activity.

(01:32:46)
I can get a person with epilepsy who we have electrodes in their brain anyway, to try to figure out where the seizures are coming from. And if it’s a healthy part of the brain, record from that person, right? And I can get a computational model. And one of the brand new members in my lab, Tyler Brown is just doing some great stuff. He relates computer vision models and looks at the weaknesses of computer vision models and relates to what the brain does well.
Lex Fridman
(01:33:12)
Mm-hmm. Nice.
Charan Ranganath
(01:33:14)
And so you can actually take a ground truth code for the metaverse, basically, and you can feed in the visual information, let’s say the sensory information or whatever that’s coming in to a computational model that’s designed to take real world inputs, right? And you could basically tie them all together by virtue of the state spaces that you’re measuring in neural activity, in these different formats and these different species, and in the computational model. Which is I just find that mind-blowing. And you could do different kinds of analyses on language and basically come up with… Basically it’s the guts of LLMs, right? You could do analyses on language and you could do analyses on sentiment analyses of emotions and so forth. Put all this stuff together, it’s almost too much. But if you do it right and you do it in a theory-driven way as opposed to just throwing all the data at the wall and see what sticks, that to me is just exceptionally powerful.
Lex Fridman
(01:34:20)
So you can take fMRI data across species and across different types of humans or conditions of humans, and construct models that help you find the commonalities or the core thing that makes somebody navigate through the metaverse, for example?
Charan Ranganath
(01:34:41)
Yeah. Yeah, more or less. There’s a lot of details, but yes, I think… And not just fMRI, but you can relate it to, like I said, recordings from large populations of neurons that could be taken in a human or even in a non-human animal, that is where you think it’s an anatomical homologue. So that’s just mind-blowing to me.
Lex Fridman
(01:35:02)
What’s the similarities in humans and mice? That’s what Smashing Pumpkins, we’re all just rats in a cage. Is that Smashing Pumpkins?
Charan Ranganath
(01:35:13)
Despite all of your rage.
Lex Fridman
(01:35:15)
Is that Smashing Pumpkins? I think [inaudible 01:35:17].
Charan Ranganath
(01:35:17)
Despite all of your rage at GIFs, you’re still just a rat in a cage.
Lex Fridman
(01:35:21)
Oh yeah. All right, good callback. Anyway-
Charan Ranganath
(01:35:23)
Good callback, see these memory retrieval exercises I’m doing are actually helping you build a lasting memory of this conversation.
Lex Fridman
(01:35:31)
And it’s strengthening the visual thing I have of you with James Brown on stage just become stronger and stronger by the second. Anyway-
Charan Ranganath
(01:35:43)
[inaudible 01:35:43].
Lex Fridman
(01:35:42)
But animal studies work here as well.
Charan Ranganath
(01:35:45)
Yeah, yeah. Okay. So I think I’ve got great colleagues who I talk to who study memory in mice. And one of the valuable things in those models is you can study neural circuits in an enormously targeted way, because you can-
Charan Ranganath
(01:36:00)
Study neural circuits in an enormously targeted way because you could do these genetic studies, for instance, where you can manipulate particular groups of neurons, and it’s just getting more and more targeted to the point where you can actually turn on a particular kind of memory, just by activating a particular set of neurons that was active during an experience.

(01:36:23)
So, there’s a lot of conservation of some of these neural circuits across evolution in mammals, for instance. And then some people would even say that there’s genetic mechanisms for learning that are conserved, even going back far, far before. But let’s go back to the mice in humans question.

(01:36:44)
There’s a lot of differences. So, for one thing, the sensory information is very different. Mice and rats explore the world largely through smelling, olfaction, but they also have vision that’s kind of designed to catch death from above. So, it’s like a very big view of the world. And we move our eyes around in a way that focuses on particular spots in space where you get very high resolution from a very limited set of spots in space. So, that makes us very different in that way.

(01:37:15)
We also have all these other structures as social animals that allow us to respond differently. There’s language, there’s… you name it, there’s obviously gobs of differences. Humans aren’t just giant rats. There’s much more complexity to us. Timescales are very important. So, primate brains and human brains are especially good at integrating and holding on to information across longer and longer periods of time.

(01:37:45)
Also, finally, it’s like our history of training data, so to speak, is very, very different than… Human’s world is very different than a wild mouse’s world. And a lab mouse’s world is extraordinarily impoverished relative to an adult human. Yeah.
Lex Fridman
(01:38:01)
But still, what can you understand by studying mice? I mean, just basic, almost behavioral stuff about memory?
Charan Ranganath
(01:38:07)
Well, yes, but that’s very important. So, you can understand, for instance, how do neurons talk to each other? That’s a really big, big question. Neural computation, in and of itself… You think it’s the most simple question, right? Not at all. I mean, it’s a big, big question, and understanding how two parts of the brain interact, meaning that it’s not just one area, speaking it’s not like Twitter where one area of the brain’s shouting and then another area of the brain’s just stuck listening to this crap. It’s like they’re actually interacting on the millisecond scale.

(01:38:43)
How does that happen and how do you regulate those interactions, these dynamic interactions? We’re still figuring that out. But that’s going to be coming largely from model systems that are easier to understand. You can do manipulations, like drug manipulations, to manipulate circuits, and use viruses and so forth, and lasers to turn on circuits that you just can’t do in humans.

(01:39:08)
So, I think there’s a lot that can be learned from mice. There’s a lot that can be learned from non-human primates. And then there’s a lot that you need to learn from humans. And I think unfortunately, some of the people in the National Institutes of Health think you can learn everything from the mouse. It’s like, “Why study memory in humans when I could study learning in a mouse?” And just like, “Oh my God, I’m going to get my funding from somewhere else.”
Lex Fridman
(01:39:34)
Well, let me ask you some random fascinating question.

Deja vu

Charan Ranganath
(01:39:36)
Yeah, sure.
Lex Fridman
(01:39:38)
How does deja vu work?
Charan Ranganath
(01:39:40)
So, deja vu, it’s actually one of these things I think that some of the surveys suggest that 75% of people report having a deja vu experience one time or another. I don’t know where that came from, but I’ve polled people in my class and most of them say they’ve experienced deja vu. It’s this kind of sense that I’ve experienced this moment sometime before, I’ve been here before. And actually there’s all sorts of variants of this. The French have all sorts of names for various versions of this, [foreign language 01:40:12]. I don’t know. It’s like all these different vus.

(01:40:17)
But deja vu is the sense that it can be almost disturbing intense sense of familiarity. So, there was a researcher named Wilder Penfield… Actually, this goes back even earlier to some of the earliest, like Hughlings Jackson was this neurologist who did a lot of the early characterizations of epilepsy. And one of the things he notices in epilepsy patients, some group of them right before they would get a seizure, they would have this intense sense of deja vu. So, it’s this artificial sense of familiarity, it’s a sense of having a memory that’s not there.

(01:40:58)
What was happening was there was electrical activity in certain parts of these brains, so the guy Penfield, later on when he was trying to look for how do we map out the brain to figure out which parts we want to remove and which parts don’t we, he would stimulate parts of the temporal lobes of the brain and find you could elicit the sense of deja vu. Sometimes you’d actually get a memory that a person would re-experience just from electrically stimulating some parts. Sometimes they just have this intense feeling of being somewhere before.

(01:41:28)
And so, one theory which I really like is that in higher order areas of the brain, they’re integrating from many, many different sources of input. What happens is that they’re tuning themselves up every time you process a similar input. And so that allows you to just get this kind of affluent sense that, “I’m very familiar…” You’re very familiar with this place. And so just being here, you’re not going to be moving your eyes all over the place because you kind of have an idea of where everything is. And that fluency gives you a sense of, “I’m here.”

(01:42:04)
Now, I wake up in my hotel room and I have this very unfamiliar sense of where I am. But there’s a great set of studies done by Anne Cleary at Colorado State where she created these virtual reality environments. And we’ll go back to the metaverse. Imagine you go through a virtual museum, and then she would put people in virtual reality and have them go through a virtual arcade. But the map of the two places was exactly the same. She just put different skins on them. So, one looks different than the other, but they’ve got same landmarks, and the same places, same objects, same everything, but carpeting, colors, theme, everything’s different.

(01:42:43)
People will often not have any conscious idea that the two are the same, but they could report this very intense sense of deja vu. So, it’s like a partial match that’s eliciting this kind of a sense of familiarity. And that’s why in patients who have epilepsy, that affects memory, you get this artificial sense of familiarity that happens.

(01:43:06)
And so we think that… And again, this is just one theory amongst many, but we think that we get a little bit of that feeling, it’s not enough to necessarily give you deja vu, even for very mundane things. So, it’s like if I tell you the word rutabaga, your brain’s going to work a little bit harder to catch it than if I give you word like apple. That’s because you hear apple a lot. So, your brain’s very tuned up to process it efficiently, but rutabaga takes a little bit longer and more intense. And you can actually see a difference in brain activity in areas in the temporal lobe when you hear a word just based on how frequent it is in the English language.
Lex Fridman
(01:43:47)
That’s fascinating.
Charan Ranganath
(01:43:47)
We think it’s tied to this basic… It’s basically a by-product of our mechanism of just learning, doing this error-driven learning as we go through life to become better and better and better to process things more and more efficiently.
Lex Fridman
(01:44:00)
So, I guess deja vu is just thinking extra elevated, the stuff coming together, firing for this artificial memories, as if it’s the real memory. I mean, why does it feel so intense?
Charan Ranganath
(01:44:15)
Well, it doesn’t happen all the time, but I think what may be happening is it’s a partial match to something that we have, and it’s not enough to trigger that sense of… that ability to pull together all the pieces. But it’s a close enough match to give you that intense sense of familiarity, without the recollection of exactly what happened when.
Lex Fridman
(01:44:37)
But it’s also a spatio-temporal familiarity. So, it’s also in time. There’s a weird blending of time that happens, and we’ll probably talk about time because I think that’s a really interesting idea how time relates to memory. But you also kind of… Artificial memory brings to mind this idea of false memories that comes in all kinds of contexts. But how do false memories form?

False memories

Charan Ranganath
(01:45:05)
Well, I like to say there’s no such thing as true or false memories. It’s like Johnny Rotten from the Sex Pistols, he had a saying that’s like, “I don’t believe in false memories any more than I believe in false songs.” And so the basic idea is that we have these memories that reflect bits and pieces of what happened, as well as our inferences and theories.

(01:45:28)
So, I’m a scientist and I collect data, but I use theories to make sense of that data. And so, a memory is kind of a mix of all these things. Where memories can go off the deep end and become what we would call conventionally as false memories are sometimes little distortions where we filled in the blanks, the gaps in our memory, based on things that we know, but don’t actually correspond to what happened.

(01:45:57)
So, if I were to tell you that a story about this person who’s worried that they have cancer or something like that, and then they see a doctor and the doctor says, “Well, things are very much like you would’ve expected or what you were afraid of,” or something. When people remember that, they’ll often remember, “Well, the doctor told the patient that he had cancer.” Even if that wasn’t in the story because they’re infusing meaning into that story. So, that’s a minor distortion. But what happens is that sometimes things can really get out of hand where people have trouble telling the difference between things that they’ve imagined versus things that happen. But also, as I told you, the act of remembering can change the memory. And so what happens then is you can actually be exposed to some misinformation. And so Elizabeth Loftus was a real pioneer in this work, and there’s lots of other work that’s been done since.

(01:46:56)
But basically, it’s like if you remember some event, and then I tell you something about the event, later on, when you remember the event, you might remember some original information from the event as well as some information about what I told you. And sometimes, if you’re not able to tell the difference, that information that I told you gets mixed into the story that you had originally. So, now I give you some more misinformation or you’re exposed to some more information somewhere else, and eventually your memory becomes totally detached from what happened. And so sometimes you can have cases where people… This is very rare, but you can do it in lab too, or a significant… not everybody, but a chunk of people will fall for this, where you can give people misinformation about an event that never took place. And as they keep trying to remember that event more and more, what happens is they start to imagine, they start to pull up things from other experiences they’ve had, and eventually they can stitch together a vivid memory of something that never happened because they’re not remembering an event that happened. They’re remembering the act of trying to remember what happened, and basically putting it together into the wrong story.
Lex Fridman
(01:48:14)
It’s fascinating because this could probably happen at a collective level. This is probably what successful propaganda machines aim to do, this creating false memory across thousands, if not millions of minds.
Charan Ranganath
(01:48:30)
Yeah, absolutely. I mean, this is exactly what they do. And so, all these kind of foibles of human memory get magnified when you start to have social interactions. There’s a whole literature on something called social contagion, which is basically when misinformation spreads like a virus, like you remember the same thing that I did, but I give you a little bit of wrong information, then that becomes part of your story of what happened.

(01:48:56)
Because once you and I share a memory, I tell you about something I’ve experienced and you tell me about your experience at the same event, it’s no longer your memory or my memory, it’s our memory. And so now the misinformation spreads. And the more you trust someone or the more powerful that person is, the more of a voice they have in shaping that narrative.

(01:49:19)
And there’s all sorts of interesting ways in which misinformation can happen. There’s a great example of when John McCain and George Bush Jr. were in a primary, and there were these polls where they would do these, I guess they were not robocalls, but real calls where they would poll voters, but they actually inserted some misinformation about McCain’s beliefs on taxation, I think, or maybe it was something about illegitimate children or… I don’t really remember. But they included misinformation in the question that they asked, “How do you feel about the fact that he wants to do this?” Or something.

(01:49:58)
And so people would end up becoming convinced he had these policy things or these personal things that were not true, just based on the polls that were being used. So, it was a case where, interestingly enough, the people who were using misinformation were actually ahead of the curve relative to the scientists who were trying to study these effects in memory.
Lex Fridman
(01:50:22)
Yeah, it’s really interesting. So, it’s not just about truth and falsehoods, like us as intelligent, reasoning machines, but it’s the formation of memories where they become visceral. You can rewrite history.

(01:50:41)
If you just look throughout the 20th century, some of the dictatorships with Nazi Germany, with the Soviet Union, effective propaganda machines can rewrite our conceptions of history, how we remember our own culture, our upbringing, all this kind of stuff. And you could do quite a lot of damage in this way. And then there’s probably some kind of social contagion happening there. Certain ideas that, maybe initiated by the propaganda machine, can spread faster than others.

(01:51:13)
You could see that in modern day, certain conspiracy theories, there’s just something about them that they are really effective at spreading. There’s something sexy about them to people to where something about the human mind eats it up and then uses that to construct memories as if they almost were there to witness whatever the content of the conspiracy theory is. It’s fascinating. Because you feel like you remember a thing, I feel like there’s a certainty. It emboldens you to say stuff. It’s not just you believe in ideas, true or not, it’s at the core of your being that you feel like you were there to watch the thing happen.
Charan Ranganath
(01:52:01)
Yeah, I mean there’s so much in what you’re saying. I mean, one of the things is that people’s sense of collective identity is very much tied to shared memories. If we have a shared narrative of the past, or even better, if we have a shared past, we will feel more socially connected with each other, and I will feel part of this group. They’re part of my tribe, if I remember the same things in the same way.

(01:52:24)
And you brought up this weaponization of history, and it really speaks to, I think, one of the parts of memory, which is that if you have a belief, you will find, and you have a goal in mind, you’ll find stuff in memory that aligns with it, and you won’t see the parts in memory that don’t. So, a lot of the stories we put together are based on our perspectives.

(01:52:47)
And so let’s just zoom out for the moment from misinformation to take something even more fascinating, but not as scary. I was reading Thanh Viet Nguyen, but he wrote a book about the collective memory of the Vietnam War. He is a Vietnamese immigrant who was flown out after the war was over. And so he went back to his family to get their stories about the war, and they called it the American War, not the Vietnam War. And that just kind of blew my mind, having grown up in the US and having always heard about it as the Vietnam War. But of course they call it the American War, because that’s what happened. America came in. And that’s based on their perspective, which is a very valid perspective. And so that just gives you this idea of the way we put together these narratives based on our perspectives. And I think the opportunities that we can have in memory is if we bring groups together from different perspectives and we allow them to talk to each other and we allow ourselves to listen.

(01:53:58)
I mean, right now you’ll hear a lot of just jammering, people going, “Blah, blah, blah,” about free speech, but they just want to listen to themselves. I mean, it’s like, let’s face it, the old days before people were supposedly woke, they were trying to ban 2 Live Crew. Just think about Lenny Bruce got canceled for cursing. Jesus Christ. It’s like this is nothing new. People don’t like to hear things that disagree with them.

(01:54:25)
But if you’re in a… I mean, you can see two situations in groups with memory. One situation is you have people who are very dominant, who just take over the conversation. And basically what happens is the group remembers less from the experience and they remember more of what the dominant narrator says. Now, if you have a diverse group of people, and I don’t mean diverse in necessarily the human resource sense of the word, I mean diverse in any way you want to take it, but diverse in every way, hopefully. And you give everyone a chance to speak and everyone’s being appreciated for their unique contribution, you get more accurate memories and you get more information from it.

(01:55:08)
Even two people who come from very similar backgrounds, if you can appreciate the unique contributions that each one has, you can do a better job of generating information from memory. And that’s a way to inoculate ourselves, I believe, from misinformation in the modern world. But like everything else, it requires a certain tolerance for discomfort. And I think when we don’t have much time, and I think when we’re stressed out and when we are just tired, it’s very hard to tolerate discomfort.
Lex Fridman
(01:55:39)
And I mean, social media has a lot of opportunity for this because it enables this distributed one-on-one interaction that you’re talking about, where everybody has a voice, but still our natural inclination, you see this on social media, as there’s a natural clustering of people and opinions and you just form these kind of bubbles. To me personally, I think that’s a technology problem that could be solved if there’s a little bit of interaction, kind, respectful, compassionate interaction with people that have a very different memory, that respectful interaction will start to intermix the memories and ways of thinking to where you’re slowly moving towards truth. But that’s a technology problem because naturally, left our own devices, we want to cluster up in a tribe.
Charan Ranganath
(01:56:30)
Yeah, and that’s the human problem. I think a lot of the problems that come up with technology aren’t the technology itself, as much as the fact that people adapt to the technology in maladaptive ways. I mean, one of my fears about AI is not what AI will do, but what people will do. I mean, take text messaging. It’s a pain in the to text people, at least for me. And so what happens is the communication becomes very Spartan and devoid of meaning. It’s this very telegraphic. And that’s people adapting to the medium.

(01:57:05)
I mean, look at you. You’ve got this keyboard that’s got these dome shaped things, and you’ve adapted to that to communicate. That’s not the technology adapting to you, that’s you adapting to the technology. And I think one of the things I learned when Google started to introduce autocomplete in emails, I started to use it. And about a third of the time I was like, “This isn’t what I want to say.” A third of the time, I’d be like, “This is exactly what I wanted to say.” And a third of the time I was saying, “Well, this is good enough. I’ll just go with it.”

(01:57:35)
And so what happens is it’s not that the technology necessarily is doing anything so bad, as much as it’s just going to constrain my language because I’m just doing suggested to me. And so this is why I say, kind of like my mantra for some of what I’ve learned about everything in memory, is to diversify your training data, basically, because otherwise you’re going to… So, humans have this capability to be so much more creative than anything generative AI will put together, at least right now, who knows where this goes? But it can also go the opposite direction where people could become much, much less creative, if they just become more and more resistant to discomfort and resistant to exposing themselves to novelty, to cognitive dissonance, and so forth.
Lex Fridman
(01:58:28)
I think there is a dance between natural human adaptation of technology and the people that design the engineering of that technology. So, I think there’s a lot of opportunity to create, like this keyboard, things that on net are a positive for human behavior. So, we adapt and all this kind of stuff. But when you look at the long arc of history across the years and decades, has humanity been flourishing? Are humans creating more awesome stuff, are humans happier? All that kind of stuff. And so there, I think technology, on net, has been, and I think, maybe hope, will always be, on net, a positive thing.
Charan Ranganath
(01:59:10)
Do you think people are happier now than they were 50 years ago or 100 years ago?
Lex Fridman
(01:59:14)
Yes, yes.
Charan Ranganath
(01:59:15)
I don’t know about that.
Lex Fridman
(01:59:17)
I think humans in general like to reminisce about the past, “The times were better.”
Charan Ranganath
(01:59:17)
That’s true.
Lex Fridman
(01:59:24)
And complain about the weather today or complain about whatever today, because there’s this kind of complainy engine, there’s so much pleasure in saying, “Life sucks,” for some reason.
Charan Ranganath
(01:59:37)
That’s why I love punk rock.
Lex Fridman
(01:59:41)
Exactly. I mean, there’s something in humans that loves complaining, even about trivial things. But complaining about change, complaining about everything. But ultimately, I think, on net, every measure, things are getting better, life is getting better.
Charan Ranganath
(02:00:00)
Oh, life is getting better. But I don’t know that necessarily that attracts people’s happiness, right? I mean, I would argue that maybe, who knows, I don’t know this, but I wouldn’t be surprised if people in hunter-gatherer societies are happier. I mean, I wouldn’t be surprised if they’re happier than people who have access to modern medicine and email and cellphones.
Lex Fridman
(02:00:23)
Well, I don’t think there’s a question whether you take hunter-gatherer folks and put them into modern day and give them enough time to adapt, they would be much happier. The question is, in terms of every single problem they’ve had, is now solved. There’s now food, there’s guaranteed survival, and shelter and all this kind of stuff.

(02:00:40)
So, what you’re asking is a deeper sort of biological question, do we want to be… Werner Herzog and the movie Happy People: Life in the Taiga, do we want to be busy 100% of our time hunting, gathering, surviving, worried about the next day? Maybe that constant struggle ultimately creates a more fulfilling life. I don’t know. But I do know this modern society allows us to, when we’re sick, to find medicine, to find cures, when we’re hungry, to get food, much more than we did even a hundred years ago. And there’s many more activities that you could perform, all creative, all these kinds of stuff that enables the flourishing of humans at the individual level.

(02:01:29)
Whether that leads to happiness, I mean, that’s a very deep philosophical question. Maybe struggle, deep struggle is necessary for happiness.
Charan Ranganath
(02:01:40)
Or maybe cultural connection. Maybe it’s about functioning in social groups that are meaningful, and having time. But I do think there’s an interesting memory related thing, which is that if you look at things like reinforcement learning for instance, you’re not learning necessarily every time you get a reward, if it’s the same reward, you’re not learning that much. You mainly learn if it deviates from your expectation of what you’re supposed to get.

(02:02:10)
So, it’s like you get a paycheck every month from MIT or whatever, and you probably don’t even get excited about it when you get the paycheck. But if they cut your salary, you’re going to be pissed. And if they increase your salary, “Oh good, I got a bonus.” And that adaptation and that ability that basically you learn to expect these things, I think, is a major source of… I guess it’s a major way in which we’re kind of more, in my opinion, wired to strive and not be happy, to be in a state of wanting.

(02:02:46)
And so people talk about dopamine, for instance, being this pleasure chemical. And there’s a lot of compelling research to suggest it’s not about pleasure at all. It’s about the discomfort that energizes you to get things, to seek a reward. And so you could give an animal that’s been deprived of dopamine a reward and, “Oh yeah, I enjoy it. It’s pretty good.” But they’re not going to do anything to get it.

(02:03:13)
And just one of the weird things in our research is I got into curiosity from a postdoc in my lab, Matthias Gruber, and one of the things that we found is when we gave people a question, like a trivia question that they wanted the answer to, that question, the more curious people were about the answer, the more activity in these dopamine-related circuits in the brain, we would see. And again, that was not driven by the answer per se, but by the question.

(02:03:44)
So, it was not about getting the information, it was about the drive to seek the information. But it depends on how you take that. If you get this uncomfortable gap between what you know and what you want to know, you could either use that to motivate you and energize you, or you could use it to say, “I don’t want to hear about this. This disagrees with my beliefs. I’m going to go back to my echo chamber.”
Lex Fridman
(02:04:10)
Yeah, I like what you said that maybe we’re designed to be in a kind of constant state of wanting, which by the way, is a pretty good either band name or rock song name, state of wanting.
Charan Ranganath
(02:04:25)
That’s like a hardcore band name. Yeah, yeah, yeah.
Lex Fridman
(02:04:28)
Yeah. It’s pretty good.
Charan Ranganath
(02:04:28)
But I also like the hedonic treadmill.
Lex Fridman
(02:04:31)
Hedonic treadmill is pretty good.
Charan Ranganath
(02:04:33)
Yeah, yeah. We could use that for our techno project, I think.
Lex Fridman
(02:04:37)
You mean the one we’re starting?
Charan Ranganath
(02:04:38)
Yeah, exactly.
Lex Fridman
(02:04:39)
Okay, great. We’re going on tour soon. This is our announcement.
Charan Ranganath
(02:04:47)
We could build a false memory of a show, in fact, if you want. Let’s just put it all together so we don’t even have to do all the work to play the show. We can just create a memory of it and it might as well happen because the remembering itself is in charge anyway.

False confessions

Lex Fridman
(02:05:00)
So, let me ask you about… We talked about false memories, but in the legal system, false confessions. I remember reading 1984 where, sorry for the dark turn of our conversation, but through torture, you can make people say anything and essentially remember anything. I wonder to which degree, there’s truth to that, if you look at the torture that happened in the Soviet Union, for confessions, all that kind of stuff. How much can you really get people to force false memories, I guess?
Charan Ranganath
(02:05:36)
Yeah. I mean, I think there’s a lot of history of this actually, in the criminal justice system. You might’ve heard the term “the third degree.” If you actually look it up historically, it was a very intense set of beatings and starvation and physical demands that they would place at people to get them to talk. And there’s certainly a lot of work that’s been done by the CIA in terms of enhanced interrogation techniques.

(02:06:07)
And from what I understand, the research actually shows that they just produce what people want to hear, not necessarily the information that is being looked for. And the reason is that… I mean, there’s different reasons. One is people just get tired of being tortured and just say whatever. But another part of it is that you create a very interesting set of conditions where there’s an authority figure telling you something that, “You did this, we know you did this. We have witnesses saying you did this.”

(02:06:39)
So, now you start to question yourself. Then they put you under stress. Maybe they’re not feeding you, maybe they’re making you be cold or exposing you to music that you can’t stand or something, whatever it is, right? It’s like they’re creating this physical stress. And so stress starts to down-regulate the prefrontal cortex. You’re not necessarily as good at monitoring the accuracy of stuff. Then they start to get nice to you and they say, “Imagine, okay, I know you don’t remember this, but maybe we can walk you through how it could have happened.” And they feed you the information.

(02:07:17)
And so you’re in this weakened mental state, and you’re being encouraged to imagine things by people who give you a plausible scenario. And at some point, certain people can be very coaxed into creating a memory for something that never happened. And there’s actually some pretty convincing cases out there where you don’t know exactly the truth.

(02:07:38)
There’s a sheriff, for instance, who came to believe that he had a false memory… I mean, that he had a memory of doing sexual abuse based on essentially, I think it was… I’m not going to tell the story because I don’t remember it well enough to necessarily accurately give it to you, but people could look this stuff up. There are definitely stories out there like this where people confess to crimes that they just didn’t do, and-
Charan Ranganath
(02:08:00)
… out there like this, where people confess to crimes that they just didn’t do and objective evidence came out later on. There’s a basic recipe for it, which is you feed people the information that you want them to remember, you stress them out. You have an authority figure pushing this information on them, or you motivate them to produce the information you’re looking for. That pretty much over time gives you what you want.

Heartbreak

Lex Fridman
(02:08:29)
It’s really tragic that centralized power can use these kinds of tools to destroy lives. Sad. Since there’s a theme about music throughout this conversation, one of the best topics for songs is heartbreak. Love in general, but heartbreak. Why and how do we remember and forget heartbreak? Asking for a friend.
Charan Ranganath
(02:09:01)
Oh, God, that’s so hard to… Asking for a friend. I love that. It’s such a hard one. Part of this is we tend to go back to particular times that are the more emotionally intense periods, and so that’s a part of it. Again, memory is designed to capture these things that are biologically significant, and attachment is a big part of biological significance for humans. Human relationships are super important and sometimes that heartbreak comes with massive changes in your beliefs about somebody say if they cheated on you or something like that, or regrets and you kind of ruminate about things that you’ve done wrong.

(02:09:51)
There’s really so many reasons though, but I’ve had this. My first pet I had, we got it for a wedding present. It was a cat. Got it after, but it died of FIP when it was four years old. I just would see her everywhere around the house. We got another cat, then we got a dog. Dog eventually died of cancer, and the cat just died recently. So we got a new dog because I kept seeing the dog around and I was just so heartbroken about this, but I still remember the pets that died. It just comes back to you. I mean, it’s part of this. I think there’s also something about attachment that’s just so crucial that drives again, these things that we want to remember and that gives us that longing sometimes. Sometimes it’s also not just about the heartbreak, but about the positive aspects of it.

(02:10:50)
The loss comes from not only the fact that the relationship is over, but you had all of these good things before that you can now see in a new light. Part of one of the things that I found from my clinical background that really I think gave me a different perspective on memory is so much of the therapy process was guided towards reframing and getting people to look at the past in a different way, not by imposing changing people’s memories or not by imposing an interpretation, but just offering a different perspective and maybe one that’s kind of more optimized towards learning and an appreciation maybe, or gratitude, whatever it is that gives you a way of taking…

(02:11:37)
I think you said it in the beginning, right? Where you can have this kind of dark experiences and you can use it as training data to grow in new ways, but it’s hard.
Lex Fridman
(02:11:51)
I often go back to this moment, this show Louis with Louis CK, where he’s all heartbroken about a breakup with a woman he loves, and an older gentleman tells him that that’s actually the best part, that heartbreak, because you get to intensely experience how valuable this love was. He says the worst part is forgetting it. It is actually when you get over the heartbreak, that’s the worst part. I sometimes think about that because having the love and losing it, the losing it is when you sometimes feel it the deepest, which is an interesting way to celebrate the past and relive it.

(02:12:40)
It sucks that you don’t have a thing, but when you don’t have a thing, it’s a good moment to viscerally experience the memories of something that you now appreciate even more.
Charan Ranganath
(02:12:53)
So you don’t believe that an owner of a lonely heart is much better than an owner of a broken heart? You think an owner of a broken heart is better than the owner of a lonely heart?
Lex Fridman
(02:13:02)
Yes, for sure. I think so. I think so. I’m going to have to day by day. I don’t know. I’m going to have to listen to some more Bruce Springsteen to figure that one out.
Charan Ranganath
(02:13:12)
Well, it’s funny because it’s like after I turned 50, I think of death all the time. I just think that I have probably a fewer years ahead of me than I’m behind me. I think about one thing, which is what are the memories that I want to carry with me for the next period of time? And also, about just the fact that everything around me could be… I know more people who are dying for various reasons. I’m not Lot. I’m not that old, but it’s something I think about a lot. I’m reminded of how I talked to somebody who’s a Buddhist and I was like, “The whole of Buddhism is renouncing attachment.”

(02:13:59)
In some way, the idea of Buddhism is like staying out of the world of memory and staying in the moment. They talked about how do you renounce attachments to the people that you love? They’re just saying, “Well, I appreciate that I have this moment with them and knowing that they will die makes me appreciate this moment that much more.” You said something similar in your daily routine that you think about things this way, right?
Lex Fridman
(02:14:26)
Yeah, I meditate on mortality every day, but I don’t know, at the same time, that really makes you appreciate the moment and live in the moment. I also appreciate the full deep rollercoaster of suffering involved in life, the little and the big too. I don’t know. The Buddhist removing yourself from the world or the Stoic removing yourself from the world, the world of emotion, I’m torn about that one. I’m not sure.
Charan Ranganath
(02:14:57)
This is where Hinduism and Buddhism, or at least some strains of Hinduism and Buddhism, differ. Hinduism, if you read the Bhagavad Gita, the philosophy is not one of renouncing the world because the idea is that not doing something is no different than doing something. What they argue, and again, you could interpret in different ways, positive and negative, but the argument is that you don’t want to renounce action, but you want to renounce the fruits of the action. You don’t do it because of the outcome. You do it because of the process, because the process is part of the balance of the world that you’re trying to preserve. Of course you could take that different ways, but I really think about that from time to time in terms of letting go of this idea of does this book sell or trying to impress you and get you to laugh at my jokes or whatever, and just be more like I’m sharing this information with you and getting to know you or whatever it is. It’s hard, because we’re so driven by the reinforcer, the outcome.
Lex Fridman
(02:16:09)
You’re just part of the process of telling the joke, and if I laugh or not, that’s up to the universe to decide.
Charan Ranganath
(02:16:16)
Yep. It’s my dharma.

Nature of time

Lex Fridman
(02:16:20)
How does studying memory affect your understanding of the nature of time? We’ve been talking about us living in the present and making decisions about the future, standing on the foundation of these memories and narratives about the memories that we’ve constructed. It feels like it does weird things to time.
Charan Ranganath
(02:16:43)
Yeah, and the reason is that in some sense, I think especially the farther we go back, there’s all sorts of interesting things that happen. Your sense of if I ask how different does one hour ago feel from two hours ago? You’d probably say pretty different. But if I ask you, okay, go back one year ago versus one year and one hour ago, it’s the same difference in time. It won’t feel very different. There’s this kind of compression that happens as you look back farther in time.

(02:17:14)
It is kind of like why when you’re older, the difference between somebody who’s 50 and 45 doesn’t seem as big as the difference between 10 and five or something. When you’re 10 years old, everything seems like it’s a long period of time. Here’s the point is that… One of the interesting things that I found when I was working on the book actually was during the pandemic, I just decided to ask people in my class when we were doing the remote instruction. One of the things I did was I would pull people. I just asked people, “Do you feel like the days are moving by slower or faster or about the same?”

(02:17:51)
Almost everyone in the class said that the days were moving by slower. Then I would say, “Okay, so do you feel like the weeks are passing by slower, faster, or the same?” The majority of them said that the weeks were passing by faster. According to the laws of physics, I don’t think that makes any sense, but according to memory, it did because what happened was people were doing the same thing over and over in the same context. Without that change in context, their feeling was that they were in one long monotonous event.

(02:18:29)
Then at the end of the week, you look back at that week and you say, “Well, what happened? I have no memories of what happened,” so the week just went by without even my noticing it. That week went by during the same amount of time as an eventful week where you might’ve been going out hanging out with friends on vacation or whatever. It’s just that nothing happened because you’re doing the same thing over and over. I feel like memory really shapes our sense of time, but it does so in part because context is so important for memory.
Lex Fridman
(02:19:01)
That compression you mentioned, it’s an interesting process because when I think about when I was 12 or 15, I just fundamentally feel like the same person. It’s interesting what that compression does. It makes me feel like we’re all connected, not just amongst humans and spatially, but in terms back in time. There’s a kind of eternal nature, like the timelessness I guess, to life. That could be also a genetic thing just for me. I don’t know if everyone agrees to this view of time, but to me it all feels the same.
Charan Ranganath
(02:19:40)
You don’t feel the passage of time?
Lex Fridman
(02:19:43)
No, I feel the passage of time in the same way that your students did from day to day. There’s certain markers that let you know that time has passed, you celebrate birthdays and so on, but the core of who I am and who others I know are, or events, that compression of my understanding of the world removes time because time is not useful for the compression. The details of that time, at least for me, is not useful to understanding the core of the thing.
Charan Ranganath
(02:20:14)
Maybe what it is that you really like to see connections between things. This is really what motivates me in science actually too. It’s like when you start recalling the past and seeing the connections between the past and present, now you have this web of interconnected memories. I can imagine in that sense there is this kind of the present is with you. What’s interesting about what you said too that struck me is that your 16-year-old self was probably very complex.

(02:20:51)
By the way, I’m the same way, but it’s like it really is the source of a lot of darkness for me. When you can look back at, let’s say you hear a song that you used to play before you would go do a sports thing or something like that, you might not think of yourself as an athlete, but once you mentally time travel to that particular thing, you open up this little compartment of yourself that wasn’t there before that didn’t seem accessible before. Dan Schacter’s lab did this really cool study where they would ask people to either remember doing something altruistic or imagine doing something altruistic, and that act made them more likely to want to do things for other people.

(02:21:40)
That act of mental time travel can change who you are in the present. We tend to think of, this goes back to that illusion of stability, and we tend to think of memory in this very deterministic way that I am who I am because I have this past, but we have a very multi-faceted past and can access different parts of it and change in the moment based on whatever part we want to reach for.
Lex Fridman
(02:22:06)
How does nostalgia connect into this desire and pleasure associated with going back?
Charan Ranganath
(02:22:17)
My friend Felipe de Brigard wrote this, and it just blew my mind, where the word nostalgia was coined by a Swiss physician who was actually studying traumatized soldiers. He described nostalgia as a disease. The idea was it was bringing these people extraordinary unhappiness because they’re remembering how things used to be. I think it’s very complex. As people get older, for instance, nostalgia can be an enormous source of happiness. Being nostalgic can improve people’s moods in the moment, but it just depends on what they do with it because what you can sometimes see is nostalgia has the opposite effect of thinking those were the good old days, and those days are over.

(02:23:04)
It’s like America used to be so great, and now it sucks. My life used to be so great when I was a kid and now it’s not. You’re selectively remembering the things that… I mean, we don’t realize how selective our remembering self is. I lived through the 70s. It sucked. Partly it sucked more for me, but I would say that even otherwise, it’s like there’s all sorts of problems going on, gas lines, people were worried about Russia, nuclear war, blah, blah, blah. It’s just this idea that people have about the past can be very useful if it brings you happiness in the present, but if it narrows your worldview in the present, you’re not aware of those biases that you have, it can be toxic either at a personal level or at a collective level.

Brain–computer interface (BCI)

Lex Fridman
(02:24:01)
Let me ask you both a practical question and an out there question. Let’s start with a more practical one. What are your thoughts about BCIs, brain computer interfaces, and the work that’s going on with Neuralink? We talked about electrodes and different ways of measuring the brain, and here Neuralink is working on basically two-way communication with the brain. The more out there question will be like, where’s this go? More practically in the near term, what do you think about Neuralink?
Charan Ranganath
(02:24:30)
I can’t say specifics about the company because I haven’t studied it that much, but I think there’s two parts of it. One is, they’re developing some really interesting technology I think with these surgical robots and things like that. BCI though has a whole lot of innovation going on. I am not necessarily seeing any scientific evidence from Neuralink, and maybe that’s just because I’m not looking for it, but I’m not seeing the evidence that they’re anywhere near where the scientific community is. There’s lots of startups that are doing incredibly innovative stuff.

(02:25:03)
One of my colleagues, Sergey Stavisky is just a genius in this area, and they’re working on it. I think speech prosthetics like they’re incorporating, decoding techniques with AI and movement prosthetics. This is just the rate of progress is just enormous. Part of the technology is having good enough data and understanding which data to use and what to do with it. Then the other part of it then is the algorithms for decoding it and so forth. I think part of that has really resulted in some real breakthroughs in neuroscience as a result. There’s lots of new technologies like Neuropixels for instance, that allow you to harvest activity from many, many neurons from a single electrode.

(02:25:48)
I know Neuralink has some technologies that are also along these lines, but again, because they do their own stuff, the scientific community doesn’t see it. I think BCI is much, much bigger than Neuralink and there’s just so much innovation happening. I think the interesting question which we may be getting into is, I was talking to Sergey a while ago about a lot of language is not just what we hear and what we speak, but also our intentions and our internal models. And so, are you really going to be able to restore language without dealing with that part of it?

(02:26:28)
He brought up a really interesting question, which is the ethics of reading out people’s intentions and understanding of the world as opposed to the more concrete parts of hearing and producing movements.
Lex Fridman
(02:26:43)
Just so we’re clear, because you said a few interesting things, when we talk about language and BCIs, what we mean is getting signal from the brain and generating the language, say you’re not able to actually speak, it’s as a kind of linguistic prosthetic. It’s able to speak for you exactly what you want it to say. Then the deeper question is, well, saying something isn’t just the letters, the words that you’re saying, it’s also the intention behind it, the feeling behind all that kind of stuff.

(02:27:19)
Is it ethical to reveal that full shebang, the full context of what’s going on in our brain? That’s really interesting. That’s really interesting. Our thoughts, is it ethical for anyone to have access to our thoughts? Because right now the resolution is so low that we’re okay with it, even doing studies and all this kind of stuff. If neuroscience has a few breakthroughs to where you can start to map out the QR codes for different thoughts, for different kinds of thoughts, maybe political thoughts, the McCarthyism, what if I’m getting a lot of them communist thoughts, or however we want to categorize or label it? That’s interesting.

(02:28:06)
That’s really interesting. I think ultimately this always… The more transparency there is about the human mind, the better it is. There could be always intermediate battles with how much control does a centralized entity have, like a government and so on. What is the regulation? What are the rules? What’s legal and illegal? If you talk about the police, whose job is to track down criminals and so on, and you look at all the history, how the police could abuse its power to control the citizenry, all that kind of stuff. People are always paranoid and rightfully so. It’s fascinating. It’s really fascinating.

(02:28:49)
We talk about freedom of speech, freedom of thought, which is also a very important liberty at the core of this country and probably humanity. It starts to get awfully tricky when you start to be able to collect those thoughts. What I wanted to actually ask you is do you think for fun and for practical purposes, we would be able to modify memories? How far away we are from understanding the different parts of the brains, everything we’ve been talking about, in order to figure out how can we adjust this memory at the crude level from unpleasant to pleasant?

(02:29:39)
You talked about we can remember the mall and the location, the people. Can we keep the people and change the place? This kind of stuff, how difficult is that?
Charan Ranganath
(02:29:51)
In some sense we know we can do it, just behaviorally.
Lex Fridman
(02:29:54)
Behaviorally, yes.
Charan Ranganath
(02:29:55)
I can just tell you under certain conditions anyway, it can give you the misinformation and then you can change the people, the places and so forth. On the crude level, there’s a lot of work that’s being done on a phenomenon called reconsolidation, which is the idea that essentially when I recall a memory, what happens is that the connections between the neurons and that cell assembly that give you the memory are going to be more modifiable. Some people have used techniques to try to, for instance, with fear memories, to reduce that physical visceral component of the memory when it’s being activated.

(02:30:36)
Right now, I think as an outsider looking at the data, I think it’s mixed results. Part of it is, and this speaks to the more complex issue, is that you need somebody to actually fully recall that traumatic memory in the first place. In order to actually modify it, then what is the memory? That is the key part of the problem. If we go back to reading people’s thoughts, what is the thought? People can sometimes look at us like behaviorists and go, “Well, the memory is like I’ve given you A and you produce B,” but I think that’s a very bankrupt concept about memory. I think it’s much more complicated than that.

(02:31:17)
One of the things that when we started studying naturalistic memory, like memory from movies, that was so hard was we had to change the way we did the studies. If I show you a movie and I watched the same movie and you recall everything that happened, and I recall everything that happened, we might take a different amount of time to do it. We might use different words. And yet, to an outside observer, we might’ve recalled the same thing. It’s not about the words necessarily, and it’s not about how long we spent or whatever.

(02:31:50)
There’s something deeper that is there that’s this idea, but it’s like, how do you understand that thought? I encounter a lot of concrete thinking that it’s like if I show a model, like the visual information that a person sees when they drive, I can basically reverse engineer driving. Well, that’s not really how it works. I once saw somebody talking in this discussion between neuroscientists and AI people, and he was saying that the problem with self-driving cars that they had in cities as opposed to highways was that the car was okay at doing the things it’s supposed to, but when there were pedestrians around, it couldn’t predict the intentions of people.

(02:32:37)
And so, that unpredictability of people was the problem that they were having in the self-driving car design. It didn’t have a good enough internal model of what the people were, what they were doing, what they wanted. What do you think about that?
Lex Fridman
(02:32:54)
I spent a huge amount of time watching pedestrians, thinking about pedestrians, thinking about what it takes to solve the problem of measuring, detecting the intention of a pedestrian, really, of a human being in this particular context of having to cross the street. It’s fascinating. I think it’s a window into how complex social systems are that involve humans. I would just stand there and watch intersections for hours. What you start to figure out is every single intersection has its own personality.

(02:33:42)
There’s a history to that intersection, like jaywalking, certain intersections allow jaywalking a lot more because what happens is we’re leaders and followers, so there’s a regular, let’s say, and they get off the subway and they start crossing on a red light, and they do this every single day. Then there’s people that don’t show up to that intersection often, and they’re looking for cues of how we’re supposed to behave here. If a few people start to jaywalk and cross on a red light, they will also. They will follow. There’s just a dynamic to that intersection. There’s a spirit to it.

(02:34:19)
If you look at Boston versus New York versus a rural town versus even Boston, San Francisco or here in Austin, there’s different personalities city-wide, but there’s different personalities area-wise, region-wise, and there’s different personalities at different intersections. It’s just fascinating. For a car to be able to determine that, it’s tricky. Now, what machine learning systems are able to do well is collect a huge amount of data. For us, it’s tricky because we get to understand the world with very limited information and make decisions grounded in this big foundation model that we’ve built of understanding how humans work. AI could literally, in the context of driving, this is where I’ve often been really torn in both directions. If you just collect a huge amount of data, all of that information, and then compress it into a representation of how humans cross streets, it’s probably all there. In the same way that you have a Noam Chomsky who says, “No, no, no, AI can’t talk, can’t write convincing language without understanding language.” More and more you see large language models without “understanding” can generate very convincing language.

(02:35:38)
I think what the process of compression from a huge amount of data compressing into a representation is doing is in fact understanding deeply. In order to be able to generate one letter at a time, one word at a time, you have to understand the cruelty of Nazi Germany and the beauty of sending humans to space. You have to understand all of that in order to generate, “I’m going to the kitchen to get an apple,” and do that grammatically correctly. You have to have a world model that includes all of human behavior.
Charan Ranganath
(02:36:13)
You’re thinking LLM is building that world model.
Lex Fridman
(02:36:16)
It has to in order to be good at generating one word at a time, a convincing sentence. In the same way, I think AI that drives a car, if it has enough data, will be able to form a world model that will be able to predict correctly what a pedestrian does. When we as humans are watching pedestrians, we slowly realize, damn, this is really complicated. In fact, when you start to self-reflect on driving, you realize driving is really complicated. There’s subtle cues we take about just… This is a million things I could say, but one of them, determining who around you is an asshole, aggressive driver, potentially dangerous.
Charan Ranganath
(02:37:00)
Yes, I was just thinking about this. Yes. You can read it a mile… Once you become a great driver, you can see it a mile away this guy’s going to pull an asshole move in front of you.
Lex Fridman
(02:37:11)
Exactly.
Charan Ranganath
(02:37:11)
He’s way back there, but you know it’s going to happen.
Lex Fridman
(02:37:14)
I don’t know what… Because we’re ignoring all the other cars, but for some reason, the asshole, like a glowing obvious symbol is just right there, even in the periphery vision because again, we’re usually when we’re driving just looking forward, but we’re using the periphery vision to figure stuff out. It’s a little puzzle that we’re usually only allocating a small amount of our attention to, at least cognitive attention to. It’s fascinating, but I think AI just has a fundamentally different suite of sensors in terms of the bandwidth of data that’s coming in that allows you to form the representation that perform inference on using the representation you form.

AI and memory


(02:37:59)
For the case of driving, I think it could be quite effective. One of the things that’s currently missing, even though OpenAI just recently announced adding memory, and I did want to ask you how important it is, how difficult is it to add some of the memory mechanisms that you’ve seen in humans to AI systems?
Charan Ranganath
(02:38:23)
I would say superficially not that hard, but then in a deeper level, very, very hard because we don’t understand episodic memory. One of the ideas I talk about in the book, because one of the oldest dilemmas in computational neurosciences, what Steve Grossberg called the Stability Plasticity Dilemma, when do you say something is new and overwrite your preexisting knowledge versus going with what you had before and making incremental changes? Part of the problem with going through massive… Part of the problem of things like if you’re trying to design an LLM or something like that, is, especially for English, there’s so many exceptions to the rules. If you want to rapidly learn the exceptions, you’re going to lose the rules, and if you want to keep the rules, you have a harder time learning the exception. David Marr is one of the early pioneers in computational neuroscience, and then Jay McClellan and my colleague, Randy O’Reilly, some other people like Neil Cohen, all these people started to come up with the idea that maybe that’s part of what we need.

(02:39:35)
What the human brain is doing is we have this kind of actually a fairly dumb system, which just says, “This happened once at this point in time,” which we call episodic memory, so to speak. Then we have this knowledge that we’ve accumulated from our experiences of semantic memory. Now when we encounter a situation that’s surprising and violates all our previous expectations, what happens is that now we can form an episodic-
Charan Ranganath
(02:40:00)
… expectations. What happens is that now we can form an episodic memory here, and the next time we’re in a similar situation, boom. We can supplement our knowledge with this information from episodic memory and reason about what the right thing to do is. So it gives us this enormous amount of flexibility to stop on a dime and change, without having to erase everything we’ve already learned. And that solution is incredibly powerful, because it gives you the ability to learn from so much less information, really, and it gives you that flexibility. So one of the things I think that makes humans great is having both episodic and semantic memory. Now, can you build something like that? Computational neuroscience, people would say, “Well, yeah, you just record a moment and you just get it, and you’re done.” But when do you record that moment? How much do you record? What’s the information you prioritize and what’s the information you don’t?

(02:41:01)
These are the hard questions. When do you use episodic memory? When do you just throw it away? These are the hard questions we’re still trying to figure out in people. Then you start to think about all these mechanisms that we have in the brain for figuring out some of these things. And it’s not just one, but it’s many of them that are interacting with each other. And then you just take not only the episodic and the semantic, but then you start to take the motivational survival things, right? It’s just like the fight-or-flight responses that we associate with particular things, or the reward motivation that we associate with certain things, so forth.

(02:41:37)
And those things are absent from AI. I frankly don’t know if we want it. I don’t necessarily want a self-motivated LLM, right? It’s like, and then there’s the problem of how do you even build the motivations that should guide a proper reinforcement learning kind of thing, for instance. So a friend of mine, Sam Gershman, I might be missing the quote exactly, but he basically said, “If I wanted to train a typical AI model to make me as much money as possible, first thing I might do is sell my house.” So it’s not even just about having one goal or one objective, but just having all these competing goals and objectives, and then things start to get really complicated.
Lex Fridman
(02:42:22)
Well, it’s all interconnected. I mean, just even the thing you’ve mentioned is the moment, if we record a moment, it is difficult to express concretely what a moment is, how deeply connected it’s to the entirety of it. Maybe to record a moment, you have to make a universe from scratch. You have to include everything. You have to include all the emotions involved, all the context, all the things that built around it, all the social connections, all the visual experiences, all the sensory experience, all of that, all the history that came before that moment is built on. And we somehow take all of that and we compress it, and keep the useful parts and then integrate it into the whole thing, into our whole narrative. And then each individual has their own little version of that narrative, and then we collide in a social way, and we adjust it. And we evolve.
Charan Ranganath
(02:43:21)
Yeah. Yeah. I mean, well, even if we want to go super simple, like Tyler Bonin, who’s a postdoc, who’s collaborating with me, he actually studied a lot of computer vision at Stanford. And so, one of the things he was interested in is some people who have brain damage in areas of the brain that were thought to be important for memory, but they also seem to have some perception problems with particular kinds of object perception. And this is super controversial, and some people found this effect, some didn’t. And he went back to computer vision and he said, “Let’s take the best state-of-the-art computer vision models, and let’s give them the same kinds of perception tests that we were giving to these people.” And then he would find the images where the computer vision models would just struggle, and you’d find that they just didn’t do well. Even if you add more parameters, you add more layers on and on and on. It doesn’t help. The architecture didn’t matter. It was just there, the problem.

(02:44:17)
And then, he found those were the exact ones where these humans with particular damage to this area called the perirhinal cortex, that was where they were struggling. So somehow this brain area was important for being able to do these things that were adversarial to these computer vision models. So then he found that it only happened if people had enough time, they could make those discriminations, but without enough time if they just get a glance, they’re just like the computer vision models. So then what he started to say was, “Well, maybe let’s look at people’s eyes.”

(02:44:52)
So computer vision model sees every pixel all at once, and we don’t, we never see every pixel all at once. Even if I’m looking at a screen with pixels, I’m not seeing every pixel at once. I’m grabbing little points on the screen by moving my eyes around, and getting a very high resolution picture of what I’m focusing on, and kind of a lower resolution information about everything else. But I’m not necessarily choosing, but I’m directing that exploration, and allowing people to move their eyes and integrate that information gave them something that the computer vision models weren’t able to do. So somehow integrating information across time and getting less information at each step gave you more out of the process.
Lex Fridman
(02:45:45)
The process of allocating attention across time seems to be a really important process. Even the breakthroughs that you get with machine learning mostly has to do attention is all you need, is about attention. Transform is about attention. So attention is a really interesting one. But then, yeah, how you allocate that attention, again is at the core of what it means to be intelligent, what it means to process the world, integrate all the important things, discard all the unimportant things.

(02:46:28)
Attention is at the core of it, it’s probably at the core of memory too. There’s so much sensory information. There’s so much going on, there’s so much going on. To filter it down to almost nothing and just keep those parts, and to keep those parts, and then whenever there’s an error to adjust the model, such that you can allocate attention even better to new things that would resolve, maybe maximize the chance of confirming the model, or disconfirming the model that you have, and adjusting it since then. Yeah, attention is a weird one. I was always fascinated. I mean, I got a chance to study peripheral vision for a bit and indirectly study attention through that. And it’s just fascinating how good humans are looking around and gathering information.
Charan Ranganath
(02:47:17)
Yeah. At the same time. People are terrible at detecting changes that can happen in the environment if they’re not attending in the right way, if their predictive model is too strong. So you have these weird things where the machines can do better than the people. It’s not that it’s like, so this is the thing, is people go, “Oh, the machines can do this stuff that’s just like humans.”

(02:47:39)
It’s like, well, the machines make different kinds of mistakes than the people do, and I will never be convinced unless we’ve replicated human. I don’t even like the term intelligence. I think it is a stupid concept, but I don’t think we’ve replicated human intelligence, unless I know that the simulator is making exactly the same kinds of mistakes that people do, because people make characteristic mistakes. They have characteristic biases, they have characteristic heuristics that we use, and those have yet to see evidence that ChatGPT will do that.

ADHD

Lex Fridman
(02:48:18)
Since we’re talking about attention, is there an interesting connection to you between ADHD and memory?
Charan Ranganath
(02:48:26)
Well, it’s interesting for me, because when I was a child, I was actually told, my school, I don’t know if it came from a school psychologist, they did do some testing on me, I know for IQ and stuff like that, or if it just came from teachers who hated me, but they told my parents that I had ADHD. And so, this was of course in the ’70s. So basically they said, “He has poor motor control and he’s got ADHD,” and there was social issues, so I could have been put a year ahead in school. But then they said, “Oh, but he doesn’t have the social capabilities.” So I still ended up being an outcast even in my own grade.

(02:49:14)
So then my parents said, okay, well, they got me on a diet free of artificial colors and flavors, because that was the thing that people talked about back then. I’m interested this topic, because I’ve come to appreciate now that I have many of the characteristics, if not full-blown, it’s like I’m definitely, timeline is a rejection since you name it, they talk about it. It’s like impulsive behavior. I can tell you about all sorts of fights I’ve gotten into in the past, just you name it. But yeah, so ADHD is fascinating though, because right now we’re seeing more and more diagnosis of it, and I don’t know what to say about that. I don’t know how much of that is based on inappropriate expectations, especially for children and how much of that is based on true maladaptive kinds of tendencies.

(02:50:10)
But what we do know is this, is that ADHD is associated with differences in prefrontal function, so that attention can be both more, you’re more distractible, you have harder time focusing your attention on what’s relevant, and so you shift too easily. But then, once you get on something that you’re interested in, you can get stuck. And so, the attention is this beautiful balance of being able to focus when you need to focus, and shift when you need to shift. And so it’s that flexibility plus stability again, and that’s balance seems to be disrupted in ADHD. And so, as a result, memory tends to be poor in ADHD, but it’s not necessarily because there’s a traditional memory problem, but it’s more because of this attentional issue. And people with ADHD often will have great memory for the things that they’re interested in, and just no memory for the things that they’re not interested in.
Lex Fridman
(02:51:11)
Is there advice from your own life on how to learn and succeed from that? From just how the characteristics of your own brain with ADHD and so on, how do you learn, how do you remember information? How do you flourish in this sort of education context?
Charan Ranganath
(02:51:34)
I’m still trying to figure out the flourishing per se, but education, I mean, being in science is enormously enabling of ADHD. It’s like you’re constantly looking for new things. You’re constantly seeking that dopamine hit, and that’s great. They tolerate your being late for things. Nobody’s going to die if you screw up. It’s nice. It’s not like being a doctor or something where you have to be much more responsible and focused. You could just freely follow your curiosity, which is just great. But what I’d say is that I’m learning now about so many things, like about how to structure my activities more and basically say, okay, if I’m going to be… Email is the big one that kills me right now, I’m just constantly shifting between email and my activities. And what happens is that I don’t actually get the email. I just look at my email and I get stressed, because I’m like, oh, I have to think about this.

(02:52:37)
Let me get back to it. And I go back to something else. And so, I’ve just got fragmentary memories of everything. So what I’m trying to do is set aside a timer. This is my email time, this is my writing time, this is my goofing off time. And so, blocking these things off, you give yourself the goofing off time. Sometimes I do that and sometimes I have to be flexible, and go like, okay, I’m definitely not focusing. I’m going to give myself the down time, and it’s an investment. It’s not like wasting time. It’s an investment in my attention later on.
Lex Fridman
(02:53:10)
And I’m very much with Cal Newport on this. He wrote Deep Work and a lot of other amazing books. He talks about task switching as the thing that really destroys productivity. So switching, it doesn’t even matter from what to what, but checking social media, checking email, maybe switching to a phone call, and then doing work and then switching. Even switching between if you’re reading a paper, switching from paper to paper to paper, because curiosity and whatever the dopamine hit from the attention switch, limiting that, because otherwise your brain is just not capable to really load it in, and really do that deep deliberation I think that’s required to remember things, and to really think through things.
Charan Ranganath
(02:54:00)
Yeah, I mean, you probably see this, I imagine in AI conferences, but definitely in neuroscience conferences, it’s now the norm that people have their laptops out during talks, and conceivably they’re writing notes. But in fact, what often happens if you look at people, and we can speak from a little bit of personal experience, is you’re checking email, or I’m working on my own talk. But often, it’s like you’re doing things that are not paying attention, and I have this illusion, well, I’m paying attention and then I’m going back.

(02:54:33)
And then, what happens is I don’t remember anything from that day. It just kind of vanished, because what happens, I’m creating all these artificial event boundaries. I’m losing all this executive function every time I switch, I’m getting a few seconds slower and I’m catching up mentally to what’s happening. And so, instead of being in a model where you’re meaningfully integrating everything and predicting and generating this kind of rich model, I’m just catching up. And so yeah, there’s great research by Melina Uncapher and Anthony Wagner on multitasking, that people can look up that talks about just how bad it is for memory, and it’s becoming worse and worse of a problem.

Music

Lex Fridman
(02:55:16)
So you’re a musician. Take me through how’d you get into music? What made you first fall in love with music, with creating music?
Charan Ranganath
(02:55:25)
So I started playing music just when I was doing trumpet in school for school band. And I would just read music and play, and it was pretty decent at it, not great, but I was decent.
Lex Fridman
(02:55:37)
You go from trumpet to-
Charan Ranganath
(02:55:40)
Guitar?
Lex Fridman
(02:55:40)
… to guitar, especially the kind of music you’re into.
Charan Ranganath
(02:55:43)
Yeah, so basically in high school. So I kind of was a late bloomer to music, but just kind of MTV grew up with me. I grew up with MTV.

(02:55:54)
And so, then you started seeing all this stuff. And then, I got into metal was kind of my early genre, and I always reacted to just things that were loud and had a beat. I mean, ADHD, right? It’s like everything from Sergeant Pepper by the Beatles to Led Zeppelin II. My dad had, both my parents had both those albums, so I listened to them a lot. And then, the Police, Ghost in the Machine. But then I got into metal Def Leppard, and AC/DC, Metallica. Went way down the rabbit hole of speed metal. And that time was kind of like, oh, why don’t I play guitar? I can do this. And I had friends who were doing that, and I just never got it. I took lessons and stuff like that, but it was different, because when I was doing trumpet, I was reading sheet music and I was learning by looking, there’s a thing called Tablature, where it’s like you see a drawing of the fretboard with numbers, and that’s where you’re supposed to put your… It’s kind of paint by numbers. And so, I learned it in a completely different way, but I was still terrible at it and I didn’t get it. It’s actually taken me a long time to understand exactly what the issue was, but it wasn’t until I really got into punk and I saw bands. I saw Sonic Youth, I remember especially, and it just blew my mind, because they violated the rules of what I thought music was supposed to be. I was like, this doesn’t sound right. These are not power chords, and this isn’t just have a shouty verse, and then a chorus part. It’s not going back. This is just weird. And then it occurred to me, you don’t have to write music the way people tell you it’s supposed to sound. That just opened up everything for me, and I was playing in a band. I was struggling with writing music, because I would try to write whatever was popular at the time, or whatever sounded other bands that I was listening to. And somehow I kind of morphed into just grabbing a guitar and just doing stuff. And I realized a part of my problem with doing music before was, I didn’t enjoy trying to play stuff that other people played. I just enjoyed music just dripping out of me and spilling out, and just doing stuff. And so, then I started to say, what if I don’t play a chord? What if I just play notes that shouldn’t go together and just mess around with stuff? Then I said, well, what if I don’t do four beats? Go na, na, na na, one, two, three four, one two, three four, one, two, three, four.

(02:58:34)
What if I go one, two, three, four, five, one, two, three, four, five? And started messing around with time signatures. Then I was playing in this band with a great musician, Brent Ritzel, who was in this band with me, and he taught me about arranging songs. And it was like, what if we take this part and instead of make it go back and forth, we make it a circle, or what if we make it a straight line, or zigzag, just make it nonlinear in these interesting ways? And then next thing you know, it’s the whole world sort of opens up as, and then what I started to realize, especially so you could appreciate this as a musician, I think. So time signatures. So we are so brainwashed to think in four-four, right? Every rock song you could think of almost is in four-four. I know you’re a Floyd fan, So think of Money by Pink Floyd, right?
Lex Fridman
(02:59:29)
Yeah.
Charan Ranganath
(02:59:29)
You feel like it’s in four-four, because it resolves itself, but it resolves on the last note of… Basically it resolves on the first note of the next measure. So it’s got seven beats instead of eight where the riff is actually happening.
Lex Fridman
(02:59:44)
Interesting.
Charan Ranganath
(02:59:45)
But you’re thinking in four, because that’s how we are used to thinking. So the music flows a little bit faster than it’s supposed to, and you’re getting a little bit of prediction error every time this is happening. And once I got used to that, I was like, I hate writing at four-four, because I was like, everything just feels better if I do it in seven-four, if I alternate between four and three, and doing all this stuff. And then it’s like jazz music is like that. They just do so much interesting stuff with this.
Lex Fridman
(03:00:17)
So playing with those time signatures allows you to really break it all open and just, I guess there’s something about that where it allows you to actually have fun.
Charan Ranganath
(03:00:25)
Yeah, and so I’m actually very, one of the genres we used to play in was Math Rock, is what they called it. It was just like, this is so many weird time signatures.
Lex Fridman
(03:00:36)
What is math rock? Oh, interesting.
Charan Ranganath
(03:00:38)
Yeah.
Lex Fridman
(03:00:39)
That’s the math part of rock is what, the mathematical disturbances of it or what?
Charan Ranganath
(03:00:45)
Yeah, I guess it would be. So instead of might go, instead of playing four beats in every measure, na-na-na-na-na-na-na-na. You go, na-na-na na-na-na na-na-na-na-na, and just do these things. And then you might arrange it in weird ways so that there might be three measures of verse, and then five measures of chorus, and then two measures. So you could just mess around with everything.
Lex Fridman
(03:01:10)
What does that feel like to listen to? There’s something about symmetry or patterns that feel good and relaxing for us or whatever, it feels like home. And disturbing that can be quite disturbing.
Charan Ranganath
(03:01:24)
Yeah.
Lex Fridman
(03:01:24)
So is that the feeling you would have if you keep messing math rock? I mean-
Charan Ranganath
(03:01:30)
Yeah.
Lex Fridman
(03:01:31)
… that’s stressing me out just listening, learning about it.
Charan Ranganath
(03:01:34)
So I mean, it depends. So a lot of my style of songwriting is very much in terms of repetitive themes, but messing around with structure, because I’m not a great guitarist technically, and so I don’t play complicated stuff. And there’s things that you can hear stuff, where it’s just so complicated. But often what I find is having a melody, and then adding some dissonance to it, just enough, and then adding some complexity that gets you going just enough. But I have a high tolerance for that kind of dissonance and prediction. I think I have a theory, a pet theory, that it’s like basically you can explain most of human behavior as some people are lumpers and some people are splitters. And so, it’s like some people are very kind of excited when they get this dissonance and they want to go with it. Some people are just like, “No, I want to lump everything.” I don’t know, maybe that’s even a different thing, but it’s basically, it’s like I think some people get scared of that discomfort, and I really-
Lex Fridman
(03:02:38)
Thrive on it. I love it. What’s the name of your band now?
Charan Ranganath
(03:02:44)
The cover band I play in is a band called Pavlov’s Dogs. It’s a band, unsurprisingly, of mostly memory researchers, neuroscientists.
Lex Fridman
(03:02:56)
I love this. I love this so much.
Charan Ranganath
(03:02:58)
Yeah, actually one of your MIT colleagues, Earl Miller plays bass.
Lex Fridman
(03:03:01)
Plays bass. Do you play rhythm or leader?
Charan Ranganath
(03:03:04)
You could compete if you want. Maybe we could audition you.
Lex Fridman
(03:03:06)
For audition. Oh yeah, I’m coming for you, Earl.
Charan Ranganath
(03:03:11)
Earl’s going to kill me. He’s very precise though.
Lex Fridman
(03:03:15)
I’ll play triangle or something. Or we’re the cowbell. Yeah, I’ll be the cowbell guy. What kind of songs do you guys do?
Charan Ranganath
(03:03:24)
So it’s mostly late ’70s punk and ’80s New Wave and post-punk. Blondie, Ramones, Clash. I sing Age of Consent by New Order and Love Will Tear Us Apart-
Lex Fridman
(03:03:40)
You said you have a female singer now?
Charan Ranganath
(03:03:42)
Yeah, yeah, yeah. Carrie Hoffman and also Paula Crocks. And so, yeah, so Carrie does Blondie amazingly well, and we do Gigantic by the Pixies. Paula does that one.
Lex Fridman
(03:03:56)
Which song do you love to play the most? What kind of song is super fun for you?
Charan Ranganath
(03:04:01)
Of someone else’s?
Lex Fridman
(03:04:03)
Yeah. Cover. Yeah.
Charan Ranganath
(03:04:04)
Cover. Okay. And it’s one we do with Pavlov’s Dogs. I really enjoy playing. I Want To Be Your Dog by Iggy and the Stooges.
Lex Fridman
(03:04:14)
That’s a good song.
Charan Ranganath
(03:04:15)
Which is perfect, because we’re Pavlov’s Dogs and Pavlov, of course, was basically created learning theory. So there’s that, but also it’s like, I mean, Iggy in the Stooges, that song, so I play and sing on it, but it’s just like it devolves into total noise, and I just fall on the floor and generate feedback. I think in the last version, it might’ve been that, or a Velvet Underground cover in our last show, I actually, I have a guitar made of aluminum that I got made, and I thought this thing’s indestructible. So I was just moving it around, had it upside down and all this stuff to generate feedback. And I think I broke one of the tuning pegs.
Lex Fridman
(03:04:54)
Oh wow.
Charan Ranganath
(03:04:55)
So I managed, I’ve managed to break an all metal guitar. Go figure.

Human mind

Lex Fridman
(03:05:00)
A bit of a big ridiculous question, but let me ask you. We’ve been talking about neuroscience in general. You’ve been studying the human mind for a long time. What do you love most about the human mind? Like, when you look at it, we look at the fMRI, just the scans and the behavioral stuff, the electrodes, the psychology aspect, reading the literature on the biology side, in your biology, all of it. When you look at it, what is most beautiful to you?
Charan Ranganath
(03:05:32)
I think the most beautiful, but incredibly hard to put your finger on, is this idea of the internal model, that it’s like there’s everything you see, and there’s everything you hear, and touch, and taste, every breath you take, whatever, but it’s all connected by this dark energy that’s holding that whole universe of your mind together. And without that, it’s just a bunch of stuff. And somehow we put that together and it forms so much of our experience, and being able to figure out where that comes from and how things are connected to me is just amazing. But just this idea of the world in front of us, we’re only sampling this little bit and trying to take so much meaning from it, and we do a really good job. Not perfect, I mean, but that ability to me is just amazing.
Lex Fridman
(03:06:34)
Yeah, it’s an incredible mystery, all of it. It’s funny you said dark energy, because the same in astrophysics. You look out there, you look at dark matter and dark energy, which is this loose term assigned to a thing we don’t understand, which helps make the equations work in terms of gravity and the expansion of the universe. In the same way, it seems like there’s that kind of thing in the human mind that we’re striving to understand.
Charan Ranganath
(03:06:59)
Yeah. Yeah. It’s funny that you mentioned that. So one of the reasons I wrote the book Amongst Many is that I really felt like people needed to hear from scientists. And COVID was just a great example of this, because people weren’t hearing from scientists. One of the things I think that people didn’t get was the uncertainty of science and how much we don’t know. And I think every scientist lives in this world of uncertainty, and when I was writing the book, I just became aware of all of these things we don’t know. And so, I think of physics a lot. I think of this idea of overwhelming majority of the stuff that’s in our universe cannot be directly measured. I used to think, I hate physics. Physicists get the Nobel Prize for doing whatever stupid thing. It’s like there’s 10 physicists out there. I’m just kidding.
Lex Fridman
(03:07:51)
Just strong words.
Charan Ranganath
(03:07:53)
Yeah, no, no, no, I’m just kidding. The physicists who do neuroscience could be rather opinionated. So sometimes I like to dish on that.
Lex Fridman
(03:07:59)
It’s all love.
Charan Ranganath
(03:08:00)
It’s all love. That’s right. This is ADHD talking. So, but at some point, I had this aha moment where I was like, to be aware of that much that we don’t know, and have a bead on it and be able to go towards it, that’s one of the biggest scientific successes that I could think of. You are aware that you don’t know about this gigantic section, overwhelming majority of the universe. And I think the more what keeps me going to some extent is realizing changing the scope of the problem, and figuring out, oh my God, there’s all these things we don’t know. And I thought I knew this, because science is all about assumptions, right? So have you ever read The Structure of Scientific Revolutions by Thomas Kuhn?
Lex Fridman
(03:08:53)
Yes.
Charan Ranganath
(03:08:54)
That’s my only philosophy really, that I’ve read. But it’s so brilliant in the way that they frame this idea of, he frames this idea of assumptions being core to the scientific process, and the paradigm shift comes from changing those assumptions, and this idea of finding out this whole zone of what you don’t know to me is the exciting part.
Lex Fridman
(03:09:18)
Well, you are a great scientist and you wrote an incredible book, so thank you for doing that. And thank you for talking today. You’ve decreased the amount of uncertainty I have just a tiny little bit today and reveal the beauty of memory, this fascinating conversation. Thank you for talking today.
Charan Ranganath
(03:09:39)
Oh, thank you. It has been blast.
Lex Fridman
(03:09:43)
Thanks for listening to this conversation with Charan Raganath. To support this podcast, please check out our sponsors in the description. And now let me leave you with some words from Haruki Murakami. Most things are forgotten over time, even the war itself, the life and death struggle people went through is now like something from the distant past. We’re so caught up in our everyday lives that events of the past are no longer in orbit around our minds. There are just too many things we have to think about every day, too many new things we have to learn. But still, no matter how much time passes, no matter what takes place in the interim, there are some things who can never assign to oblivion, memories who can never rub away. They remain with us forever, like a touchstone.

(03:10:37)
Thank you for listening. I hope to see you next time.

Transcript for Paul Rosolie: Jungle, Apex Predators, Aliens, Uncontacted Tribes, and God | Lex Fridman Podcast #429

This is a transcript of Lex Fridman Podcast #429 with Paul Rosolie.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
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Table of Contents

Here are the loose “chapters” in the conversation.
Click link to jump approximately to that part in the transcript:

Introduction

Lex Fridman
(00:00:00)
Where are we right now, Paul?
Paul Rosolie
(00:00:02)
Lex, we are in the middle of nowhere.
Lex Fridman
(00:00:06)
It’s the Amazon jungle. There’s vegetation, there’s insects, there’s all kinds of creatures. A million heartbeats, a million eyes. So really, where are we right now?
Paul Rosolie
(00:00:15)
We are in Peru, in a very remote part of the Western Amazon basin. And because of the proximity of the Andean Cloud Forest to the lowland tropical rainforest, we are in the most bio-diverse part of planet Earth. There is more life per square acre, per square mile out here than there is anywhere else on Earth, not just now, but in the entire fossil record.
Lex Fridman
(00:00:40)
The following is a conversation with Paul Rosolie, his second time on the podcast, but this time we did the conversation deep in the Amazon jungle. I traveled there to hang out with Paul and it turned out to be an adventure of a lifetime. I’ll post a video capturing some aspects of that adventure, in a week or so. It included everything, from getting lost in dense, unexplored wilderness with no contact to the outside world, to taking very high doses of ayahuasca and much more. Paul, by the way, aside from being my good friend, is a naturalist, explorer, author, and is someone who has dedicated his life to protecting the rainforest. For this mission, he founded Jungle Keepers. You can help him, if you go to junglekeepers.org.

(00:01:37)
This trip, for me, was life-changing. It expanded my understanding of myself and of the beautiful world I’m fortunate to exist in with all of you. So I’m glad I went and I’m glad I made it out alive. This is a Lex Fridman podcast, to support it, please check out our sponsors in the description. And now, dear friends, here’s Paul Rosolie.

Amazon jungle


(00:02:07)
I can’t believe we’re actually here.
Paul Rosolie
(00:02:09)
I can’t believe you actually came.
Lex Fridman
(00:02:10)
And I can’t believe you forced me to wear a suit.
Paul Rosolie
(00:02:13)
That was the people’s choice, trust me.
Lex Fridman
(00:02:15)
All right. We’ve been through quite a lot over the last few days.
Paul Rosolie
(00:02:19)
We’ve been through a bit.
Lex Fridman
(00:02:21)
Let me ask you a ridiculous question. What are all the creatures right now, if they wanted to, could cause us harm?
Paul Rosolie
(00:02:30)
The thing is, the Amazon rainforest has been described as the greatest natural battlefield on Earth, because there’s more life here than anywhere else, which means that everything here is fighting for survival. The trees are fighting for sunlight, the animals are fighting for prey, everybody’s fighting for survival. And so everything that you see here, everything around us, will be killed, eaten, digested, recycled at some point. The jungle is really just a giant churning machine of death and life is kind of this moment of stasis, where you maintain this collection of cells in a particular DNA sequence and then it gets digested again and recycled back and renamed into everything.

(00:03:09)
And so the things in this forest, while they don’t want to hurt us, there are things that are heavily defended, because, for instance, a giant anteater needs claws to fight off a jaguar. A stingray needs a stinger on its tail, which is basically a serrated knife with venom on it, to deter anything that would hunt that stingray. Even the catfish have pectoral fins that have razor-long, steak-knife sized defense systems. Then you, of course, the jaguars, the harp eagles, the piranha, the candiru fish that can swim up a penis, lodge themselves inside, it’s the Amazon rainforest. The thing is, as you’ve learned this week, nothing here wants to get us, with the exception of, maybe, mosquitoes. Every other animal just wants to eat and exist in peace, that’s it.
Lex Fridman
(00:03:57)
But each of those animals, like you described, have a kind of radius of defense.
Paul Rosolie
(00:04:03)
Yeah.
Lex Fridman
(00:04:03)
So if you accidentally step into its home-
Paul Rosolie
(00:04:08)
Yeah.
Lex Fridman
(00:04:08)
Into that radius, it can cause harm.
Paul Rosolie
(00:04:10)
Or make them feel threatened.
Lex Fridman
(00:04:12)
Make them feel threatened. There is a defense mechanism that is activated.
Paul Rosolie
(00:04:15)
Some incredible defense mechanism, I mean, you’re talking about 17-foot black caiman crocodiles with significant size, that could rip you in half. Anacondas, the largest snake on Earth, bushmasters that can grow up to be nine to, I think even 11- feet long. And I’ve caught bushmasters that are thicker than my arms.

Bushmaster snakes

Lex Fridman
(00:04:33)
So for people who don’t know, bushmaster snakes, what are these things?
Paul Rosolie
(00:04:36)
These are vipers, I believe it’s the largest viper on Earth.
Lex Fridman
(00:04:40)
Venomous?
Paul Rosolie
(00:04:40)
Extremely venomous, with hinge teeth, tissue destroying venom. Like if you get bitten by a bushmaster, they say you don’t rush and try and save your own life, you try to savor what’s around you, look around at the world, smoke your last cigarette, call your mom, that’s it.
Lex Fridman
(00:04:57)
So that moment of stasis, that is life, is going to end abruptly, when you interact with one of those.
Paul Rosolie
(00:05:02)
Yeah, I even have, even this seemingly-
Lex Fridman
(00:05:07)
Can I just pause at how incredibly beautiful it is, that you could just reach to your right and grab a piece of the jungle.
Paul Rosolie
(00:05:14)
It’s like even this seemingly beautiful little fern. If you go this way on the fern, you’re fine, as soon as, ou, as soon as you go this way-
Lex Fridman
(00:05:20)
Yeah.
Paul Rosolie
(00:05:20)
There’s invisible little spikes on there, if you want to.
Lex Fridman
(00:05:25)
Oh, I see.
Paul Rosolie
(00:05:25)
Yeah.
Lex Fridman
(00:05:25)
I feel it.
Paul Rosolie
(00:05:26)
See that? It’s like everything is defended. If you’re driving on the road and you have your arm out the side, or if you’re on a motorcycle going through-
Lex Fridman
(00:05:26)
Yeah.
Paul Rosolie
(00:05:31)
The jungle and you get one of these, it’ll just tear all the skin right off your body. It’s kind of doing that to me now.
Lex Fridman
(00:05:37)
So what would you do? Like we were going through the dense jungle yesterday, and you slide down the hill, your foot slips, you sliding down-
Paul Rosolie
(00:05:37)
Yeah.
Lex Fridman
(00:05:46)
And then you find yourself staring, a couple feet away from a bushmaster snake, what are you doing? You’re, for people who somehow don’t know, are somebody who loves, admires snakes, who has met thousands of snakes, has worked with them, respects them, celebrates them. What would you do with a bushmaster snake, face-to-face?
Paul Rosolie
(00:06:07)
Face-to-face, this has happened, I have been there.
Lex Fridman
(00:06:11)
It’s nice.
Paul Rosolie
(00:06:12)
I’ve come face-to-face with a bushmaster and there’s two reactions that you might get. One is, if the bushmaster decides that it’s vacation time, if it’s sleeping, if he just had a meal, they’ll come to the edges of trails or beneath a tree and they’ll just circle up, little spiral, big spiral, big pile of snake on the trail and they’ll just sit there. And one time there was a snake sitting on the side of a trail beneath a tree, for two weeks, this snake was just sitting there resting, digesting it’s food, out in the open, in the rain, in the sun, in the night, didn’t matter. You go near it, barely even crack a tongue.

(00:06:46)
Now, the other option, is that you get a bushmaster that’s alert and hunting and out looking for something to eat and they’re ready to defend themselves. And so I once came across a bushmaster in the jungle, at night, and this bushmaster turned its head towards me, looked at me and made it very clear, “I’m going to go this way.” And so I did the natural thing that any snake enthusiast would do, and I grabbed its tail. Now, 11-feet later, by the head, the snake turned around and just said, “If you want to meet God, I can arrange the meeting. I will oblige.” And I decided to let the bushmaster go. And so it’s like that with most animals, a Jaguar will turn and look at you and just remind you of how small you are.
Lex Fridman
(00:07:24)
Like what did you see-
Paul Rosolie
(00:07:24)
“Keep going.”
Lex Fridman
(00:07:25)
In the snake’s eyes? How did you sense that this is going to be your end if you’d proceed?
Paul Rosolie
(00:07:32)
His readiness. I wanted to get him by the tail and show him to the people that were there and maybe work with the snake a little bit. As an 11-foot snake, the snake turned around and made it very clear like, “Not today, pal, it’s not going to happen.”
Lex Fridman
(00:07:44)
Is it in the eyes, in the movement, in the tension of the body?
Paul Rosolie
(00:07:47)
It was the movement and the S of the neck. It was as if you pushed me-
Lex Fridman
(00:07:51)
[inaudible 00:07:51].
Paul Rosolie
(00:07:51)
And I went, “Let’s go, make my day.”
Lex Fridman
(00:07:52)
Yeah.
Paul Rosolie
(00:07:53)
Like he just looked a little bit too-
Lex Fridman
(00:07:55)
Yeah.
Paul Rosolie
(00:07:55)
Too ready. He was like, “I love this.”
Lex Fridman
(00:07:57)
Okay, all right. So you know.
Paul Rosolie
(00:08:00)
You just know, whereas like the snake you met last night.
Lex Fridman
(00:08:03)
Yeah, beautiful snake.
Paul Rosolie
(00:08:04)
Such a calm little thing, he just focuses on eating baby lizards and little snails and things. And that snake has no concept of defending itself, it has no way to defend itself. So even something the size of a blue jay, could just come and just pa, pa, pa, peck that thing in the head and swallow it and it’s a helpless little snake. So it kind of depends on the animal, it depends on the mood you catch them in, each one has a different temperament.
Lex Fridman
(00:08:25)
The grace of its movement was mesmerizing, curious almost. Maybe I’m anthropomorphizing, projecting onto it, but it was-
Paul Rosolie
(00:08:32)
The tongue flicking was a sign of curiosity, it was trying to figure out what was going on. It was like, “Why am I on this treadmill of human skin?” They’re just trying to get to the next thing, trying to get hidden, trying to get away from the light.
Lex Fridman
(00:08:42)
Also, the texture of the scales was really fascinating, I mean, it’s my first-
Paul Rosolie
(00:08:45)
[inaudible 00:08:45].
Lex Fridman
(00:08:45)
It’s the first snake I’ve ever touched, it’s so interesting, it was just such an incredible system of muscles that are all interacting together to make that kind of movement work and all the texture of its skin of its scales. What do you love about snakes? From my first experience with a snake to all the thousands of experiences you had with snakes, what do you love about these creatures?
Paul Rosolie
(00:09:07)
I think, when you just spoke about it, that’s the first snake you’ve met and it was a tiny little snake in the jungle and you spoke about it with so much light in your eyes. And I think that because we’ve been programmed to be scared of snakes, there’s something wondrous that happens in our brain. Maybe it’s just this joy of discovery that there’s nothing to be scared of. And whether it’s a rattlesnake that is dangerous and that you need to give distance to, but you look at it from a distance and you go, “Whoa.” Or it’s a harmless little grass snake that you can pick up and enjoy and give to a child. They’re just these strange legless animals that just exist, they don’t even have eyelids, they’re so different than us. They have a tongue that senses the air, and they, to me, are so beautiful.

(00:09:53)
And I’ve, my whole life, been defending snakes from humans and they seem misunderstood, I think they’re incredibly beautiful. There’s every color and variety of snakes, there’s venomous snakes, there’s tree snakes, there’s huge, crushing anacondas, it’s just… Of the 2,600 species of snakes that exist on Earth, there’s just such beauty, such complexity and such simplicity. To me, I feel like I’m friend with snake and-
Lex Fridman
(00:10:23)
Okay.
Paul Rosolie
(00:10:23)
They rely on me to protect them from my people.
Lex Fridman
(00:10:27)
Friend with snake.
Paul Rosolie
(00:10:28)
Me friend snake.
Lex Fridman
(00:10:29)
Me friend snake. You said some of them are sometimes aggressive, some of them are peaceful. Is this a mood thing, a personality thing, a species thing? What is it?
Paul Rosolie
(00:10:39)
So as far as I know, there’s only really two snakes on Earth that could be aggressive, because aggression indicates offense. And so a reticulated python has been documented as eating humans, anacondas, although while it hasn’t been publicized, they have eaten humans. Every single other snake, from boa constrictor, to bushmaster, to spitting cobra, to grass snake, to garter snake, to everything else, every single other snake does not want to interact with you. They have no interest. So there’s no such thing as an aggressive snake once you get outside of an anaconda and reticulated python.

(00:11:13)
Aggression, could be trying to eat you, that’s predation, but for every other snake, a rattlesnake, if it was there, would either go escape and hide itself or it would rattle its tail and tell us, “Don’t come closer.” A cobra will hood up and begin to hiss and say, “Don’t approach me, I’m asking you nicely, not to mess with me.” And most other snakes are fast or they stay in the trees or they’re extremely camouflage, but their whole MO is just, “Don’t bother me. I don’t want to be seen, I don’t want to be messed with. In fact, all I want to do is be left alone and once in a while I just want to eat.” And by the way, when you see a snake drink, your heart will break. It’s the only thing that’s cuter than a puppy, like watching a snake touch its mouth to water and you just see that little mouth going as they suck water in. And it’s just so adorable watching this scaled animal just be like, “I need water.”
Lex Fridman
(00:12:03)
In a state of vulnerability.
Paul Rosolie
(00:12:05)
Yeah, yeah.
Lex Fridman
(00:12:06)
But bro, there’s nothing cuter than a little puppy with a tongue like slurp, slurp.
Paul Rosolie
(00:12:10)
A baby ball python.
Lex Fridman
(00:12:11)
All right.
Paul Rosolie
(00:12:11)
Baby king cobra, man.
Lex Fridman
(00:12:12)
It’s a take your-
Paul Rosolie
(00:12:13)
Baby elephant.
Lex Fridman
(00:12:14)
So what, they’re like at a puddle and they just take it in?
Paul Rosolie
(00:12:17)
They can be at a puddle and they just take it in. Or one time in India, I was with a snake rescuer and we found this nine-foot king cobra, this God of a snake.
Lex Fridman
(00:12:17)
Oh, yeah.
Paul Rosolie
(00:12:25)
Ophiophagus hannah, is their Latin name and they’re snake eaters, they’re the king of the snakes, the largest venomous snake. And the people that called the snake rescuer, ’cause that’s a profession in India, it had gotten into their kitchen or their backyard. And so we showed up and we got the snake and the snake rescuer, he knew, he looked at the snake and he went, to me, he said, “Why do you think the snake would go in a house?” And he was quizzing me. And I actually went, “I don’t know, is it warm? Is it cold? Like sometimes cats like to go into the warm cars, in the winter.” And he was like, “It’s thirsty.” He goes, “Watch this.”

(00:13:01)
And he took a water bottle, poured it over the, now, the snake is standing up. The snake stands up three-feet tall, this is a huge king cobra with a hood, terrifying snake to be around. He leans over to the snake and the snake is standing there trusting him. And he takes a water bottle and pours it onto the snake’s nose and the snake turns up its nose and just starts drinking from the water bottle. Human giving water to snake, big scary snake, but this human understood, snake gets water, snake gets released in jungle, everybody is okay.
Lex Fridman
(00:13:30)
Okay, so sometimes the needs are simple, they just don’t have the words to communicate them to us humans.
Paul Rosolie
(00:13:36)
Yeah.
Lex Fridman
(00:13:37)
And is it disinterest or is it fear, almost like they don’t notice this? Or is it, we’re a source, the unknown aspect of it, the uncertainty, is a source of danger?
Paul Rosolie
(00:13:48)
Well, animals live in a constant state of danger. Like if you look at that deer that we saw last night, it’s-
Lex Fridman
(00:13:53)
Yeah.
Paul Rosolie
(00:13:53)
Stalking through the jungle wondering what’s going to eat it, wondering if this is the last moment it’s going to be alive. And it’s like animals are constantly terrified of, that this is their last moment.
Lex Fridman
(00:14:02)
Oh, yeah, just for the listener. We’re walking through the jungle late at night, and so it’s darkness except our headlamps on and then all of a sudden Paul stops, he’s like, “Shh.” And he looks in the distance and he sees two eyes, I think you thought, “Is that a jaguar or is that a deer?” And it was moving its head like this.
Paul Rosolie
(00:14:22)
Uh-huh.
Lex Fridman
(00:14:23)
Like scared or maybe trying to localize itself, trying to figure out-
Paul Rosolie
(00:14:26)
Trying to see around the-
Lex Fridman
(00:14:29)
You’re doing the same to it.
Paul Rosolie
(00:14:30)
Yeah.
Lex Fridman
(00:14:30)
The two of you like moving your head.
Paul Rosolie
(00:14:32)
Yeah.
Lex Fridman
(00:14:33)
And like deep into the jungle, like I don’t know-
Paul Rosolie
(00:14:36)
Yeah.
Lex Fridman
(00:14:37)
It’s pretty far away, through the trees you could still see it.
Paul Rosolie
(00:14:37)
Yeah.
Lex Fridman
(00:14:37)
That’s fascinating.
Paul Rosolie
(00:14:40)
30-feet or so, yeah.
Lex Fridman
(00:14:41)
That’s the thing to actually mention, I mean, with the headlamp, you see the reflection in their eyes.
Paul Rosolie
(00:14:45)
Yeah.
Lex Fridman
(00:14:46)
It’s kind of incredible-
Paul Rosolie
(00:14:47)
Yes.
Lex Fridman
(00:14:48)
To see a creature, to try to identify a creature by just the reflection from its eyes.
Paul Rosolie
(00:14:52)
Yeah. And so the cats, sometimes, you’ll get like a greenish or a bluish glow from the cats. The deer are usually white to orange, caiman, orange, nightjars, orange, snakes can usually be like orange, moths, spiders, sparkle. And so as you walk through the jungle, you can see all these different eyes. And when something large looks at you like that deer did, your first thing is, what animal is this that I am staring back at? Because through the light you see the bright light off the leaves. And I couldn’t tell at first, because that actually, those big bright eyes, it could have been an ocelot, could have been a jaguar, could have been a deer. And then when it did this movement, that’s what the cats do, they try to see around your light. I thought maybe Lex Fridman’s here, we’re going to get lucky, it’s going to be a jag right off trail.
Lex Fridman
(00:15:41)
Your definition of lucky is a complicated one.
Paul Rosolie
(00:15:43)
Yeah.
Lex Fridman
(00:15:43)
It’s a fascinating process when you see those two eyes trying to figure out what it is and it is trying to figure out what you are, that process. Let’s talk about caiman.
Paul Rosolie
(00:15:44)
Sure.

Black caiman

Lex Fridman
(00:15:53)
We’ve seen a lot of different kinds of sizes, we’ve seen a baby one, a bigger one. Tell me about these 16-foot plus, apex predators of the Amazon rainforest.
Paul Rosolie
(00:16:03)
The big bad black caiman, which is the largest reptilian predator in the Amazon except for the Anaconda, they kind of both share that notch of apex predator. They were actually hunted to endangered species level in the seventies, ’cause they’re leather, black scale leather. But they’re coming back, they’re coming back and they’re huge and they’re beautiful. And I was walking near a lake and I never understood how big they could get except for, I was walking near a lake last year and I was following the stream. And it’s like when you’re following a little stream and there’s just a little trickle of water, and all of a sudden this river otter had been running the other direction on the stream. River otter comes up to me and I swear to God, this animal looked at me and went, “Hey,” and I went, “Hey.” And he was like, “Didn’t expect to see me there.” And he turned around, he like did a little spin, started running down the stream, then he turned around and you could tell he was like, “Let’s go.” And I’m not anthropomorphizing here, the animal was asking me to come with him.

(00:16:59)
So I followed the river otter down the stream and we started running down the stream and the river otter looks at me one more time, is like, “Yo,” jumps into the lake. And I’m like, “What does he want me to see?” Now, in the lake, there’s river otters doing dives and freaking out and going up and down and up and down, and they’re very excited, they’re screaming, they’re screeching. All of a sudden, and I’ve never seen anything like this except for in like Game of Thrones. This croc head comes flying out of the water, all of the river otters were attacking this huge black caiman, 16-feet-
Lex Fridman
(00:17:29)
Wow.
Paul Rosolie
(00:17:29)
Head, half the size of this table. And she was thrashing her tail around creating these huge waves in the water, trying to catch an otter, and they’re so fast.
Lex Fridman
(00:17:38)
Yeah.
Paul Rosolie
(00:17:38)
That they were zipping around her, biting her, and then going around. And this otter, swear to God, inter-species, looked at me and went, “Watch this. We’re fucking with this caiman.”
Lex Fridman
(00:17:46)
Yeah.
Paul Rosolie
(00:17:47)
It was amazing. And for the first time, I got to stand there watching this incredible inter-species fight happening. They weren’t trying to kill the caiman, they were just trying to mess with it. And the caiman was doing his best to try and kill these otters. And they were just having a good time in that sick sort of hyper-intelligent animal, like wolf sort of way, where they were just going, “You can’t catch us.”
Lex Fridman
(00:18:07)
Yeah, like intelligence and agility versus raw power and dominance. I mean, I got to handle some smaller caiman and just the power they had. You scale that up to imagine what a 16-foot, or even a 10-foot, any kind of black caiman, the kind of power-
Paul Rosolie
(00:18:08)
Yeah.
Lex Fridman
(00:18:26)
They deliver. Maybe, can you talk to that, like the power they can generate with their tail, with their neck, with their jaw?
Paul Rosolie
(00:18:34)
Yeah. Alligators and caiman and crocodiles have some of the strongest bite forces on Earth, think a saltwater crocodile wins, as the strongest bite force on Earth. And you got to hold about a foot, was it a four-foot spectacled caiman? And you got to feel, I mean, you’re a black belt in jiu-jitsu. How do you compare the explosive force you felt from that animal compared to what a human can generate?
Lex Fridman
(00:19:02)
It’s difficult to describe in words, there was a lot of power. And we’re talking about the power of the neck, like the, what is it? I mean, there’s a lot, it could generate power all up and down the body, so probably the tail is a monster, but just the neck. And not to mention the power of the bite, that, and the speed too. Because the thing I saw and got to experience is, how still and calm, at least from my amateur-
Paul Rosolie
(00:19:27)
Yeah.
Lex Fridman
(00:19:27)
Perspective, it seems calm, still. And then from that, sort of zero to 60, could just-
Paul Rosolie
(00:19:36)
[inaudible 00:19:36].
Lex Fridman
(00:19:35)
Just go wild.
Paul Rosolie
(00:19:37)
Just thrashing.
Lex Fridman
(00:19:39)
And then there’s also a decision it makes in that split second, whether, as it thrashes, is it going to kind of bite you on the way or not?
Paul Rosolie
(00:19:49)
And that’s where, of the four species of caiman that we have here, you see differences in their personalities as a species.
Lex Fridman
(00:19:56)
Yeah.
Paul Rosolie
(00:19:56)
And so you can like, just like you know, like generally, golden retrievers are viewed as a friendly dog, generally, not every single one of them, but as a rule. Spectacled caiman, puppies, you released one in the river and it did nothing, didn’t bite one of your fingers, it just swam away. We dropped one in the river, and what did it do? It chose peace. Now, I had a smooth-fronted caiman a few weeks ago, and this was probably about a three-and-a-half footer. Not big enough to kill you, but very much big enough to grab one of your fingers and just shake it off your body, just death roll it, right off. And as I was being careful, totally different caiman than the one that you got to see, this one has spikes coming off it, they’re like leftover dinosaurs. It’s like they evolved during the dinosaur times and never changed. They have spikes and bony plates and all kinds of strange growths that you don’t see on the other smoother caiman.

(00:20:47)
And I tried to release this one without getting bitten and I threw it into the stream, gently into the water, just went waa, and tried to pull my hands back. And as I pulled my hand back, this caiman, in the air, turned around and just tried to give me one parting blow and just got one tooth whack, right to the bone of my finger. And a bone injury feels different than a skin injury, so you instantly go, “ou.” And it just reminds you of, that’s a caiman with a head this big and it hurt and I know that it could have taken off my finger. Now, if you scale that up to a black caiman, it’s rib crushing, it’s zebra-head removing size, just meat destroying. It’s nature’s metal, sort of just raw power.
Lex Fridman
(00:21:32)
So what’s the biggest croc you’ve been able to handle?
Paul Rosolie
(00:21:36)
We were doing caiman surveys for years, and we would go out at night and you want to figure out what are the populations of black caiman, spectacled caiman, smooth-fronted caiman, dwarf caiman. And the only way to see which caiman you’re dealing with is to catch it. Because a lot of times you get up close with the light and you can see the eyes at night, but you can’t quite see what species it is. For instance, this past few months, we found two baby black caiman on the river, which is unprecedented here, we haven’t seen that in decades. So it’s important that we monitor our croc population. So I started catching small ones, in Mother of God, I write about the first one that me and JJ caught together, which was probably a little bigger than this table. And probably mid-twenties bravado and competition with other young males of my species, led to me trying to go as big as I could.

(00:22:26)
And I jumped on a spectacled caiman that was slightly longer than I am, and I’m five-nine. So I jumped on this, probably, six-foot croc, and quickly realized that my hands couldn’t get around its neck and my legs were wrapped around the base of its tail. And the thrash was so intense, that as it took me one side, I barely had enough time to realize what was happening, before it beat me against the ground. My headlamp came off, so now I’m blind, in the dark, laying in a river, in the Amazon rainforest, hugging a six-foot crocodile. And I went, “JJ,” as I always do. But in that moment, before I even let go, I knew I couldn’t let go of the croc, because if I let go of the croc, I thought she was going to destroy my face. So I said, okay, now I’m stuck here, if I just stay here, I can’t release her, I need help. But I was like, I’m never ever, ever, ever going to try and-
Lex Fridman
(00:23:18)
Yeah.
Paul Rosolie
(00:23:18)
Solo catch a croc this big again. I knew in that moment, I was like, this is good enough.
Lex Fridman
(00:23:22)
So anything longer than you.
Paul Rosolie
(00:23:23)
Nah.
Lex Fridman
(00:23:24)
You don’t control the tail, you don’t-
Paul Rosolie
(00:23:24)
No, i-
Lex Fridman
(00:23:25)
You have barely control of anything, really.
Paul Rosolie
(00:23:27)
Yeah. And that’s a spectacled caiman.
Lex Fridman
(00:23:27)
Yeah.
Paul Rosolie
(00:23:28)
A black caiman is a whole other order of magnitude there. It’s like saying like, “Oh, I was play fighting with my golden retriever versus I was play fighting with like,” what’s the biggest, scariest dog you could think of? The dog from Sandlot, a giant gorilla dog-thing, like a malamute, something huge. What are they called? Mastiffs.
Lex Fridman
(00:23:48)
Yeah. Mastiffs.
Paul Rosolie
(00:23:49)
Mastiffs.
Lex Fridman
(00:23:50)
I mean, you mentioned dinosaurs, what do you admire about black caiman? They’ve been here for a very, very long time, there’s something prehistoric about their appearance, about their way of being, about their presence in this jungle.
Paul Rosolie
(00:24:03)
With crocodiles, you’re looking at this mega survivor, they’re in a class with sharks, where it’s like they’ve been here so long. When you talk about multiple extinctions, you talk about the sixth extinction, Earth’s going through all this stuff, the crocodiles and the cockroaches have seen it all before. They’re like, “Man, we remember what that comet looked like.” And they’re not impressed.
Lex Fridman
(00:24:24)
Yeah, they carry this wisdom.
Paul Rosolie
(00:24:26)
Yeah.
Lex Fridman
(00:24:27)
In their power.
Paul Rosolie
(00:24:27)
Yeah.
Lex Fridman
(00:24:28)
In the simplicity of their power, they carry the wisdom.
Paul Rosolie
(00:24:30)
Yeah. And they’re just sitting there in the streams and they don’t care. And even if there’s a nuclear holocaust, you know that there would just be some crocs sitting there, dead-eyed, in that stagnant water, waiting for the life to regenerate so they could eat again.
Lex Fridman
(00:24:42)
It’s going to be the remaining humans versus the crocs and the cockroaches, and the cockroaches are just background noise.
Paul Rosolie
(00:24:49)
Yeah, they’ll always be there. Sons of bitches.
Lex Fridman
(00:24:53)
We were talking about individual black caiman and caiman and different species of caiman. But whenever they’re together and you see multiple eyes, which I’d gotten to experience, it’s quite a feeling. There’s just multiple eyes looking back at you. Of course, for you, that’s immediate excitement, you immediately go towards that. You want to see it, you want to explore it, maybe catch them, analyze what the species is, all that kind of stuff.
Paul Rosolie
(00:25:19)
Yeah.
Lex Fridman
(00:25:20)
Can you just describe that feeling, when they’re together and they’re looking at you, sort of head above water, eyes reflecting the light?
Paul Rosolie
(00:25:28)
Yeah. So the other night, Lex and I were in the river with JJ, surviving a thunderstorm. We were in the rain and we had covered our equipment with our boats and the only thing that we could do was get in the river to keep ourselves dry. And so we were in the river, at night, in the dark, no stars, just a little bit of canopy silhouetted, with all this rain coming down, it was such a din, you could hardly hear anything. And all the way down river, I just see this caiman eye in my headlamp light, and I started walking towards it because I was like, “This is even better. We can catch a caiman while we’re in this thunderstorm in the Amazon River.” And when JJ went, “Paul, it’s too far.” JJ very rarely, like he’ll make a suggestion, he’ll usually go like, “Maybe it’s far.” But in that situation, deep in the wilderness, unknown caiman size, he went, “Paul, it’s too far, don’t leave the three of us right now.”
Lex Fridman
(00:26:29)
Yeah.
Paul Rosolie
(00:26:29)
We were too far out to take risks.
Lex Fridman
(00:26:31)
Yeah.
Paul Rosolie
(00:26:31)
We’re too far out to be walking along the riverbed at night. Because then, right here at the research station, if you step on a stingray, you get evac’d, out where we went, nothing. So for me, seeing those eyes, I think I’ve become so comfortable with so many of these animals that I may have crossed into the territory where I feel so comfortable with many of these animals that they just don’t worry me anymore. I mean, I looked at you in a raft, while you had a sizable, probably, about 12-foot black caiman right next to your raft. I watched its head go under.
Lex Fridman
(00:27:05)
The bubbles.
Paul Rosolie
(00:27:06)
The bubbles, it was all coming up right next to your raft, as he was just moving along the bottom of the river. ‘Caused he looked at me, went under, and then my raft passed and yours came over him. So now, I’m looking back and your raft is going over this black caiman and I’m going, “I’m not worried at all.” I was not worried. I was not worried that the caiman would freak out, I was not worried that he would try to attack you. I knew, a hundred percent, that caiman just wanted us to go, so he could go back to eating fish.
Lex Fridman
(00:27:31)
Yeah.
Paul Rosolie
(00:27:32)
That’s it.
Lex Fridman
(00:27:32)
Man, it’s humbling. It’s humbling, these giant creatures. And especially at night like you were talking about. And for me, it’s both scary and just beautiful when the head goes under, because underwater, it’s their domain, so anything can happen. So what is it doing that its head has gone under? It could be bored, it could be hungry, looking for some fish, it could be, maybe, wanting to come closer to you to investigate. Maybe you have some food around you, maybe it’s an old friend of yours and he just wants to say, “Hi,” I don’t know.
Paul Rosolie
(00:28:06)
I have a few on the river, old friends.
Lex Fridman
(00:28:07)
Okay.
Paul Rosolie
(00:28:09)
No, when we see their heads go under, they’re just getting out of the way. We’re shining a light at them and they’re going, “Why is there a light at night? I’m uncomfortable.” Head under. So these caiman, again, you think of it as this big aggressive animal, but I don’t know anybody that’s been eaten by a black caiman. And the smaller species, smooth-fronted caiman, dwarf caiman, spectacled caiman, they’re not going to eat anybody, again, at the worst, if you were doing something inappropriate with a caiman, like you jumped on it and were trying to do research and it bit your hand, it could take your hand off. But that’s the only time, I’ve been walking down the river and stepped on a caiman and the caiman just swims away. And so in my mind, caiman are just these, they’re peaceful dragons that sit on the side of the river.

(00:28:51)
And so to me, they are my friends and I worry about them, because two months ago we were coming up river and on one of the beaches was a beautiful, about five-foot black caiman with a big machete cut right through the head. The whole caiman was wasted, nothing was eaten, but the caiman was dead.
Lex Fridman
(00:29:11)
Who do you think that was?
Paul Rosolie
(00:29:13)
Curious humans.
Lex Fridman
(00:29:15)
Just committing violence?
Paul Rosolie
(00:29:17)
Yeah, just loggers, people who aren’t from this part of the Amazon, because a local person would either eat the animal or not mess with it. Like Pico would never kill a caiman for no reason, because it doesn’t make any sense. So these are clearly people who aren’t from the region, which usually means loggers, because they’ve come from somewhere else. They’re doing a job here and they’re just cleaning their pots in the river at night and they see eyes come near them, because the caiman probably smells fish. And then they just whack, because they want to see it and they’re just curious monkeys on a beach. And again, me friend of caiman, I protect from my type.
Lex Fridman
(00:29:51)
That said, you protect your friends and you analyze and study your friends, but sometimes friends can have a bit of a misunderstanding. And if you have a bit of a misunderstanding with a black caiman, I feel like just a bit of a misunderstanding could lead to a bone-crushing situation.
Paul Rosolie
(00:30:12)
But not for a little five-foot caiman.
Lex Fridman
(00:30:14)
Yeah.
Paul Rosolie
(00:30:15)
And I think that’s incredibly speciesist of you.
Lex Fridman
(00:30:16)
About humans or about caiman?
Paul Rosolie
(00:30:21)
No, I’m saying-
Lex Fridman
(00:30:22)
Okay.
Paul Rosolie
(00:30:22)
Like all my friends do the same thing. They go, “You swim in the Amazon rainforest, you swim in that river.” And I go, “Yes, every day.” Backflips into the river, we’ve been swimming in the river how many times.
Lex Fridman
(00:30:31)
Yeah.
Paul Rosolie
(00:30:32)
With the piranha and the stingray and the candiru and the caiman and the anacondas, all of it, in the river, with us. And we just do it. And what’s that for you? So what allows you to do that, knowing and having researched all the different things that can kill you, which I feel like most of them are in the river? What allows you to just get in there with us?
Lex Fridman
(00:30:53)
Well, I think it’s something about you, where you become like this portal through which it’s possible to see nature as not threatening but beautiful. And so in that, you kind of, naturally, by hanging out with you, I get to see the beauty of it. There is danger out there, well, the dangerous part of it, just like there’s a lot of danger in the city, there’s danger in life, there’s a lot of ways to get hurt emotionally, physically. There’s a lot of ways to die in the stupidest of ways. We went on an expedition through the forest, just twisting your ankle, breaking your foot, getting a bite from a thing that gets infected, there’s a lot of ways to die and get hurt, in the stupidest of ways. In a non-dramatic, caiman eating you alive, kind of way.
Paul Rosolie
(00:31:37)
Yeah, it strikes me as unfair, because humans, we’re still in our minds, so programmed to worry about that predator, that predator, that predator. What predator? We’ve killed everything. Black caimans are coming off the endangered species list, we exterminated wolves from North America. I actually heard a suburban lady one time, tell her son, “Watch out, foxes will get you.” Foxes?
Lex Fridman
(00:32:01)
Yeah.
Paul Rosolie
(00:32:02)
They eat baby rabbits and mice.
Lex Fridman
(00:32:05)
Well, in the case of apex predators, I think when people say, “Dangerous animals,” they really are talking about just the power of the animal. And the black caiman have a lot of power.
Paul Rosolie
(00:32:16)
A lot of power.
Lex Fridman
(00:32:18)
And so it’s almost just a way to celebrate the power of the animal.
Paul Rosolie
(00:32:21)
Sure. And if it’s in celebration, then I’m all for it, because my God, is that power. Like the waves of fury that you saw, like when that tail, I mean, you saw the tail of the spectacled, that perfect-
Lex Fridman
(00:32:32)
Yeah.
Paul Rosolie
(00:32:32)
Amazing thing, with all those interlocking scales that work-
Lex Fridman
(00:32:32)
Yeah.
Paul Rosolie
(00:32:35)
So it’s like a perfect creation of engineering. And then when you have one that’s this thick and all of a sudden that thing is moving with all the acceleration of that power, whoa, the volume of water, the sound that comes out of their throat, they’re dragons.
Lex Fridman
(00:32:51)
We talked about the scales of the snake, with like the caiman, just the way it felt-
Paul Rosolie
(00:32:55)
Yeah.
Lex Fridman
(00:32:57)
Was incredible. Just the armor, the texture of it, was so cool.
Paul Rosolie
(00:32:57)
Yeah.
Lex Fridman
(00:33:02)
I don’t know, like the bottom of the caiman has a certain kind of texture and it just all feels like power, but also all feels like designed really well. It’s like exploring through touch, like a World War II tank or something like that, just-
Paul Rosolie
(00:33:17)
Yeah.
Lex Fridman
(00:33:17)
It’s the engineering that went into this thing.
Paul Rosolie
(00:33:19)
Yeah.
Lex Fridman
(00:33:20)
That the mechanism of evolution that created a thing that could survive for such a long time, it’s just incredible. This is a work of art, the defense mechanisms, the power of it, the damage it can do, how effective it is as a hunter, all of that. You could feel that just by touching it.
Paul Rosolie
(00:33:41)
Do you ever see the mashup where they put, side-by-side, the image of, I think it’s a Falcon in flight, next to a stealth bomber and they’re almost the exact same design. It’s incredible, like that-
Lex Fridman
(00:33:54)
What’s the equivalent for a croc? I don’t know-
Paul Rosolie
(00:33:57)
Like you said, maybe a tank. Like-
Lex Fridman
(00:33:58)
Maybe a tank.
Paul Rosolie
(00:33:59)
But they’re more like an armadillo, turtle.
Lex Fridman
(00:34:00)
Yeah.
Paul Rosolie
(00:34:01)
I don’t know.
Lex Fridman
(00:34:01)
Like hippos and-
Paul Rosolie
(00:34:02)
Yeah, there may not be a war machine equivalent of a crocodile, it would’ve to have like a big jaw element to it.

Rhinos

Lex Fridman
(00:34:11)
In the water, I mean, we talked also about hippos. Those are interesting creatures from all the way across the world. Just monsters.
Paul Rosolie
(00:34:18)
Yeah.
Lex Fridman
(00:34:19)
Hippos and rhinos. Hippos are bigger, usually, or rhinos are bigger?
Paul Rosolie
(00:34:23)
Rhinos.
Lex Fridman
(00:34:23)
Yeah.
Paul Rosolie
(00:34:24)
Rhinos, after elephants, is the largest, white rhinos.
Lex Fridman
(00:34:28)
They can be terrifying too, again, when you step into the defense.
Paul Rosolie
(00:34:31)
Absolutely. But I have to tell you, after being around so many rhinos-
Lex Fridman
(00:34:35)
You have friend of mine?
Paul Rosolie
(00:34:36)
I have rhino friends.
Lex Fridman
(00:34:37)
Yeah.
Paul Rosolie
(00:34:37)
Black and white rhinos.
Lex Fridman
(00:34:39)
Yeah.
Paul Rosolie
(00:34:39)
And they’re all sweethearts, and I mean-
Lex Fridman
(00:34:40)
Awesome.
Paul Rosolie
(00:34:42)
I mean, sweethearts. And I mean, when you look at a rhino, it’s like a living dinosaur. I know it’s a mammal, but somehow it’s screams dinosaur, ’cause it seems like pleistocenic.
Lex Fridman
(00:34:51)
Yeah.
Paul Rosolie
(00:34:52)
And from another age, with the giant horn. And they’re so much bigger than you think, like they’re minivan-sized animals. We’re not taller than they are at the shoulder. And they have this strange shaped head and the huge horn.
Paul Rosolie
(00:35:00)
… at their shoulder, and they have the strange-shaped head and the huge horn, and they sit there eating grass all day. So if a rhino is dangerous to a human, it’s because the rhino is going, “Don’t hurt me. Don’t hurt me. Don’t hurt my baby.” And then they’re like, “You know what? I’ll just kill you. It’ll be easier, because you’re scaring me right now.” You’re too close to that rhino. And so there again, I just think it’s funny because humans, we’re so quick to go, “Which snakes are aggressive?” Well, there are no aggressive snakes. “Rhinos can be dangerous.” If provoked. Otherwise, they’re peaceful, fat grass unicorns. They’re really pretty calm. That we had these incredible giant animals and the largest animals on our planet, the black caiman, the rhinos, the elephants, all the big beautiful stuff is becoming less and less.

(00:35:48)
And it almost reminds me, in Game of Thrones, they’re like, “In the beginning,” they’re like, “there used to be dragons.” And it was this memory, and it’s like, we used to have mammoths, and we used to have stellar sea cows that were 16-feet-long manatees, and it’s, there were things we used to have. The Caspian tiger that only went extinct in the ’90s. Our lifetimes. And that’s mind-blowing to me. That has haunted me since I’m a child. I remember learning about extinction and I went, “Wait, you’re telling me that…” I remember being a kid and going, “By the time I grew up, you’re saying that gorillas could be gone? Elephants could be gone? And because we’re doing it? And then I remember looking at the nightlight being blurry because I was crying. I was so upset. And it was Lonesome George, that turtle, the Galapagos tortoise, where there was one left. And they said, “If we just had a female, he could live.” And I as a six, seven, eight-year-old, that destroyed me.
Lex Fridman
(00:36:46)
We’re all just trying to get laid, including that turtle.
Paul Rosolie
(00:36:48)
Including that turtle, for a few hundred years. Dude.
Lex Fridman
(00:36:53)
So for young people out there, you think you’re having trouble, think about that turtle.
Paul Rosolie
(00:36:56)
Think about that turtle. Yeah. You know there’s a turtle that Darwin and Steve Irwin both owned?
Lex Fridman
(00:37:01)
Yeah, I heard about that turtle. Man, they live a long time.
Paul Rosolie
(00:37:05)
Yeah.
Lex Fridman
(00:37:05)
They’ve seen things.
Paul Rosolie
(00:37:07)
They’ve seen things that, there’s a great internet joke where they’re accusing him of being incongruous with modern times. They’re like, “He did nothing to stop slavery. He didn’t fight in World War II.”
Lex Fridman
(00:37:18)
Cancel the turtle.
Paul Rosolie
(00:37:20)
Yeah, cancel the turtle.

Anacondas

Lex Fridman
(00:37:22)
Oh, shit. What a world we live in. So it’s interesting, you mentioned black caiman and anacondas are both apex predators. So it seems like the reason they can exist in similar environments is because they feed on slightly different things. How is it possible for them to coexist? I read that anacondas can eat caiman but not black caiman. How often do they come in conflict?
Paul Rosolie
(00:37:49)
So anacondas and caiman occupy the exact same niche, and they’re born at almost the exact same size. And unlike most species, they don’t have a size range that they’re confined to. They start at this big, baby caiman are this big, baby anacondas are a little longer, but they’re thinner and they don’t have legs, so it’s the same thing in terms of mass. And they’re all in the streams or at the edges of lakes or swamps. And so the baby anacondas eat the baby caiman. Baby caiman can’t really take down an anaconda. They’re going for little insects and fish. They have quite a small mouth. Again, it’s in their interest to hide from everything. A bird, a heron can eat a baby caiman, pop it back. And so they have to survive. But the anaconda and the caiman joust as they grow.
Lex Fridman
(00:38:39)
Can you actually explain how the anaconda would take down a caiman? Would it first use constriction and then eat it? Or what’s the methodology?
Paul Rosolie
(00:38:48)
So anacondas have, I don’t know, a three-point constriction system where their first thing is anchor. Something like jujitsu. So the first thing is latch onto you.
Lex Fridman
(00:39:00)
I like how I’m writing this down like, “All right, this is jujitsu masterclass here.”
Paul Rosolie
(00:39:05)
This is for when you’re wrestling an anaconda, just in case.
Lex Fridman
(00:39:09)
And you’ll be the coach in the sidelines screaming, “No, no, no-“
Paul Rosolie
(00:39:11)
“You got him, Lex!”
Lex Fridman
(00:39:11)
Yeah.
Paul Rosolie
(00:39:15)
“Don’t let him take the back.”
Lex Fridman
(00:39:16)
Yeah.
Paul Rosolie
(00:39:17)
All right. So one time me and JJ were following a herd of collard peccary and JJ’s teaching me tracking. So we’re following the hoof prints through the mud, and we’re doing this, and I’m talking about no backpacks, just machetes, bare feet, running through the jungle. And we come to this stream and JJ’s like, “I think we missed him. I think they went.” And I’m like, “No, no, no, they went here, look.” And not because I’m a great tracker, because I can see a few dozen footprints, hundreds of individual footprints right there. And I’m going, “No, no, they just crossed here.” And JJ was like, “You know what? We’re not going to get eyes on them today.” He was like, “It’s okay.” He’s like, “We did good. We followed them for a long time.” And I was like, “Cool.”

(00:39:51)
And then I was trying to gauge, “Can I drink this stream?” And I see a culpa. And a culpa is a salt deposit where animals come to feed because sodium is a deficiency that most herbivores have here. And all of a sudden I just hear like the sound of a wet stick snapping, just that bone crunch. And I looked down, and there’s about a 16-foot anaconda wrapped around a freshly killed peccary. Wild boar. And what this anaconda had done was as all the pigs were going across the stream, the anaconda had grabbed it by the jaw, swiped the legs, wrapped around it, bent it in half, and then crushed it to ribs.

(00:40:35)
And that’s what the anaconda do, whether it’s to mammals, to caiman, it’s all the same thing. It’s grab on, they have six rows of backwards-facing teeth, so once they hit you, they’re never going to come off. You actually have to go deeper in and then open before you can come out. All those backward-facing teeth. So they have an incredible anchor system, and then they use their weight to pull you down to hell to pull you down into that water, wrap around you, and then start breaking you. And every breath you take, you go, and you’re up against a barrier. And then when you exhale, they go a little tighter and you’re never going to get that space back. Your lungs are never going to expand again. And I know this because I’ve been in that crush, before JJ pulled me out of it. And so this pig, the anaconda had gotten it, and as the pig was thrashing and the anaconda was wrapping around it and bent it in half, and I just heard those vertebrae going.

(00:41:26)
And so for a caiman, it’s the same thing. They just grab them, they wrap around it, and then they have to crush it until there’s no response. They’ll wait an hour. They’ll wait a long time until there’s no response from the animal. They’ll overpower it. Then they’ll reposition, probably yawn a little bit, open their jaw, and then start forcing that entire… Now here’s the crazy thing, is that an anaconda has stomach acid capable of digesting an entire crocodile where nothing comes out the other side. And when you see how thick the bony plate of a crocodile skull is, that that can go in the mouth and nothing comes out the other side, that’s insane. And so it always made me wonder, on a chemistry level, how you can have such incredible acid in the stomach that doesn’t harm the anaconda itself. And someone said that the mucus-
Lex Fridman
(00:42:14)
I thought it’s able to digest… Oh, it’s some kind of mucus. Oh, the mucus, there’s… Oh, interesting. There’s levels of protection from the anaconda itself. But it seems like the anaconda is such a simple system as an organism.
Paul Rosolie
(00:42:26)
I know, but-
Lex Fridman
(00:42:26)
That simplicity, taken at scale, it can swallow a caiman and digest it slowly.
Paul Rosolie
(00:42:33)
I know, but my question was how on earth is it physically possible to have this hellish bile that can digest anything, even something as horrendous as a caiman, scales and bones and all the hardest in nature, and then not hurt the snake itself. And I had a chemist explain to me that it’s probably some sort of mucus system that lines the stomach and neutralizes the acid and keeps it floating in there, but my God, that must be powerful stuff.
Lex Fridman
(00:43:01)
What does it feel like being crushed, choked by anaconda?
Paul Rosolie
(00:43:10)
When an anaconda is wrapped around you and you find yourself in the shocking realization that these could be your last moments breathing, you are confronted with the vast disparity in power. That there is so much power in these animals, so much crushing, deliberate, reptilian, ancient power that doesn’t care. They’re just trying to get you to stop. They just want you to stop ticking, and there’s nothing you can do. And I find it very awe-inspiring when I encounter that kind of power. Even if it’s that you see a dog run… You ever try to outrun a dog, and they just zip by you and you go, “Wow.” Or you see a horse kick and you go, “Oh, my God, if that hoof hit anyone’s head, it’d knock them three states over.” And it’s like there is muscular power that is so far, like you said, that explosive, that we dream of doing it. Imagine if a Muay Thai kickboxer could harness that caiman power, that smash. And so it’s just awe-inspiring. I think it’s really, really impressive what animals can do.

(00:44:18)
And we’re all the same makeup, for the most part. All the mammals, we all have, our skeletons look so similar, we all have… If you look like a kangaroo’s biceps and chest, it looks so much like a man’s, and same thing goes for a bear. Or you ever see a naked chimp?
Lex Fridman
(00:44:34)
Have I?
Paul Rosolie
(00:44:35)
There’s chimps with alopecia.
Lex Fridman
(00:44:37)
Oh, shit. They’re shredded. Yeah.
Paul Rosolie
(00:44:38)
And so it looks like a bodybuilder. It’s got cuts and huge, huge everything. It’s got pecs, and they got that face that’s just like, “Just let me in.”
Lex Fridman
(00:44:50)
“What now?”
Paul Rosolie
(00:44:51)
“Where’s your wallet?”
Lex Fridman
(00:44:52)
“Do something.” But yeah, but there’s the specialization of a lifetime of doing damage to the world and using those muscles, it just makes you just that much more powerful than most humans because humans I guess have more brain, so they get lazy. They start puzzle-solving versus using the biceps directly.
Paul Rosolie
(00:45:17)
Well, yes and no. And I have this question. So that whole “you are what you eat” thing. Now, we one time here had two chickens. Now, one of them was a wild chicken from the farm, had walked around its whole life finding insects, and the other chicken was factory raised. And so we cut the heads off of both of them and started getting ready to cook them. Now, the factory-raised chicken was a much higher percentage of fat, had less muscle on its body, was softer tissue, a lighter color. The farm raised chicken had darker, more sinewy muscles, less fat. It was clearly a better-made machine. And so my question is, is that what’s happening with us? If you go see a Sherpa who’s been walking his whole life and walking behind muskoxes and lifting things up mountains and breathing clean air and not being in the city, versus someone that’s just been chowing down at IHOP for 40 years and never getting off the couch, I imagine it’s the same thing, that you become what you eat.
Lex Fridman
(00:46:19)
Yeah. I mean, you and I, we’re half dead running up a mountain. Meanwhile, there’s a grandma just walking and she’s been walking that road and she’s just built different.
Paul Rosolie
(00:46:29)
With her alpaca on her shoulders.
Lex Fridman
(00:46:32)
With a baby. They’re just built different, when you apply your body in the physical way your whole life.
Paul Rosolie
(00:46:39)
Yeah. You can’t replicate that. Just like that chimp has those muscles from constantly moving through the canopy, constantly using those arms. Just like if you see an Olympic athlete or you hug Rogan.
Lex Fridman
(00:46:54)
Exactly the same.
Paul Rosolie
(00:46:55)
You just go, “Why is there so much muscle here?”
Lex Fridman
(00:46:59)
That’s exactly what I feel like when you give him a hug. This is definitely a chimp of some sort. Just the constriction of anaconda, just the feeling of that, are they doing that based on instinct, or is there some brain stuff going on? Is this just a basic procedure that they’re doing, and they just really don’t give a damn? They’re not like thinking, “Oh, Paul. This is this kind of species who tastes good,” or is it just a mechanism just start activating and you can’t stop it?
Paul Rosolie
(00:47:37)
With an anaconda, I really think it’s the second one. I do think that they’re impressive and beautiful and incredibly arcane. I think they’re a very simple system, a very ancient system. And I think that once you hit predation mode, it’s going down no matter what. This stupid mosquito, I’m going like this, and every time he just flies around my hand like I’m a big slow giant, and he just goes around my hand and then he goes back to the same spot. And I’m like, “No,” and then he comes right back to the same spot. It’s like he’s just going, “Fuck you.”
Lex Fridman
(00:48:10)
Here’s the question. If the mosquito is stupid and you can’t catch it, what does that make you?
Paul Rosolie
(00:48:14)
Fucking stupid. Dude, I flicked a wasp off me the other day, it flew back like 12 feet, and then in the air, corrected, and then flew back at my face. It made so many calculations and corrections and decided to come back and let me know about it. And I was like, “Shit.”
Lex Fridman
(00:48:29)
And that wasp probably went back to the nest, said, “Guess what happened today?”
Paul Rosolie
(00:48:32)
“This bitch-ass kid from Brooklyn tried to flick me and I showed him what’s up. I had him running.”
Lex Fridman
(00:48:36)
They had a good chuckle on that one. You actually mentioned to me, just on the topic of anacondas, that you’ve been participating in a lot of scientific work on the topic. So really, in everything you’ve been doing here, you are celebrating the animals, you’re respecting the animals, you’re protecting the animals, but you’re also excited about studying the animals in their environment. So you’re actually a co-author on a paper, on a couple of papers, but one of them is on anacondas and studying green anaconda hunting patterns. What’s that about?
Paul Rosolie
(00:49:13)
So the lead authors of that paper, Pat Champagne and Carter Payne, are friends of mine, and what we started noticing, for me began at that story I told you where we were coming across the stream and we saw the anaconda had been positioned just below a culpa. And then other people began noticing that anaconda seemed to always be beneath these culpas where mammals were going to be coming. And that contrasted with what we knew about anacondas. Because what we understood about anacondas that they’re purely ambush predators and they don’t pursue their prey. But what we began finding out here, and Pat led the process of amazing scientists, he worked with Acadia University for a long time, worked with us for a long time, and he was one of the first to put a transmitter in an anaconda right around here, and we were able to see their movements. And that’s what these papers are showing is that they actually do pursue their prey. They do move up and down using the streams as corridors through the forest. They actually do pursue their prey, they actually do seek out food.

(00:50:21)
I mean, think about it. It’s a giant anaconda. Obviously, it can’t just sit in one spot. It has to put some work into it. And so they’re using scent and they’re using communication to use the streams. So you could be walking in the forest in a very shallow stream And see a sizable anaconda looking for a meal.
Lex Fridman
(00:50:38)
So in the shallow stream, it moves not just in the water but in the sand.
Paul Rosolie
(00:50:44)
Yeah.
Lex Fridman
(00:50:44)
So it also likes to burrow a little bit?
Paul Rosolie
(00:50:47)
They burrow quite a bit. And so these large snakes operate subterranean more than we think.
Lex Fridman
(00:50:55)
Interesting.
Paul Rosolie
(00:50:56)
There’s times that you’ll go with a tracker, you go with the telemetry set and it’ll say, “Tu tu tu tu tu,” we’ll be over the snake. Snake’s underground. Snake has found either a recess under the sides of the stream, you saw it last night, where all the fish have their holes under the side of the stream. There was a six-foot dwarf caiman right in the stream, right where we were standing, and he had his cave. He goes under there. They know. They have their system.
Lex Fridman
(00:51:22)
We walked by it.
Paul Rosolie
(00:51:24)
We walked by it. And he stuck his head out because he thought we’d gone. And then we turned around and I just got a glimpse of him because I was in the front of the line, and he just went right back into his cave. “You guys are not going to touch me.” And so yeah, with the anacondas, it’s been really exciting. And in 2014, JJ and me and Mohsen and Pat and Lee, we ended up catching what at the time was the record for Eunectes Marinas scientifically measured. It was 18 feet six inches, 220 pounds, one of the largest female anacondas on record. And since that time, these guys have been continuing to study the species, continuing to just, again, just add a little bit by little bit to the knowledge we have of the species.

(00:52:07)
And studying green anacondas in lowland tropical rainforest, you’ve seen how hard it is to move, to operate, to navigate in this environment. And so when you think of the fact that in order to learn anything about this species, you have to spend vast amounts of time first locating them, and then finding out a way to keep tabs on them, even if you get lucky enough to see an anaconda by the edge of a stream. To be able to observe it over time, to learn its habits or to put a radio transmitter on it or to take any sort of valuable information from the experience is almost impossible. And so a lot of the stuff that I wrote about in Mother of God, us jumping on anacondas and trying to catch them, and at first it just seemed like something we were doing to just try and see them. But it ended up being that we were wildly trying to figure out methodology that would have scientific implications later on, because now it’s allowing us to try and find the largest anacondas.

(00:53:07)
And people used to say, “There’s no way there’s 25-foot, 27-foot.” Well, there’s just that video of the guy swimming with the twenty-foot anaconda. And so now as we keep going, I’m going, “Well, maybe through drone identification, we could find where the largest anacondas are sitting on top of floating vegetation. And even then, how do we restrain them so that we could measure them and prove this to the world? It’s a side quest, but-
Lex Fridman
(00:53:31)
So by doing these kinds of studies, you figure out how they move about the world, what motivates them in terms of when they hunt, where they hide in the world as the size of the anaconda changes, so all of that, those are scientific studies?
Paul Rosolie
(00:53:45)
Yeah. I mean, look, there’s so much that we don’t know about this forest. We don’t know what medicines are in this forest. We don’t know. With a lot of the 1500, there’s something like 4,000 species of butterflies in the Amazon rainforest. And of the 1500 species that are here in this region, all of them have a larval stage, caterpillars. And each of the caterpillars has a specific host plant that they need to eat in order to become a successful butterfly, to enter the next life cycle. And for most of the species that fill the butterfly book, we don’t know what those interactions are. I recently got to see the white witch, which is a huge moth. It’s one of the two largest moths in the world. It’s the largest moth by wingspan.
Lex Fridman
(00:54:28)
Wow.
Paul Rosolie
(00:54:29)
Huge. It looks like a bird. Big white moth. I believe that we still don’t know what the caterpillar looks like. It’s 2024. We have iPhones and penis-shaped rocket ships. We don’t know where that moth starts its life. We still haven’t figured that out.
Lex Fridman
(00:54:47)
By the way, the rocket ships are shaped that way for efficiency purposes, not because they wanted to make it look like a penis. Speaking of which, I have ran across a lot of penis trees while exploring, and they make me-
Paul Rosolie
(00:54:47)
Have you?
Lex Fridman
(00:55:00)
I know it’s not just a figment of my imagination. I’m pretty sure they’re real. In fact, you explained it to me, and they make me very uncomfortable because there’s just a lot of penises hanging off of a tree.
Paul Rosolie
(00:55:09)
Yes.
Lex Fridman
(00:55:10)
I don’t know what the purpose is. I don’t know who they’re supposed to attract, but certainly, Paul really enjoys them.
Paul Rosolie
(00:55:18)
Yeah. Yeah. Well, clearly you’ve done some research and you’ve noticed a lot of them. I haven’t even seen them.
Lex Fridman
(00:55:24)
There was a time when I almost fell, and to catch my balance, I had to grab one of the penises of the penis tree and, unforgettable. Anaconda, the biggest, baddest anaconda in the Amazon versus the biggest, baddest black caiman. Because you mentioned there, there’s a race. If there’s a fight, the UFC in a cage, who wins? Underwater.
Paul Rosolie
(00:55:45)
This is the biggest and the baddest?
Lex Fridman
(00:55:46)
The biggest and the baddest that you can imagine given all the studies you’ve done of the two animals. Species.
Paul Rosolie
(00:55:53)
The biggest and the baddest. You’re talking about an 18-foot, several-hundred-pound black caiman versus a 26-foot, 350-pound anaconda.
Lex Fridman
(00:56:03)
Yeah.
Paul Rosolie
(00:56:05)
I think it’s a death stalemate. I think the caiman slams the anaconda, bites onto it, the anaconda wraps the caiman, and then they both thrash around until they both kill each other. Because I think the caiman will tear him up so bad-
Lex Fridman
(00:56:16)
And the caiman is not going to let go. He’s going to get back-
Paul Rosolie
(00:56:18)
The caiman is never going to let go, but then he’s going to realize that he’s also being constricted, so then he’s going to stop and he’s going to keep slamming down on that anaconda, and the anaconda is just going to keep constricting. But if the caiman can do enough damage before the anaconda… Again, it’s almost like a striker versus a jujitsu. If you can get enough elbows in before they lock you-
Lex Fridman
(00:56:37)
How fast is the constriction? So it’s pretty slow.
Paul Rosolie
(00:56:40)
No, it’s incredibly quick. So it’s you take the back and get me in chokehold, it’s that. It’s I have maybe 30 seconds, maybe, on the upward side, if you haven’t cinched it under my throat. But if you’ve gotten good position, it’s over.
Lex Fridman
(00:56:57)
Is there any way to unwrap a choke, undo the choke, defending-
Paul Rosolie
(00:56:59)
No. Not unless you have outside help. Unless you have another human or another 10 humans coming to unwrap the tail help you. But for an animal, like if a deer gets hit by an anaconda, there’s no way. They don’t stand a chance.
Lex Fridman
(00:57:11)
So the black caiman would bite somewhere close to the head and just try to hold on and thrash.
Paul Rosolie
(00:57:21)
Here’s the thing, every fisherman knows this, the biggest fish, they’re smart. And more importantly, they’re shrewd. They’re careful. A huge black caiman that’s 16 feet long isn’t going to be messing with a big anaconda. They won’t cross paths. Because while they technically occupy the same type of environment, that black caiman is going to have this deep spot in a lake and that anaconda is going to have found this floating forest black stream backwater where it’s going to be, and they’ll have made that their home for decades, and they’ll already have cleaned out the competition. So maybe if there was a flood and they got pushed together, they could have some sort of a showdown, but almost more certainly is that when they get to that size, that caiman, at any sign of danger, boom, right under the water. It’s like what do you learn when you’re a black belt? What do you do with a street fight? You still run away. There’s no reason for a street fight. And I think the animals really understand that. There’s no reason for this.
Lex Fridman
(00:58:25)
So a giant anaconda and a giant black caiman, they could probably even coexist in the same environment just knowing, using the wisdom to avoid the fight.
Paul Rosolie
(00:58:36)
Yeah. Or they would have a big showdown and one of them would either die or have to leave. They would have a territorial dispute.
Lex Fridman
(00:58:42)
Yeah. Without killing either of them.
Paul Rosolie
(00:58:46)
Dude, nature. Anything could happen. One of the things that me and Pat wrote up was that I saw a yellow-tailed cribo, which is like a six-foot rat snake eating an oxyrhopus melanogenys, which is the red snake that we found last night. And just, no one had ever, in scientific literature, we’d never seen a cribo eating an oxyrhopus before. And so I had the observation in the field, I sent it to Pat Champagne, Pat writes it up, paper. That’s a really cool system, because we’re just out here all the time, you end up seeing things. JJ’s dad saw an anaconda eating a tapir. Tapir’s the size of a cow.
Lex Fridman
(00:59:23)
Damn.
Paul Rosolie
(00:59:24)
And that guy didn’t lie. Some people, you trust your sources on that. He saw enough stuff, he didn’t need to make up stories. And you know what I love now is when you ask people, when we were going up the mountain with Jimmy, JJ said to him, he goes, “Have, you ever seen a puma up here in the mountains?” And Jimmy goes, “They’re up here.” And JJ went, “No, no, no, have you seen it?” And Jimmy went, “No, never seen one.” And you know how most people will go, “Yeah, yeah, yeah, I’ve seen it.” That makes me trust the person when they admit, “No, I haven’t seen it.”
Lex Fridman
(00:59:58)
“They’re up here. I haven’t seen it.” And Jimmy has been living there his whole life.
Paul Rosolie
(01:00:03)
His whole life.
Lex Fridman
(01:00:05)
There’s pumas in the mountains?
Paul Rosolie
(01:00:07)
Mountain lions, pumas, whatever the… There’s all different names for them. They’re distributed from, I think from Alaska down through Argentina. They’re everywhere. It’s extremely successful species. From deserts to high mountains, everything.
Lex Fridman
(01:00:21)
I think you’re saying pumas have a curiosity, have a way about them where they explore, follow people, just to kind of figure out… Just that curiosity as opposed to causing harm or hunting and that kind of stuff. What is this about?
Paul Rosolie
(01:00:40)
I think it’s based in predatory instincts, but I also think there is a playfulness to higher intelligence animals that you don’t see in lower intelligence animals. And so something like a rabbit, for instance, you’re never going to see a rabbit come in to check you out. You can’t even think of it like that. A rabbit is just going to either eat or run away. There’s really two settings. When you think of something like a giant river otter or a tayra, which is, they call it manco here, it’s a huge arboreal weasel, and they’ll come check you out. I woke up at my house the other day and there was a tayra climbing up the side of the house, and he was looking down at me sleeping. And it’s like he came to check me out. It’s like they’re smart enough and they’re brave enough, here’s the important thing, they know that they can fend for themselves, they can fight, they can climb, they can run. And so they’re like, “I’m curious. I got time, let me check this out.”
Lex Fridman
(01:01:35)
Yeah, they’re gathering information. I wonder how complex and sophisticated their world model is, how they’re integrating all the information about the environment, like where all the different trees are, where all the different nests of the different insects are, what the different creatures are by size, all that kind of stuff. I’m sure they don’t have enough storage up there to keep all that, but they probably keep the important stuff, to integrate the experiences they have into what is dangerous, what is tasty, all that kind of stuff.
Paul Rosolie
(01:02:07)
I think it’s more complex than we realize. You go back to that Frans de Waal book, Are We Smart Enough to Know How Smart Animals Are? There’s so many incredible examples of controlled studies where the researchers weren’t understanding how to shed being so insurmountably human and understand that there are other types of intelligence. And whether that’s elephants or cats. So big cats, for instance, we just saw a camera trap video from last night where you see one of our workers walk down the trail, and then five minutes later a cat behind him.
Lex Fridman
(01:02:45)
By the way, we were walking just exactly the same area, also exact same time. Yeah.
Paul Rosolie
(01:02:50)
Yeah. So we’re out there and there’s deer and there’s cats, and there’s a jaguar and there’s a puma, and there’s all these animals out there, and we’re out in the night in the inky black night in this ocean of darkness beneath the trees, and we’re just exploring and getting to see everything, and there’s all these little eyes and heartbeats. I love the jungle at night, man. It’s the most exciting thing.
Lex Fridman
(01:03:08)
One of the things you do when you turn off the headlamp, complete darkness all around you, and just the sounds.
Paul Rosolie
(01:03:14)
Everything you hear, the cicadas, the birds, they’re all screaming about sex all the time, so they’re just trying to get laid. So all of them are making mating calls. Now, the trick is to make your mating call without attracting a predator. But at night, what amazes me is that for us, it’s so… From the caveman logic of, it’s hard to make fire here, it’s hard to even light a fire here, to having this incredible beam of, all of a sudden we can look at the jungle and walk through that darkness. Then we’re seeing the frogs on those leaves, and the snakes moving through the undergrowth, and the deer sneaking through the shadows. It’s almost as supernatural as skydiving. It’s a strange thing to be able to do that technology allows us to do. We’re doing something really complex, and we’re walking on trails that have been cleared for us, that we’ve planned out. And so walking through the jungle at night, you just get this freak show of biodiversity, and I’m addicted to it. I truly love it.
Lex Fridman
(01:04:20)
Except for the times over the last few days when we walked through jungle without a trail, and that’s just a different experience.
Paul Rosolie
(01:04:29)
Well, how would you categorize if somebody said, “Lex, I think I’m going to go for a hike through the jungle, not on the trail,” what would you tell them?
Lex Fridman
(01:04:37)
Every step is really hard work. Every step is a puzzle. Every step is a full of possibility of hurting yourself in a multitude of ways. A wasp nest under a leaf, a hole under a leaf on the ground where if you step into it, you’re going to break a knee, ankle, leg, and going to not be able to move for a long time. There’s all kinds of ants that can hurt you a little or can hurt you a lot. Bullet ants. There’s snakes and spiders and… Oh, my favorite that I’ve gotten to know intimately is different plants with different defensive mechanisms, one of which is just spikes, so sharp.

(01:05:31)
I don’t know if you brought it, but there’s-
Paul Rosolie
(01:05:33)
I didn’t bring it. I didn’t bring it.
Lex Fridman
(01:05:35)
Where’s my club? There’s an epic club with spikes. But there’s so many trees that have spikes on them. Sometimes they’re obvious spikes, sometimes less than obvious spikes, and it could be just an innocent, as you take a step through a dense jungle, it could be an innocent placing of a hand on that tree that could just completely transform your experience, your life, by penetrating your hand with like 20, 30, 40, 50 spikes and just changing everything. That’s just a completely different experience than going on a trail where you are observer of the jungle versus the participant of it.
Paul Rosolie
(01:06:14)
Yeah.
Lex Fridman
(01:06:15)
And it truly is extreme hard work to take every single step.
Paul Rosolie
(01:06:20)
Now, just think about this, I think scientifically, because people like to summarize, people like to get really, really cavalier with our scientific progress, and they go, “We’ve already explored the Amazon.” It’s like, well have we? Because in between each tributary is, let’s say just between some of them, let’s just say a hundred miles of unbroken forest. Who’s explored that? Maybe some of the tribes have been there, maybe. Some areas they haven’t been. Now, when you’re talking about scientists, whether they’re indigenous scientists, western scientists, whatever, so many of the areas in this jungle that is the size of the continental US still have not been accessed.

(01:06:58)
And the places where people are doing research, see, I’ve been down here long enough, I see all the PhDs come down here and they all go to the same few research stations. They’re safe. They have a bed. If you get heli-dropped into the middle of the jungle in the deepest, most remote parts, you’re going to find micro ecosystems. You’re going to see little species variations. You’re going to see a type of flower that JJ has never seen before, like what happened the other day. As you start walking through new patches of forest, you start finding new species, and everything here changes. You just go a little bit upriver and the animals you see differ. You go on this side of the river versus on the north side of the river, there’s two other species of primates there that don’t exist here. And that’s in the mammal paper that we did with the emperor tamarins and the pygmy marmosets that the rangers found.

Mammals

Lex Fridman
(01:07:42)
Yeah. The mammal papers looking at the diversity of life in this one region of the Amazon. Can you talk more about that paper? Mammal Diversity along the Las Piedras River.
Paul Rosolie
(01:07:57)
Once again, the mammal paper, Pat Champagne the prodigy, he was leading on this with a bunch of other scientists who have worked in the region, including Holly O’Donnell out of Oxford, myself. I really just made a few observations. The Junglekeepers Rangers got featured because they’re the ones that spotted a pygmy marmoset that had previously been unrecorded on the river. I got to contribute because I had the only photograph that I believe anyone has of an emperor tamarin on this river. It’s the first proof of emperor tamarin on this river, and that’s exciting. It’s exciting because you can post a picture or share a scientific observation or write about something, and then what happens is you get these couch experts, these armchair experts who will come and say, “No, no, you don’t get blue and yellow macaws there. I can tell from my bird book, it says they’re not there.” And they’ll tell you you’re wrong. “No, you don’t get woolly monkeys there or emperor tamarin.” But we have proof. And so we’re coming together to try and add to that knowledge.
Lex Fridman
(01:09:01)
My general amateur experience of the species I’ve encountered here is, “This should not exist. Whatever this is, this is not real. This is CGI. What?” Just the colors, the weirdness. I mean, I think I called it the Paris Hilton caterpillar because it’s like furry. It looks like a-
Paul Rosolie
(01:09:21)
Looks like Paris Hilton’s dog.
Lex Fridman
(01:09:23)
Yeah, yeah. It’s really furry and it’s transparent. All you see is this white, beautiful fur, and it’s just this caterpillar. It doesn’t look real. Do you think there are species… How many species have we not discovered? And is there a species that are extremely badass that we haven’t discovered yet?
Paul Rosolie
(01:09:43)
If you look up how many trees are in the Amazon rainforest, it’s something in the order of 400 billion trees. There’s something like 70 to 80,000 species of plants, individual types of plants here, 1500 species of-
Paul Rosolie
(01:10:00)
Individual types of plants here, 1500 species of trees. It’s so vast that it’s comparable, the scale is only comparable to the universe in terms of stars and galaxies and for the sheer immensity of it. And so we’re describing new species every year and just walking on the trail at night, you and I have seen, you see a tiny little spider hidden in a crevice. And has the scientific eye ever seen that spider before? Has it been documented? Do we know anything about his life cycle?

(01:10:37)
There’s still so much that’s here that is completely unknown. We have pictures of all these butterflies. Somebody went out with a butterfly net and caught these butterflies, took a picture of it, gave it a name, put it in a butterfly book. What do we know? What host plant do they use for their caterpillars? What’s their geographical range? What do we actually know? Not that much. So are there creatures out here that haven’t been described? Absolutely.
Lex Fridman
(01:11:00)
And some of them could be extremely effective predators in a niche environment.
Paul Rosolie
(01:11:06)
Yeah. Absolutely. I mean certainly in the canopy, 50% of the life in a rainforest is in the canopy, and we’ve had very limited access to the canopy for all of history. If you wanted to get up into the rainforest canopy, you basically have to climb a vine or with scientists, when I was a kid, I always used to see them with the slingshots or the bow and arrows. They would shoot a piece of paracord over a branch, pull the rope up and then do the Ascension thing. And then you’re up in this tree getting swarmed by sweat bees, getting stung by wasps.

(01:11:37)
You’re trying to do science up there in that environment. It’s incredibly hostile and so having canopy platforms… I actually met a guy at a French film festival who had used hot air balloons to float over the canopy of the Amazon and then lay these big nets over the broccoli of the trees. And the nets were dense enough that humans could walk on the nets and then reach through and pull cactuses and lizards and snakes, whatever. Just take specimens from the canopy. That’s how difficult it is that scientists have resorted to using hot air balloons.

(01:12:10)
And so having a tree house, having canopy platforms, it’s starting to be more and more access to the rainforest canopy. And so we’re beginning to log more data. We’ve even observed in our tree house, which is supposed to be the tallest in the world, we’re seeing lizards that we don’t see on the ground, lizards that have never been documented on this river. We’re seeing snakes where they’re saying, “We saw this snake inside a crevice, on that tree, in the strangler fig, and we don’t know what it is.” It’s just people haven’t been up there.
Lex Fridman
(01:12:41)
And that’s where a lot of the monkeys are.
Paul Rosolie
(01:12:43)
Yeah.
Lex Fridman
(01:12:44)
There’s just a lot of dynamic life up there.
Paul Rosolie
(01:12:47)
Yeah. I mean when you wake up in the canopy in the morning, in the Amazon rainforest, as soon as the darkness lifts, as soon as that purple comes in the east in the morning, the howler monkeys start up, and then the parrots start up, and then the tinamous start going, and then the macaws start going, and pretty soon everybody’s going, and the spider monkey groups are all calling to each other. And it’s just the whole dawn chorus starts and it’s so exciting.
Lex Fridman
(01:13:10)
So you’re saying when they’re screaming, it’s usually about sex.
Paul Rosolie
(01:13:13)
Sex or territory, usually.
Lex Fridman
(01:13:15)
Sex and violence or implied violence-
Paul Rosolie
(01:13:16)
We try to be-
Lex Fridman
(01:13:18)
… or the threat of violence.
Paul Rosolie
(01:13:19)
Yeah. I mean howler monkeys in the morning, they’re letting other groups know this is where we’re at.
Lex Fridman
(01:13:23)
Yeah.
Paul Rosolie
(01:13:23)
We’re going to be foraging over here. You better stay away. And so it’s a little bit respectful as well. There is order in the chaos.
Lex Fridman
(01:13:30)
So just speaking of screaming, macaws are like these beautiful creatures. They’re lifelong partners. They stick together.
Paul Rosolie
(01:13:40)
Monogamous.
Lex Fridman
(01:13:41)
They’re monogamous. You see two of them together. But when they communicate their love language seems to be very loud screaming.
Paul Rosolie
(01:13:47)
Yeah.
Lex Fridman
(01:13:49)
What do you learn about relationships from macaws?
Paul Rosolie
(01:13:52)
That it can be loud and rough and still be loving.
Lex Fridman
(01:13:54)
And still be loving. But is that interesting to you that there’s monogamy in some species, that they’re lifelong partners, and then there’s total lack of monogamy in other species?
Paul Rosolie
(01:14:04)
It’s all interesting. I mean there’s the anti-monogamy crew who’s like, “We were never meant to be monogamous. We’re supposed to just be animals.” And then there’s the other side of the crew that’s like, “We were meant to be monogamous. We are monogamous creatures. That’s what God wanted between a man and a woman.”

(01:14:19)
And then other people are like, “Yeah. But I know about these two gay penguins, and so that’s natural too.”
Lex Fridman
(01:14:24)
Yeah.
Paul Rosolie
(01:14:24)
And so then everyone tries to draw their identity. They’re trying to justify their identity off of the laws of nature. So the fact that macaws are monogamous really doesn’t have anything to do with anybody except for that it’s beneficial for them to work together to raise chicks. It’s difficult.

(01:14:40)
They rely on ironwood trees or aguaje palms, and it’s difficult to find the right hole in a tree. There’s only so much macaw real estate. And so they need to use those holes. And each one of those ancient trees, it’s usually 500 years or more, is a valuable macaw generating site in the forest. And so if those trees go down, you lose exponential amounts of macaws, and that’s how you get endangered species. And so that’s why we’re trying to protect the ironwood trees.
Lex Fridman
(01:15:09)
Another ridiculous question.
Paul Rosolie
(01:15:10)
Tell me.
Lex Fridman
(01:15:11)
If every jungle creature was the same size-
Paul Rosolie
(01:15:14)
Oh, boy.
Lex Fridman
(01:15:15)
… who would be the new apex predator, the new alpha at the top of the food chain?
Paul Rosolie
(01:15:19)
Dude, that’s like Super Smash Brothers of the jungle.
Lex Fridman
(01:15:21)
Oh, yeah.
Paul Rosolie
(01:15:21)
That’s incredible.
Lex Fridman
(01:15:22)
Yeah.
Paul Rosolie
(01:15:23)
Like bullet ants. If you had a bullet ant that was this size.
Lex Fridman
(01:15:27)
Yeah. Can it be like a tournament?
Paul Rosolie
(01:15:30)
So everyone is pound for pound ratioed for efficiency. So you have basically a six-foot bullet ant versus a huge black caiman versus an anaconda versus ocelots that are the size of jaguars versus-
Lex Fridman
(01:15:42)
Yeah. Well, let’s go bullet ant versus black caiman. Same size.
Paul Rosolie
(01:15:46)
But they’re comparable size?
Lex Fridman
(01:15:46)
Same size.
Paul Rosolie
(01:15:49)
I don’t know, man. I never thought about it. I mean bullet ant has these giant, giant, giant mandibles that could probably grab the black caiman and then at that amount of venom, you’re talking about a bucket of venom going into that black caiman. Black caiman going to get paralyzed immediately.
Lex Fridman
(01:16:03)
Well, insects have just a tremendous amount of strength. I don’t know how they generate, what the geometry of that is. The natural world can’t create that same kind of power in the bigger thing, it seems like.
Paul Rosolie
(01:16:13)
It seems like.
Lex Fridman
(01:16:14)
It seems like ants and just these tiny creatures are the ones they’re able to have that much strength. I don’t know how that works, what the physics of that is.
Paul Rosolie
(01:16:21)
Yeah. So like a leaf cutter ant lifting that leaf, that doesn’t make any sense.
Lex Fridman
(01:16:25)
Yeah. It doesn’t-
Paul Rosolie
(01:16:26)
It doesn’t make any sense.
Lex Fridman
(01:16:28)
I don’t know if that’s the limit of physics. I think it’s just the limit of evolution of how that works.
Paul Rosolie
(01:16:32)
One of the most interesting limits that I heard somebody talking about recently was the reason that dinosaurs didn’t get bigger, even bigger because the conditions on earth were favorable towards it was that at some point their eggs reached this physical limits, that their eggs reached a size, the eggs were so big that that eggs need to breathe for the embryo to survive.

(01:16:52)
And their eggs reached a limit where in order to have a shell that could hold the mass of the liquid and the young dinosaur, if they got bigger, it wouldn’t be permeable anymore. And I thought that was so interesting because the entire size of physical creatures was determined by how thick shell can be before it breaks or before it can’t pass air through it.
Lex Fridman
(01:17:12)
Yeah. There might be a lot of the biophysics limits-
Paul Rosolie
(01:17:16)
That’s fascinating stuff.
Lex Fridman
(01:17:18)
… just like the interplay between biology, chemistry, and physics of a life form, because this thing there’s a lot involved in creating a single living organism that could survive in this world. And being big is not always good, being a big creature for many reasons. Like you were saying, the big creature seemed to be going extinct for many reasons, but in the human world is because they’re seen to be of higher value.
Paul Rosolie
(01:17:46)
Given the current size of the jungle, I think that the MVP, the pound-for-pound goat is ocelots. I mean you’re talking about a mid-size 40, 50-pound cat that can climb. That does, unlike a jaguar, a jaguar every time it hunts, it’s going after a deer. It catches a deer. The deer could hit it with its antlers, it could tear it with its hooves, it’s risking its life for that meal.

(01:18:11)
An ocelot, ocelots walk around at night and they climb a tree, eat a whole bunch of eggs, eat the mother bird too, kill a snake, maybe mess around and eat a baby caiman. They can have whatever they like and they’re sleek enough and smart enough to get away from predators. They don’t really have predators and so they occupy this perfect niche where they can hunt small prey in high quantity without taking on big risks.

(01:18:40)
And so if you had to choose an animal to be, it would probably be like an ocelot or I would say giant river otters, which are so damn cool because the locals call them lobos de rio, river wolves, because they’re so tough and they’re so social and they’re so like us, because they’re intensely familial groups.

(01:18:58)
They live in holes by the sides of lakes and they swim through the water and they catch fish all day long, piranhas. They eat them just like, the scales go flying as they eat these piranhas. And they’re so joyous in the way they swim and they have friends and they have family and I think we could relate to being a river otter, really, because I can’t picture being a cat and being so solitary and just marching along a 15-mile route and making sure there’s no other cats coming in on your territory and marking that territory.

(01:19:28)
It seems very solo and very cat like-
Lex Fridman
(01:19:33)
The lonely existence.
Paul Rosolie
(01:19:34)
Lonely existence.
Lex Fridman
(01:19:35)
And we humans are social beings.
Paul Rosolie
(01:19:36)
We’re so social. And so to me, river otter is like having a big Italian family. You’re constantly eating, you’re freaking out, just causing problems with the black caiman.
Lex Fridman
(01:19:44)
Take down a black caiman.
Paul Rosolie
(01:19:46)
Yeah. Start street fights.

Piranhas

Lex Fridman
(01:19:47)
Yeah. Yeah. Yeah. It’s a family thing. You mentioned piranhas.
Paul Rosolie
(01:19:50)
Yeah.
Lex Fridman
(01:19:51)
They’re a source of a lot of fear for people. What do you find beautiful and fascinating about these creatures? They’re also kind of social, or at least they hunt and operate in groups.
Paul Rosolie
(01:20:00)
Yeah. Not in the mammalian way though. Piranhas are in large schools, but fish are so different. I can talk to you all day about how much I’d love to be an otter. Also, going back to the fighting thing, otters and weasels muscle a day tend to be very loose in their skin. So if you grab an otter, it can still rotate around to bite you.
Lex Fridman
(01:20:00)
Yeah.
Paul Rosolie
(01:20:20)
So it’s like if I grab you by the back, you’re stuck.
Lex Fridman
(01:20:22)
Yeah.
Paul Rosolie
(01:20:23)
You grab them by the skin, they can rotate around and just shred you apart. So they’re really cool fighters. Piranha fish. I don’t identify with fish in terms like that. I think living out here has made me think of fish as a rapid food that can or can’t be gotten. To me, when I see a piranha, I think about how I want it to taste.
Lex Fridman
(01:20:50)
Yeah. So fish is a food source for so many creatures in the jungle.
Paul Rosolie
(01:20:55)
Yeah.
Lex Fridman
(01:20:55)
So they’re primarily a food source, but piranhas are-
Paul Rosolie
(01:20:58)
Predators.
Lex Fridman
(01:20:59)
I mean they’re predators. They’re serious predators.
Paul Rosolie
(01:21:01)
They are serious predators. I found a baby black caiman not that long ago, and he was missing all of his toes because the piranhas had eaten them off. It was really sad. He just had these stumps and he was swimming around the water and I was like, “You are not going to make it.”

(01:21:13)
He was like eight inches, and he was such a cute little puppy. He had those big eyes. And I was just like, “Man, you already are missing all your toes.” I was like, “It’s just a matter of time.” Now he can’t get away so some big agami heron is going to come and just nail him, pop him down his throat, and that’s the end of that for the caiman.
Lex Fridman
(01:21:29)
I mean nature is mental.
Paul Rosolie
(01:21:31)
Nature, sure, is mental.
Lex Fridman
(01:21:33)
Bite off a little bit, and then makes you vulnerable. And then that vulnerability is exploited by some other species, and then that’s it. That’s the end.
Paul Rosolie
(01:21:40)
But humans are brutal too. Like that story we heard about that guy the other day who caught a stingray on a fishing hook, chopped its tail off to make it safe for humans, cut a piece of the stingray off so he could use it for bait, and then threw the live fish back in the river.

(01:21:56)
To me, that is incomprehensible amounts of cruelty with flawed logic in every direction. If you’re going to use the thing as bait, use it as bait. If you’re going to remove its tail, well, then just kill it altogether.
Lex Fridman
(01:22:09)
Yeah.
Paul Rosolie
(01:22:10)
Or if you want to save the animal and not kill it, then don’t maim it before you return it to its… It was such a weird-
Lex Fridman
(01:22:18)
So if you kill an animal, you want to use it to its fullest by using it as a food source, by cooking it, by eating every part of it, all that kind of stuff.
Paul Rosolie
(01:22:26)
Yeah. So we’ve been eating pacu in your time here.
Lex Fridman
(01:22:30)
Fried pacu is great. Fried pacu.
Paul Rosolie
(01:22:31)
Amazing. It’s delicious. Full of nutrients. You could tell it makes you healthy.
Lex Fridman
(01:22:34)
Yeah.
Paul Rosolie
(01:22:34)
I feel like we have better workouts so that we can go harder in the jungle. And so a few months ago in August when the river was down, there was a day that the river was clear. And a friend of mine, Victor, who’s married to a native girl, he said, “It’s time to go pacu fishing.”

(01:22:52)
And at the time, we were stuck out here and we had no resupply. Everybody was busy. And so everyone was demoralized. The staff was hungry. We were hungry. And it really became this thing of like, “Hey, go catch us some pacu.”

(01:23:05)
They were working on the trails. They were installing the solar. We were working hard and we didn’t have food. And so we went out to the river, and what we did was we went up river, we camped on the beach, and in the morning, Victor’s wife was canoeing with the paddle, dead quiet. Don’t let the paddle touch the wooden boat.

(01:23:25)
Nikita was balancing in the middle of the thing, Victor’s on the front with this huge fishing rod, and I’m sitting there and he goes, “I’ll catch the first one. You catch the second one.” And he’s got this huge fishing rod and a piece of half rotten meat from the day before. And he’s smacking it against the water. 6:00 AM.

(01:23:40)
He’s just letting it smack against the water. And I’m going… And we’re floating down the river and I’m going, “This is not going to work.” And we’re floating and we’re floating, and a half hour passes and I’m going, “It’s dawn. I want to go back to sleep. I’m just not a morning person.”

(01:23:54)
And all of a sudden a fish hits that line, almost pulls this man off of his feet. And He swings the thing in. The fish comes on the boat. And then I realize he’s got a big metal mallet on the boat so that you could try to shut that fish off. And it’s this huge oar shaped, thick, muscular pacu.

(01:24:12)
And as soon as I saw that fish, I just thought, “Wow. The strongest of this species for millions of years have been swimming in this river, and suddenly we’ve…” Through this incredible combination of the boat, and the cord, and the hook, none of which we made, and the skill that he had from knowing how to fish a pacu, because otherwise there’s no chance that you’re getting that fish.

(01:24:36)
They hide. They’re very, very suspicious of what you’re doing. We had gotten this fish onto the boat and boom. You hammer it like a caveman. Boom. It doesn’t die. Boom. You have to crush its skull. And now you have this fish and you’re holding this genetic material, this sustenance for your life that has been developing since the dinosaur times.

(01:24:56)
It’s so beautiful. The act, the sacred act of eating that, of the fish, of the competition with the fish. And we spent the morning fishing. We got three pacus. Three huge giant vegetarian piranha. And I just remember touching them with so much reverence, thinking about the incredible history and how that before these rivers existed, those pacus were swimming through the water and trying to survive through history, through history, through history, until we took just a few.

(01:25:31)
And we did it respectfully and we did it when we needed it most, not at a time when it was just for fun and it was really, really special.
Lex Fridman
(01:25:38)
Well, humans, using them for sustenance, there’s a collaboration there. That’s something also that I’ve seen in the jungle. That there’s creatures using each other and it’s like a dance of either mutually using each other or it’s parasitic or symbiotic.

(01:25:55)
It’s interesting, there’s a medicinal plant you grabbed that was full of ants that were trying to murder you by biting. But they were defending the plant that they were using for whatever purpose, but there’s a clear dance there of the ants using the plant, and the plant existing, therefore other applications and other use for humans and there’s that circle of life happening. But the ants were defense…

(01:26:22)
So the plant didn’t have its own defense mechanism, the ants, the army of ants was there to protect the plant.
Paul Rosolie
(01:26:32)
Remember, we put our backpacks down at that one spot, and it was like the ants got on your backpack. And I said, “Oh, shit. This is that tree.” Did you actually get bitten by one of those? Because they’re incredibly painful, the tangarana one. They’re like-
Lex Fridman
(01:26:44)
Yeah. Surprisingly painful, because they’re small. Luckily, I have not been bitten by a bullet ant yet.
Paul Rosolie
(01:26:50)
But it’s amazing because they live inside the tree.
Lex Fridman
(01:26:51)
Yeah.
Paul Rosolie
(01:26:54)
The tree comes standard with holes in it that allow ants to move and to exist safe, and it protects their eggs, and they protect the tree. And so we saw that spot where there was a perfect circle around the trees, because the ants had excavated the other vegetation so that those trees could have no competition to grow.

(01:27:15)
The incredible calculation of how ants know to come programmed to garden that tree, and the tree somehow has been genetically informed to have ant habitat within itself. It’s mind-blowing. And actually is the foundation of a lot of existential confusion for me, because how the hell is this possible?
Lex Fridman
(01:27:38)
Yeah. One of the things you mentioned that’s also a source of a lot of existential confusion for me is ants, and the intelligence of different creatures in the forest. There’s these giant colonies, there’s these just giant systems. But even just looking at a single colony of ants, them collaborating, leaf-cutter ants is an incredible system.

(01:28:00)
So individually, the ants seem kind of dumb and simplistic, but taken together, there is a vast intelligence operating that’s able to be robust and resilient in any kind of conditions, is able to figure out a new environment, is able to be resilient to any kinds of attacks and all that kind of stuff. What do you find beautiful about them?
Paul Rosolie
(01:28:21)
As you said, just leaf-cutter ants in this jungle.
Lex Fridman
(01:28:21)
Yeah.
Paul Rosolie
(01:28:24)
That’s forgetting all the other hundreds of species of ants that are in this jungle. But just the leaf-cutters, apparently, digest roughly 17% of the total biomass of the forest, everything, all these giant trees, all that leaf litter, 17% of that, almost a fifth of this forest cycles through leaf-cutter ant colonies.

(01:28:45)
So they’re constantly regenerating the forest. They’re a huge source of the driver of this ecosystem. And so to me, when you see them working, it’s, again, like I said, you see your friends as you go through the jungle. You see all the K-POK trees. You see a cunea tree. So there’s leaf-cutter ants doing what they’re supposed to do. And it’s just so beautiful. I find them very beautiful army ants. They’re so tough. They’re so ready to fight. They have this huge mandibles. They’re just ready to, they’re transporting their eggs. They’re moving from here to there. Anything that’s in the way is getting eaten. They’re just savage and they’re kind of cute for that unless you’re tied to a tree.
Lex Fridman
(01:29:18)
The savagery is cute.
Paul Rosolie
(01:29:21)
Yeah. It’s reassuring. You want certain things to be tough. That’s their part.
Lex Fridman
(01:29:25)
Oh, that everybody plays a part in the entirety of the nature mechanism?
Paul Rosolie
(01:29:31)
And a powerful play.
Lex Fridman
(01:29:36)
Yeah.
Paul Rosolie
(01:29:37)
But the army ants are so savage. If you step on army ants, they will all kamikaze just attack onto your feet and they’ll just sacrifice their own life for the good of the thing. And they’ll be trying to kill your shoes, and there’s something funny about that, to me. There’s something like kind of reassuring, again, unless, imagine if you’re going through the jungle and you slip and you fall and you twist your knee and you fall in just the right way, but you can’t get up.
Lex Fridman
(01:30:05)
Yeah.
Paul Rosolie
(01:30:05)
You Can’t. You’re stuck there.
Lex Fridman
(01:30:07)
Yeah.
Paul Rosolie
(01:30:08)
And then army ants find you.
Lex Fridman
(01:30:09)
Yeah.
Paul Rosolie
(01:30:10)
They will take you apart. There are records of horses that have been tied up and army ants come and they’ll take out the whole horse.
Lex Fridman
(01:30:19)
Imagine the pain of that.
Paul Rosolie
(01:30:22)
It might be raining on us very hard very soon.
Lex Fridman
(01:30:25)
You want to pause?
Paul Rosolie
(01:30:26)
No. I think we’ll stay here until the ship goes down.
Lex Fridman
(01:30:29)
We should mention that there’s this one source of light and we’re shrouded in darkness.
Paul Rosolie
(01:30:33)
And now the night shift is going to take over soon, and we are in the Amazon rainforest.

Aliens

Lex Fridman
(01:30:38)
What does the rainforest represent to you when you zoom out and look at the entirety of it?
Paul Rosolie
(01:30:45)
Carl Sagan’s Pale Blue Dot resonated with a lot of people. That everything you’ve ever heard of, all the heroes, all the villains, all of your ancestors, every achievement, tragedy, triumph, everything has happened on that one spot. This one tiny, tiny little rock that has life on it.

(01:31:06)
And to me, the rainforests represent the crown jewel of that as far as we know and to the best of our knowledge and with our shrewd scientific brains at their fullest capacity, this is still the only place that we know that has life. And given that, the fact that there are still these tropical, towering, complex ecosystems that we barely understand, crawling and full of the most incredible life.

(01:31:40)
To me, it’s so wonderful. It’s so incredible. The waterfalls and the birds and the macaws and the jaguars, it’s barely believable. If you were to theoretically tell a hypothetical alien, “I live on this planet and there’s just these places where everything is interconnected, everything means something to something else and the whole thing is this system that keeps us alive. And each tree is pumping air into the river, and there’s an invisible river above the actual river and the whole thing goes into stabilizing our global climate.”

(01:32:09)
And each little tiny leaf cutter ant somehow contributes to this giant, biotic orchestra that keeps us alive and makes our environment possible. That is beautiful. I love that. And so the rainforests to me are the greatest celebration of life and probably the greatest challenge for us as a global society because if we can’t protect the crown jewel, the best thing, the most beautiful part, then we’re really, really missing the point.
Lex Fridman
(01:32:38)
Yeah. The diversity of organisms here is the biggest celebration of life that is at the core of what makes earth a really special thing. That said, you and I have been arguing about aliens for pretty much the day I showed up.

(01:32:56)
All right. You brought a machete to this fight. Luckily, the table is long enough where-
Paul Rosolie
(01:33:02)
I can’t reach-
Lex Fridman
(01:33:03)
… you can’t reach me. To you earth is truly special.
Paul Rosolie
(01:33:07)
Yeah.
Lex Fridman
(01:33:08)
You don’t think there’s other earths out there, millions of other earths in our galaxy. When you look up, we were sitting in the Amazon River.
Paul Rosolie
(01:33:15)
Okay.
Lex Fridman
(01:33:16)
Dark, the storm rolled over and you started counting the stars.
Paul Rosolie
(01:33:19)
Yeah.
Lex Fridman
(01:33:20)
One, two, and that was once you can count the stars, that was a sign that the storm will actually pass. Eventually, it’ll pass. And that’s what you were doing, three, four, five and it’s going to pass. You’re not going to have to sit in that river for all night. So just a couple hours to keep yourself warm.

(01:33:35)
Okay. Each of those stars, there’s earth-like planets around them.
Paul Rosolie
(01:33:39)
Okay.
Lex Fridman
(01:33:41)
Why do you think there’s no alien civilizations there?
Paul Rosolie
(01:33:46)
You can write down a calculation on a napkin, you can cite different Hollywood movies, you can point up to the pieces of light in the stars, but if I talk about show me a single cell that’s not from this planet, it’s still not possible.

(01:34:01)
And so I agree with you that the likelihood is there, all indications point to it. It would be fascinating, especially if it was done, especially imagine finding a planet of alternative life forms, not necessarily even intelligent. Imagine just a planet of butterflies, whatever, something else.

(01:34:18)
That would be amazing, but I’m concerned with the reality that we have in front of us is that this is the spaceship. This is life.
Lex Fridman
(01:34:25)
Yeah.
Paul Rosolie
(01:34:26)
And so right now given that reality, maybe that’s the case, maybe there are other planets or maybe we are the first, maybe life originated here, maybe God, the universe, whatever, maybe this is it. This is the testing ground for something bigger and this complexity and this diversity of life and this life that we have is that important.

(01:34:57)
And I think that part of what we do when we go, “Oh, yeah, but there’s other planets where…” First of all, we’re taking an assumption into reality without… I mean aliens right now are about as real as Santa Claus. We think they’re out there, but we’re not sure. Maybe a little more real because it could make sense.

(01:35:15)
No one has an alien. No one’s seen an alien. No one’s even seen cellular life. And so I’m not, again, if they showed up tomorrow, great. Let’s study them. But right now we have this very simple threat going on where we can’t stop killing each other in our living environment.

(01:35:33)
And so while some people can specialize in looking to the stars and to other planets and talk about being an interplanetary species. I’m very much concerned with the fact that here in our home turf, our living environment where the air is good and the rivers are clean and the trees are big and there’s macaws flying through the sky and salmon in the rivers, not only do we have a responsibility to each other and to our children to protect this incredible gift that is our entire reality.

(01:36:02)
It seems kind of weird too, at some point, conservation seems ridiculous. You’re begging people to not pollute the things that keep them alive. It’s almost silly at a point. But we have this incredible thing where there are fish in the ocean and in the rivers that come standard with life on earth. And we’re harming the ability of earth’s ecosystems to provide for that life.

(01:36:27)
And we are the generation that’s going to decide if those systems continue to provide life to all the people on earth and all the generations. And by the way, all the other animals that exist for their own reasons, other consciousnesses that we’re just beginning to understand, elephants, humpback whales, whatever, families of giant river otters, not everything can be seen from a human perspective. These are other species that have their own stories.

(01:36:55)
And so I’m more biocentric than anthropocentric in that I think that nature is important, but I also believe that we are special. We are the most intelligent animal.
Lex Fridman
(01:37:10)
So one, I agree with you, there’s some degree to which when you imagine aliens, you forget if for a moment how special and important life is here on Earth.
Paul Rosolie
(01:37:23)
Yes.
Lex Fridman
(01:37:25)
But it’s also a way to reach out through curiosity in trying to understand what is intelligence, what is consciousness, what is exactly the thing that makes life on earth special?

(01:37:39)
Another way of doing that, and I see the jungle in that same way is basically treating the animals all around us, the life forms all around us as kinds of aliens. That’s a humbling way, that’s intellectual humility with which to approach the study of what the hell is going on here?
Paul Rosolie
(01:37:59)
Yeah.
Lex Fridman
(01:37:59)
This is truly incredible. Are the animals we’ve met over the last few days conscious? What is the nature of their intelligence? What is the nature of their consciousness? What motivates them? Are they individual creatures or are they actually part of the large system? And how large is the system? Is earth one big system and humans are just little fingertips of that system, or are each of the individual animals really the key actors and everything else is in the emerging complexity of the system?

(01:38:33)
So I think thinking about aliens is a necessary… I like my town with a little drop of poison from Tom Waits is a necessary perturbation of the system, of our thinking, to sort of say, “Hey, we don’t know what the fuck is going on around here.”
Paul Rosolie
(01:38:48)
Sure.
Lex Fridman
(01:38:49)
And aliens is a nice way to say, “Okay. The mystery all around us is immense.” Because to me, likely, aliens are living among us. Not in a trivial sense, little green men, but the force that created life I think permeates the entirety of the universe. That there is a force that’s creative.
Paul Rosolie
(01:39:19)
Now the force that created life is a big one. And then the other thing is, what do you mean by that there’s aliens living among us? You mean extraterrestrials?
Lex Fridman
(01:39:31)
Yes.
Paul Rosolie
(01:39:32)
Living among us?
Lex Fridman
(01:39:33)
Yes.
Paul Rosolie
(01:39:35)
You believe that?
Lex Fridman
(01:39:37)
Not like 100%, but there’s a good percentage. I don’t how it’s possible for there not to be a very large number of alien civilization throughout just our galaxy.
Paul Rosolie
(01:39:51)
But that’s different than saying that they’re living among us. If you tell me that there’s aliens living five galaxies over and that they’re just out there somewhere, I’m more on your side than that they’re here, because just like Bigfoot, we have camera traps. We have DNA sequencing through water now.

(01:40:09)
You’re telling me no one found one wingnut of a ship in all… The Egyptians up until right now, no one in Russia saw a crashed ship, took a picture, tweeted that shit real quick and…
Lex Fridman
(01:40:23)
I think there’s no Bigfoot, there’s no trivial manifestations of aliens. I think if they’re here, they’re here in ways that are not comprehensible by humans, because they’re far more advanced than humans. They’re far more advanced than any life forms on earth.

(01:40:38)
So even if it’s just their probes, we cannot just even comprehend it. I think it’s possible that they operate in the space of ideas, for example, that ideas could be aliens, feelings could be aliens. Consciousness itself could be aliens.

(01:40:55)
So we can’t restrict our understanding of what is a life form to a thing that is a biological creature that operates via natural selection on this particular planet. It could be much, much, much more sophisticated. It could be in a space of computation, for example. As we in the 21st century are developing increasingly sophisticated computational systems with artificial intelligence, it could be operating on some other level that we can’t even imagine.

(01:41:23)
It could be operating on a level of physics that we have not even begun to understand. We barely understand quantum mechanics. We use it. Quantum mechanics is a way we used to make very accurate predictions, but to understand why it’s operating that way, we don’t. And there’s so many gigantic powerful cosmic entities out there that we detect, sometimes can’t detect, dark matter, dark energy, but it’s out there.

(01:41:53)
We know it exists, but we can’t explain why and what the fuck it is. We give it names, black holes and dark energy and dark matter, but those are all names for things that mathematical equations predict, but we don’t understand. And so all of that is just to say that aliens could be here in ways that are for now and maybe for a long time going to be impossible for humans to understand.
Paul Rosolie
(01:42:22)
So aliens in the strict biological sense, like horseshoe crabs, we agree that we haven’t found physical aliens?
Lex Fridman
(01:42:34)
The only way I can imagine finding physical aliens is if alien species, they’re trying to communicate with us humans or with other life forms, and are trying to figure out a way to communicate with us such that we dumb humans would understand. Let’s create a thing…
Paul Rosolie
(01:42:54)
There’s a moth the size of a small eagle.
Lex Fridman
(01:43:01)
That’s trying to get us 15 minutes of attention.
Paul Rosolie
(01:43:01)
It just might-
Lex Fridman
(01:43:05)
Big fan of the podcast.
Paul Rosolie
(01:43:06)
Okay. Lex, I love you. All right. So wouldn’t it be interesting, it’d be really fascinating to me if we found out that there were aliens living among us and we couldn’t see them. And what some of the people were calling aliens, the scientists, the religious people we’re calling angels.
Lex Fridman
(01:43:24)
Yeah.
Paul Rosolie
(01:43:24)
And then everybody had this realization that whether you call them aliens or angels, there are these other, there is way more to the universe than we’re realizing. Just for me, the fact that there’s-
Lex Fridman
(01:43:40)
There’s a skull on the table.
Paul Rosolie
(01:43:41)
Yeah. There’s a skull on table.
Lex Fridman
(01:43:42)
There’s now a skull on your hand.
Paul Rosolie
(01:43:45)
There’s now a skull in my hand of a monkey with a bullet in its head that I found on the floor of an indigenous community where they eat monkeys. I didn’t kill the monkey, so save your comments. But in terms of the animals, I think that when I see space, my feeling, and I’m not requiring anybody else to have this feeling, but because we know, because it’s the only place that we know that there’s life and we have no idea how it started.

(01:44:15)
I just think it’s so important to protect it. And for me, it’s just as much about our children as it is about the little spider monkeys and the little baby caiman that are in the river right now, because life is so beautiful.
Lex Fridman
(01:44:28)
Yeah.
Paul Rosolie
(01:44:29)
And I think that there’s a huge amount of intellectual responsibility that we can transfer off of ourselves if we go, “Yeah. The rivers are filled with trash and, yeah, extinction is happening, but we have to be an interplanetary species anyway, because at any moment this could all end from an asteroid and everything’s going to shit anyway, and so it’s like we’re fucking up this planet.”

(01:44:51)
And so we’re just being angry teenagers who are going goth for a while. And it’s like what if you just rolled up your sleeves, and said, “Holy shit. Wait a second. We can pretty much do whatever we want-“
Paul Rosolie
(01:45:00)
I said, holy shit, wait a second. We can pretty much do whatever we want. We can fly all over the world. We can do heart transplants, we can watch Netflix in the Amazon if we wanted to. We could do all this amazing stuff. We can capture on video our adventures and go back and watch them again and again and again. There’s so much incredible opportunity that technology has allowed us to do, and we’re the richest in history. We could do everything. We could cross the whole planet in a second, and it’s like, that’s an amazing time to be alive. And if we just don’t fuck up the ecosystems and kill all the other animals, we got it made.
Lex Fridman
(01:45:35)
It is true that we can destroy ourselves with nuclear weapons, but it also is true that that snake that I got to handle yesterday is one of the most beautiful things Earth has ever created. In that little organism is encapsulated the entire history of Earth, and it’s beautiful. Both things are true. We should worry about the existential destruction of human civilization through the weapons we create, and we should become multi-planetary species as a backup for that purpose. But also remember, this place is really, really special and probably, if not difficult, probably impossible to recreate elsewhere. And by the way, there’s something incredibly powerful about a skull.
Paul Rosolie
(01:46:23)
If you ever hold a human skull, it’ll weigh on you for a sec because you look into the hollow eyes of this face and suddenly you go, you feel your own cheek, you feel your own skull, and you go, holy shit. You go, what is going on? It’s like taking acid. You just go, oh boy, I forgot that I’m a ghost inhabiting a meat vehicle on a floating rock.
Lex Fridman
(01:46:47)
But even a monkey, it’s like looking at a ancestor, not a direct ancestor, but it’s like you’re looking at a puddle, at a reflection.
Paul Rosolie
(01:47:05)
A little blurry, but it’s still living.
Lex Fridman
(01:47:06)
It’s a little blurry, but it’s still there. It’s still there. And the roots of who we are is still there, and it’s all incredible. Do you ever think of the tree of life, just where we came from?
Paul Rosolie
(01:47:19)
Yeah.
Lex Fridman
(01:47:20)
The jungle is ephemeral. It’s a system that just keeps forgetting because it’s just churning and churning and churning, and churning. It has, in some ways, no history. But to create the jungle, to create life on Earth, there’s a deep history of lots of death, sex and death.
Paul Rosolie
(01:47:39)
A festival of sex and death. Life on Earth.
Lex Fridman
(01:47:44)
That’s what I see in the skull.
Paul Rosolie
(01:47:47)
There’s something terrifying about that image to me. Every now and then at night, you hold that skull and it just reminds you that you’re temporary.
Lex Fridman
(01:47:58)
Yeah. Both you and I will one day have one of those.
Paul Rosolie
(01:48:01)
Yeah.
Lex Fridman
(01:48:06)
Mine will be bigger.
Paul Rosolie
(01:48:10)
My, God.
Lex Fridman
(01:48:11)
The male competition continues.
Paul Rosolie
(01:48:12)
The silverback slaps the lesser male once again.
Lex Fridman
(01:48:17)
Do you have a lighter?
Paul Rosolie
(01:48:18)
Yeah, bro. You want to light this blunt?

Elephants

Lex Fridman
(01:48:21)
Yeah. What are your favorite animals to interact with?
Paul Rosolie
(01:48:28)
My favorite, absolute favorite animal to interact with is 100% elephants, which there’s no elephants here, but I’ve been incredibly privileged to spend some time with elephants, both in India and in Africa. And I think that they’re so smart and so complex that we do a really bad job of understanding what an elephant really is.

(01:48:51)
I think that most children probably think of elephants as something cuddly. Most adults probably have a similar misconception of them. When you see an elephant, when you see a 12-foot tall bull elephant with bone coming out of its face with huge tusks and those giant… It’s an octopus faced butterfly eared behemoth that’s a survival machine. And it’ll look at you and just go, do I have to kill you to keep safe? And it’s just they’re so tough and they have dirt on their back and they have flower petals and the little hair. You realize they have hair all over their body. And the power to throw a car over, to flip it. Just one of the most impressive animals on Earth.

(01:49:36)
And I think that I’ve gotten really good at interacting with wild elephants in a way that’s respectful to them. And I think that when an elephant allows you to be in its space, it’s because you’re showing submissiveness and respect for the elephant’s space. And they’re so intelligent that they’re communicating with seismic vibrations through the Earth, that they have a matriarchal society, that they can remember the maps of their ancestors and they know how to find water, that they can solve problems. They’re such beautiful animals and they’re so… Talk about aliens. They’re so alien looking, these big, weird heads and the trunks with all those muscles.

(01:50:17)
And they’re so different than us, but yet I actually think that we grew up together. They raised us, sibling species, that we’ve inhabited the same epoch in history, and we’ve relied on the ecosystems that they’ve created. And I think that they have a deep understanding of humans, elephants, and I think I see them more like aliens, more like non-human beings that we share the Earth with. I don’t see it as we’re humans and they’re animals. I actually see elephants as a separate society along with humans as one of the dominant species on the planet.
Lex Fridman
(01:50:55)
Almost every species, especially the intelligent ones, especially the big ones, are their own societies that overlap and sometimes co-develop.
Paul Rosolie
(01:51:04)
Yeah, I think whales, I think elephants. I think that there’s those higher… No one’s suggesting that sardines somehow need human rights or something, but I think that elephants need representation in governments because they influence their landscape, they engineer their environment. They have emotions, they have families, they have burial rituals. They’re so like us, and yet we treat them like they’re just oversized cows that we have to be scared of. They’re not the same as domesticated livestock. They’re one of the treasures of Earth. Look, let’s just say little green men showed up and they said, well, what’s Earth? It’s, well, there’s mountains, there’s rivers. It’s, well, how do I do this? There’s mountains, rivers, there’s elephants. It’s one of the first things a baby learns is elephant, even if he’s never seen one. It’s just so iconic on Earth. Like you said-
Lex Fridman
(01:51:59)
Darren Aronofsky.
Paul Rosolie
(01:52:00)
… Darren Aronofsky, the elephant walking over the camera. I haven’t seen it. You said it’s incredible.
Lex Fridman
(01:52:05)
At the Sphere, the Postcard from Earth, it’s a celebration of Earth in all forms. And one of the critical big creatures in that film is an elephant. And it steps over the audience and the whole Sphere reverberates that power. Some of it is size, some of it is, how did Earth create this? It is a weird looking creature, but we take it for granted because we’ve accepted that this Earth can create this kind of thing, but it is weird, beautifully weird.
Paul Rosolie
(01:52:43)
Oh, it’s beautifully weird. Elephants, there’s something really impressive and wise about them. There’s also beautiful weird that doesn’t come with so much grandeur. To me, a giraffe is beautifully weird, but they’re 18 foot tall camel deer things with giant necks. And they’re strange, and they’re absolutely serenely beautiful, but they don’t have that deep intelligence that elephants have. There’s something that elephants have.
Lex Fridman
(01:53:13)
Do you see it in their eyes?
Paul Rosolie
(01:53:13)
You see it in their eyes.
Lex Fridman
(01:53:15)
How does the intelligence manifest itself?
Paul Rosolie
(01:53:18)
Well, this is the thing. A lot of people, a lot of when I was reading Frans de Waal’s book, a lot of what he was saying was that people give elephants human problems to solve in controlled environments and call it a study on elephant intelligence. Whereas if you’re watching wild elephants and you’re in the wild, you’re going to be watching them in a way that they’re looking… You’ve pulled up in a safari vehicle or you’ve pulled over to the side of the road and the elephants are wary of you so they’re not acting natural. But as soon as you start watching wild elephants, truly in the wild and comfortable with your presence, you see how they start caring for their babies or how they can get annoyed. I once watched elephants around a water hole, and there’s this warthog, and I don’t know why, but this warthog decided he needed to get in. And there was this young male elephant, and he kept turning around to this warthog and just being, don’t make me do it. Now, this elephant did not need to hurt the warthog. And the warthog was just, I need a drink, I need a drink, I need a drink. Much simpler brain. The elephant was, you could just tell. He was, watch this. And he just went and crushed the warthog like it was a big beetle, and crushed his pelvis. And the warthog dragged itself away on its front legs and probably went off to die. But this young elephant put out his ears and he paraded around with his tail up and he was, look what I did. Destruction. And it’s like, that’s a very relatable type of… He was annoyed with the warthog. And so you see them do these things.

(01:54:50)
The most magical thing, and I’ve spoken about this many times, was that I was walking with a herd of semi-wild elephants that were crossing through a village in India, because elephants have lost a lot of their territory because there’s so much population in India. And so we were crossing through a village, which is very delicate because the matriarchs are leading the babies, and there’s villagers who have no idea what an elephant is, and they’re watching the elephants cross. And the matriarchs backed this girl up against a wall, and she was terrified standing there with her back against the wall, and the elephant just put a trunk out and touched the girl’s stomach. And then the other elephants came and they all started touching her stomach. And the ranger there explained to me, he just went, ” She’s pregnant. They know she’s pregnant. They can smell, they can tell, and they’re curious.” And all the female elephants came to investigate the pregnant girl. And she had no idea what was going on. And so it’s like that stuff. That stuff…
Lex Fridman
(01:55:44)
And it’s cool to hear that with the crushing and the pride of a young elephant that there’s a complexity of behavior. It’s just like with humans.
Paul Rosolie
(01:55:55)
Yeah, it’s not always pretty.
Lex Fridman
(01:55:57)
That’s the thing, man. Humans are capable of good and evil, and sometimes we attach these words. I love that there’s just… It’s an orchestra of different sounds. And that one is sex.
Paul Rosolie
(01:56:13)
That’s a bamboo rat calling out for a mate.
Lex Fridman
(01:56:15)
A mate. All right.
Paul Rosolie
(01:56:16)
Good luck.
Lex Fridman
(01:56:18)
Good luck to you, buddy.
Paul Rosolie
(01:56:20)
Good hunting.
Lex Fridman
(01:56:23)
Humans are capable of evil things and beautiful things, and I wonder if animals are the same. You think there’s just different personalities and different life trajectories for animals as they develop in their understanding of social interaction, of survival, of maybe even primitive concepts of right and wrong within the social system. Do you think there’s a lot of diversity in personalities and behavior? Just like different people, is there different elephants?
Paul Rosolie
(01:57:02)
Of course. And what I really like is that you said, is there a perception of what’s right and wrong? Because elephants have a code of ethics. The simplest example is that as young males begin to grow, they start developing these tusks and those tusks are a tool and they use them. For Indian elephants, the females don’t have tusks and the males do. The females kick the males out of the herd. The females keep all the sisters and the aunts and the cousins together, but the males are their own thing.

(01:57:33)
And so here’s the thing. What you get is these crews of male elephants and the older males, there’s play fighting that goes on around, two young males can play fight, but the older males, they’ll kick some ass. They’ll show them how to behave, they’ll explain who gets to talk to the females, who gets to interact, who gets to mate, who gets the best vegetation to eat. And so there’s an order established and so young male elephants have to be taught how to act. Just like a teenage human, has to be taught you can’t just haul off and break another kid’s nose. There’s going to be consequences. Maybe you’ll get suspended or maybe that kid will get his friends and beat the living shit out of you. Whatever it is, society regulates your behavior. And elephants have a very strict, very predictable… The males teach the males how to run things, and the females, which really have the final say, they’re matriarchal, they’re the ones leading the herd where to go. The males follow where the wise females tell them where to go.
Lex Fridman
(01:58:37)
That regulation mechanisms from that emerges a moral system under which they operate what’s right and wrong?
Paul Rosolie
(01:58:46)
For an elephant, yeah.
Lex Fridman
(01:58:47)
For an elephant.
Paul Rosolie
(01:58:47)
Right and wrong for an elephant is not the same as what’s right and wrong for a grizzly bear. If you’re a male grizzly bear and you see a female with cubs, you just kill those cubs and then you can mate with her and put your own cubs in there. And that’s a whole different type of ethics.
Lex Fridman
(01:59:02)
The value of child life is different from species to species. Some of them hold it sacred, some of them not at all.
Paul Rosolie
(01:59:10)
And that’s why I think I resonate so much with elephants because I think that we are matriarchal, at least I grew up matriarchal, women were the force in my life. My family and most of my friends’ families, women have the final say. And I feel like that’s the way it is with elephants. You might be bigger and stronger, but it doesn’t really account for much if you’re not smarter and more emotionally intelligent and you know how to take care of the group.

Origin of life

Lex Fridman
(01:59:40)
Just to zoom out into the ridiculous questions as we were talking about aliens, there’s a lot of people trying to understand, trying to study the origin of life.
Paul Rosolie
(01:59:51)
Oh, I love this.
Lex Fridman
(01:59:53)
First of all, what do you think is life versus non-life? When you look at ants or even the simplest of organisms, we saw a frog in a stream yesterday, that was a leaf frog. It was as flat as a sheet of paper and it does a lot of weird things and it found a way to exist in this world. But that’s a single living organisms with a bunch of components to it, but there’s a life form that exists in this world. What is the difference between that and a rock? What is the essence of that life? This might be an unanswerable question. There’s probably a chemistry, physics, biology way of answering that. What to you is that?
Paul Rosolie
(02:00:40)
I think, to me, life is something that grows in response to stimuli, like in basic biology 101. And I’m fine with that. I don’t need it to be more romantic than that. But I think it’s actually comical, how do you get from a rock to an orangutan? And our answer for that is primordial soup. Maybe there was just stuff on Earth and then the stuff just got up and started walking. Maybe there was nothing happening and then all of a sudden there was a cell and the cell had function, and then it complexified and then it started reproducing and found male and female parts. What? We are so under equipped to understand how the hell we got here, let alone ants or even bacteria.
Lex Fridman
(02:01:32)
I see this in very simple mathematical models like something called game of life, they’re cellular automata. You can see from simple rules and simple objects when they’re interacting together, as you grow that system, complex objects arise. That emergence of complexity is not understood by science, by mathematics at all. And it seems like from primordial soups, you can get a lot of cool shit. And the force of getting from soup to two humans on microphones, not understood, and it seems to be a thing that happens on Earth. I tend to think that it’s a thing that happens everywhere in the universe, and there’s some deep force that’s pushing this along in some way. I don’t want to simplify it, but there is something that creates complexity out of simplicity that we don’t quite understand. And that’s the thing that created the first organism, living organism on Earth. That leap from no life to life on Earth, that’s a weird one.
Paul Rosolie
(02:02:52)
That’s a weird one. I think that, what, the Earth is 4.5 billion years old, and you can imagine just this rock of a planet with rain and storms and elements and iron and granite and just random stuff. It’s pretty easy to imagine that. But then I remember that book, I think we all had the same book when we were kids, and they show this fish-like animal crawling out of the primordial soup, and it’s, bro, you just missed the most important part. Author of that book, bro. And I think the first bacteria came in around 3.7 billion years ago so there’s at least a bunch of billion years where there’s just nothing, it was just a planet. And then we start seeing fossils of the first bacteria.
Lex Fridman
(02:03:47)
And the bacteria stuck around for-
Paul Rosolie
(02:03:49)
Long time.
Lex Fridman
(02:03:49)
… a long time, a billion, 2 billion years. It’s just very, very long.
Paul Rosolie
(02:03:53)
Just bacteria.
Lex Fridman
(02:03:54)
Just bacteria. But a lot of them, a lot of them. There’s probably a lot of innovation, a lot of murder, a lot of interaction. And then there’s a few big leaps along the history of life on Earth. The predator-prey dynamic, that was a really cool innovation. It’s almost like innovations, like features on an iPhone. It’s nice. Predator-prey, eukaryotes, complex multicellular organisms emerging from the water to land. That was weird. That was an interesting innovation. Whatever led to humans, there’s a lot of interesting stuff there.
Paul Rosolie
(02:04:39)
See, I can’t even get that far. I can’t get from rock and sand to cells. That’s a huge… Everything around us that has cells, it’s wild. And I could imagine being on another planet and how incredibly valuable this thing would be. It’s impossible to replicate. I’m looking at it through the candlelight right now, and I can see all of the structures in this leaf, the incredible structures in this leaf that look exactly like the veins in my arm, which look exactly like the rivers that are flowing across this landscape. And it’s like life has this overwhelming pattern that it uses and it’s so beautiful. I just think it’s… When you imagine the days of the lightning and the volcanoes and the primordial soup, there’s a big gap there. And it’s fascinating to think about, and it’s fascinating to see how different people’s belief systems lead them to different answers there.
Lex Fridman
(02:05:43)
Not to give any spoilers, but Postcards from Earth, Darren Aronofsky’s film, the idea there is there’s probes that are sent out from Earth-
Paul Rosolie
(02:05:43)
Oh, that’s so cool.
Lex Fridman
(02:05:54)
… to all these other planets. And each probe contains two humans, a man and a woman, and those two humans are in love. Think of a couple in love. They’re sent there with all the information, basically a leaf that holds the information of what it takes to create life on other planets, to recreate an Earth on other planets. And the two humans hold all the information for the things that make life on Earth special, especially in human civilization, love, consciousness, the social connection. All that information is sent in the probe and the Postcard from Earth is those humans waking up, remembering all the information that is Earth, a celebration of all the things that make Earth magical throughout its history, all the diversity of organisms, all of that. You’re loading all that in to create life on that new planet, which is something I think alien civilizations are doing. They’re sending probes all throughout the galaxy and they just haven’t arrived yet, but anyway. That’s another…
Paul Rosolie
(02:07:01)
That’s so beautiful. I want to see that so much, and one of the things that I love about Aronofsky’s work is The Fountain. And what I find so beautiful about that is that now here he’s saying, okay, we’re sending probes out to other worlds, alien civilizations. And in The Fountain, it was what I thought he did so beautifully was braid together those three stories, where in one, I don’t remember if he’s in a spaceship or if that’s supposed to be his soul. The other one, he’s a scientist in comparable times to ours, and then he’s the Spanish Explorer. But either way, there’s the tree of life and it braids together all of the major religions.

(02:07:41)
And it made me think of that quote that you hear where it says… Oh God, what was it? “Christ wasn’t a Christian, and Buddha wasn’t a Buddhist, and Mohammed wasn’t a Muslim, they were all just teachers who are teaching love.” And it’s like The Fountain says, nature is that driving force and it’s our job to understand that the game is love. And that’s what the main character in The Fountain needs to learn is that it’s nature that’s going to carry your soul through this thing, and that there’s so much you don’t understand, and the epiphany at the end. God, I love that movie. God, I love that movie.
Lex Fridman
(02:08:15)
Among many things you’re also an artist is trying to convert the thing that is nature into the thing that we humans can understand, the complexity, the beauty of it. That’s what Darren Aronofsky tried to do with those couple of films. That’s something that I hope you do actually in a medium of film too, that would be very interesting. And you do that in a medium of books currently. How much do you think we understand about the history of life on Earth?
Paul Rosolie
(02:08:42)
I think we got it all wrong. N, I don’t know. It seems like they change it all the time. They say that Easter Island, when I was in college, they were big on telling you that Easter Island they ruined their environment and they had environmental collapse, and that’s why there’s nobody on Easter Island. It was a cautionary tale. We could ruin our environment. And now it seems like they’ve changed their mind on that.

(02:09:05)
And then when humans entered North America, seems to be hugely up to speculation. And Africa, that we all spread out of Africa, and then the Pleistocene Overkill Extinction theory, and it seems like every few years they update it and they change it and they say, “Oh, no, no, no, no. The guys from 10 years ago, actually my new theory is the best theory. Let’s write some books and get me on Letterman.” And it seems like there’s a new prevailing theory, that’s really always exciting and edgy, about how we got here and where we came from and how we dispersed and maybe even has some political implications like how we should use the Amazon moving forward. The Amazon was engineered by people, so fuck it, let’s just cut it down.
Lex Fridman
(02:09:47)
Yeah, I tend to believe that we mostly don’t understand anything, but there is an optimism in continuously figuring out the puzzle of that.
Paul Rosolie
(02:09:55)
Sure.
Lex Fridman
(02:09:56)
We, offline, talked about the Graham Hancock, Flint Dibble debate on Rogan. I like debates personally. Flint Dibble represents mainstream archeology, and I actually like the whole science, the whole field of archeology. You’re trying to figure out history with so little information. You’re trying to put together this puzzle when you have so little and you’re desperately clinging onto little clues and from those clues using the simple possible explanation to understand. And now with modern technology, as Flint was trying to express, that you can use large amounts of data that’s imperfect, but just the scale and using that to reconstruct civilizations. There are different practices from the little details of what things they eat, how they interact with each other, what art they create to when they existed, what are the timeframes, all that kind of stuff.

(02:10:50)
And that starts to fill in the gaps of our understanding. But still, the error bars are large in terms of what really happened. And that leaves room for things like Graham Hancock talks about lost civilizations, which I like also because you have a humility about, maybe there’s giant things we don’t know about or we got completely wrong. And that’s always good to remember.
Paul Rosolie
(02:11:20)
It’s confusing to me to imagine what… I don’t even know, where’d the Egyptians go? What happened? It seemed like they were doing so good. They had so much cool shit. But I was reading anthropological stuff in the Amazon about tribes that just through their societal structures and through their hunting practices that didn’t really develop practices that worked and bands of people that went extinct before they could turn into larger societies. And there’s a lot of people that got it wrong. For every explorer that leaves Borneo and arrives in South America, there’s probably hundreds more that just die at sea, get eaten by sharks, avalanche. And it’s so fascinating to me that all of us really, past our grandparents, don’t really even know where we came from. Do you know who your great great great grandparents are?
Lex Fridman
(02:12:20)
No.
Paul Rosolie
(02:12:20)
No.
Lex Fridman
(02:12:21)
There’s methods of trying to figure that out, but really again, the error bars are so large that it’s almost like we trying to create a narrative that makes sense for us, that I’m 10% Neanderthal, therefore I can bench press this much and therefore my aggressive tendencies have an explanation. When in reality there’s so much diversity of personalities that they far overshadow any possible histories we might have.
Paul Rosolie
(02:12:48)
Your aggressive tendencies don’t have any explanation.
Lex Fridman
(02:12:51)
No, you listen to me right now.
Paul Rosolie
(02:12:54)
I’m sorry. Don’t hit me again. Don’t choke me out again.

Explorers

Lex Fridman
(02:12:58)
Yeah, man. One of the things you and I talk a lot about is different explorers. Who do you think is… I’m just throwing ridiculous question one after the other. Who do you think is the greatest explorer of all time?
Paul Rosolie
(02:13:11)
Oh God. I love Shackleton, but I hate the cold, so I can’t even read about it. I hate the cold so much. I can’t even go there for fun. I think Percy Fawcett in the Amazon was the GOAT in terms of just sheer… The last of the Victorian era, march forward, go deeper, just stop at nothing and then eventually take such big risks that you never come back. It’s hard for me to relate to that exploration because, to me, I’m such a softie, I wouldn’t want to leave my family behind, I wouldn’t want to… Even if you told me that I could leave Earth and go exploring and I could go touch the moon, I’d be, nope. Absolutely not. The highway is dangerous enough. I would never risk dying in space. This guy left his home, went out into the jungle, out there with horrendous gear compared to the camping gear we have today, no headlamp, and just explored for years on end.
Lex Fridman
(02:14:13)
Well, let me actually push back. You have that explorer. There is definitely a thing in you, just me having observed you behave in the jungle and in the world, you’re pulled towards exploration, towards adventure, towards the possibility of discovering something beautiful, including a small little creature or a whole new part of the rainforest, a part of the world that is, holy shit, this is beautiful. I think that’s the same imperative. Maybe not going out to the stars, but I could see you doing exactly the same thing. He disappeared in 1925 during an expedition to find an ancient lost city, which he and other people believed existed in the Amazon rainforest. There’s that pull, I’m going to go into there with shitty equipment with the possibility of finding something.
Paul Rosolie
(02:15:02)
And they said he ran into uncontacted tribes and started goofing off. I think he started dancing and singing. The tribes were ready to kill him, and he started goofing and doing a song and a dance and just being ridiculous. And the tribes were, what now? And they’re, wait, wait, wait, wait, wait. Don’t shoot him yet. That’s a funny one. And actually he, on a human level, used humor to save his own life on multiple occasions, to the point where he deescalated the situation where it was, “Look, we’re not here to fight. We have a pile of maps. All my guys have beriberi, dengue, malaria. We’re dying out here. If you guys just go on your merry way, we’ll go on our merry way.” Incredible. He was so tough.

(02:15:45)
And then that guy from Shackleton’s Expedition ended up on one of Fawcett’s expeditions and you go, oh yeah, he’s a proven explorer. He’s been through the Antarctic. And the guy was, fuck the jungle. Absolutely fuck the jungle. And there’s a great quote where he says, ” Without a machete…,” something, I don’t remember exactly the words he used, but he said, “Without a machete in this environment, you don’t last.” And you know that now. In that tangle, to just take three steps that way, I would immediately be taking on… I’m not wearing shoes right now. Bullet ants, venomous snakes, spikes through my feet, tripping over myself. I don’t have a headlamp. Unbelievable risk right there. We’re sitting on the edge of tragedy.
Lex Fridman
(02:16:29)
Can you explain what the purpose of the machete in this situation is? What is a machete? How does it work? How does it allow you to navigate in this exceptionally dense environment?
Paul Rosolie
(02:16:40)
This is the tool that I spend most of my life carrying. This is in my hand for 90% of my time. And in the jungle, you really need a machete. There’s so much plant life here that you have to cut your way through. And like a jaguar, an ocelot, a lot of these other animals that are more horizontally based and low to the ground, they can make it. Like when we got stuck in those bamboo patches and we were just hacking through them. And it’s dangerous, and as you hit the bamboo it ricochets and there’s spikes, and then one piece falls and it pulls a vine that has spikes on it, and that hits you in the neck. The jungle is savage to humans.

(02:17:19)
But if you are an agouti, a little rodent, or a jaguar, or a deer, you can slip through this stuff. And the deer have developed really small antlers, they can just weave through low to the ground. And so for us being these vertical beings walking through the jungle, it really helps to be able to move the sticks that are diagonally opposing your movement at all times, so a machete is just a very, very useful tool. It can help you pull thorns out of your body. As you saw last night, we can use it to find food.
Lex Fridman
(02:17:50)
You went machete fishing. You cut a fish head off with a machete. It was swimming and then you basically macheted the water. And the other fascinating thing about that fish without its head, it kept moving.
Paul Rosolie
(02:18:09)
That was amazing.
Lex Fridman
(02:18:10)
It was just using, I guess, its nervous system to swim beautifully. There’s so many questions there about how nature works.
Paul Rosolie
(02:18:17)
Well, let’s explain it, because the way the machete hit this fish, it took just his eyes off and his lower jaw was still there, so it was really just the brain and the top jaw that came off. And this fish, as the dust cleared in this stream, this fish was… I found it very haunting in a very interstellar way. It was just the programming was still there, but the brain was gone and the fish was just still moving and it was going to die, but it was still swimming and it looked like a live fish. It was gruesome.
Lex Fridman
(02:18:46)
And you’re still trying to catch it, which is interesting to watch.
Paul Rosolie
(02:18:48)
And I still had to work to catch it. Because every time I caught it would freak out and then it would jump back in the water. And I’m programmed here from years and years of living in the Amazon that everything can hurt you so you actually become quite… If a moth lands on, you flick it because it could be a bullet ant. And so even the fish here, a lot of the fish here have spikes coming out of them. And so even though I know that fish, I know its name, I’ve eaten them many times, as I was holding it, when it would twitch with that explosive power, just like the Cayman, I would get that fear response and release it. And so that happened three or four times before I finally said, this is stupid. Even though he’s slippery, he hasn’t got a head. I can hold onto him and I put them in my pocket.
Lex Fridman
(02:19:26)
Put him in your pocket.
Paul Rosolie
(02:19:27)
And then we fried him up and we ate him.
Lex Fridman
(02:19:28)
And he was delicious. And I’m grateful for his existence, of his role, and for my existence on this planet, this brief existence that I was able to enjoy that delicious, delicious fish. The machete is used to cut through this extremely dense jungle. There’s vines, by the way. There’s rope like things that are extremely strong and they go all kinds of directions. They go horizontal and all of this. We have a tree right above us that makes no sense. There’s a tree that failed, and then a new tree was created on top of…
Lex Fridman
(02:20:00)
… failed and then a new tree was created on top of it. It just makes no sense. It feels like sometimes trees come from the sky, sometimes they come from the ground. I don’t really quite understand how that works because there’s new trees that grow on old trees and the old trees rot away and the new trees come up, that whole mechanism.
Paul Rosolie
(02:20:23)
Strangler figs. And so strangler figs, as you go across the world’s ecosystems, that whole belt of, whether you’re in rainforests in the Amazon, the Congo Indonesia, all across the tropics you have strangler figs. And the amazing thing that this species does, it’s become a keystone species across the planet with a hyper influence on its ecosystem wherever it is, because they produce fruit in the dry season when the rest of the forest is making it hard for animals to find fruit, to find food. And so the bats, the birds, the monkeys, they all go to the strangler fig. They eat the fruit. And the fruit, of course, is just tricking the animals. The plants are tricking the animals into carrying their seeds to another tree. And so they’re getting free transportation.

(02:21:07)
Monkey takes a poop on another tree after eating strangler figs, and then that strangler fig sends out its vines, gets to the ground, and then, as soon as it begins sucking up nutrients, out competes that tree for light grows hyper drive around the trunk of that tree and then eventually that tree will die and the strangler fig will win because it got a boost up to the top. Whereas these little trees down here, they’re going to have to wait their turn. They have to wait until a tree falls until there’s a light gap and then they have enough food to grow quick. And so this whole thing is an energy economy. Everything is just trying to get sunlight. And so strangler figs, yeah, top-down trees growing, parasitic top-down octopus trees growing over other giant trees. And you’ve seen the size of some of the trees here.
Lex Fridman
(02:21:53)
So back to Percy Fawcett and exploration. What do you think it was like for him back then 100 years ago, God damn, going through the jungle?
Paul Rosolie
(02:22:02)
Well, see, the thing is those guys didn’t go with the locals. They came down here with mules and they tried to do it their way. And so he’s one of the people that wrote about the green hell, the jungle as the oppressive war zone where there’s nothing to eat and everything is killing you. I think that, that image is so wrong because, as you saw last night, we could go. If we went out with JJ right now, we would machete fish some fish, we could start a little fire, we’d do it all in shorts. To JJ, it’s green paradise, and it’s intense, but if you know what you’re doing, which the local people surely do, well then, just beneath the sand, there’s turtle eggs that you can eat and inside the nuts on the ground there’s grubs that you can eat. And if you really needed to, you could just jump on a caiman and eat that because their tails are pretty full of meat and it’s like there’s actually unending amounts of food here. They were a strange bunch.
Lex Fridman
(02:23:08)
If you’re able to tune into that frequency, I feel like you and JJ are able to tune into the frequency of the jungle that is a provider, not a destroyer of human life. I think to be collaborated with, not fought against.
Paul Rosolie
(02:23:30)
Yes, but we’re coming at that with our modern lens because we’re coming down here with, I’ve survived how many infections in the jungle where those probably would’ve killed me before. So my dead-ass opinion of the jungle would’ve been “overwhelming and collective murder, as Herzog says. And so Percy Fawcett was coming down here with this view of it’s trying to kill us at all times. We are flying down here and coming out here with our superior medicines and our ability to survive infections, and so it is different for us. It is different. We’re coming at this very, very different. But Fawcett to me was the last of the real swashbucklers, the really batshit crazy explorers that just went out into the dark spaces on the map.

(02:24:17)
And it’s very hard for me to identify with him. But. For instance, Richard Evans Schultes from Harvard, that’s someone where you go, okay, now we’re getting to the point where I can start to understand. Just like the conquistadors. And they tell you the conquistadors showed up, the Spanish killed 2,000 Inca on the first day, and then they marched to this city and can you imagine yourself just slaughtering a bunch of women and children and soldiers and then just drinking some wine and doing it again tomorrow? I can’t actually wrap my head around that.
Lex Fridman
(02:24:52)
Yeah, it just seems like an entire different world. No.
Paul Rosolie
(02:24:57)
Different world.
Lex Fridman
(02:24:57)
Different value system.
Paul Rosolie
(02:24:59)
Different value system.
Lex Fridman
(02:25:00)
A different relationship with violence and life and death I think. We value life more. We resist violence more.
Paul Rosolie
(02:25:08)
Yeah. If we saw a car accident, I feel like if I saw a car accident or if you see a little bit of war, some violence, it affects you. These people were so comfortable with those things. It was such a normal part of their… The Spartans, the Comanches, they became so comfortable with war to the point that it became what they did as a culture.
Lex Fridman
(02:25:33)
And they celebrated it too.
Paul Rosolie
(02:25:34)
They celebrated it.
Lex Fridman
(02:25:35)
And direct violence too, like taking that machete and murdering me, or if I got to the machete first me murdering you.
Paul Rosolie
(02:25:42)
Not a chance, bitch.
Lex Fridman
(02:25:44)
And then I would put it on Instagram show off. And the number of DMs I would get from murdering you with a machete.
Paul Rosolie
(02:25:52)
Meanwhile, half the world right now is messaging me saying, “My DMs are filled with take care of Lex. Don’t lose Lex. Make sure Lex comes back safe. Lex is a national treasure. We love Lex. Make sure he holds a snake.” The amount of love that is out there.
Lex Fridman
(02:26:06)
Meanwhile, I emerge from the jungle with blood around me with a machete and I take over the Instagram account.
Paul Rosolie
(02:26:11)
He’s very humble. He doesn’t want hear about the love.

Ayahuasca

Lex Fridman
(02:26:15)
All right, so what do you think makes a great explorer, whether it’s Percy Fawcett, Richard Evans Schultes? By the way, I’ll say who Richard Evans Schultes is. He’s a biologist. So that’s another lens through which to be an explorer, is to study the biology, the immense diversity of biological life all around us.
Paul Rosolie
(02:26:36)
Richard Evans Schultes, I know about him from reading Wade Davis’s book, One River, which is this big, hefty 500 or 600 page tome about the Amazon, and it covers two stories. It’s Richard Evans Schultes, and I think it’s in the ’40s. I think it’s pre-World War Two era era where he’s in the Amazon looking for the blue orchid and the cure for this and that, and he’s pressing plants and he’s going to these Indigenous communities where they still live completely with the forest and they drink ayahuasca and they talk to the gods and he learns about how they believe that the Anaconda came down from the Milky Way and swam across the land and created the rivers. He came down and even though he was a western scientist from Harvard, he embraced the Indigenous perspective on the world, on creation, on spirituality.

(02:27:28)
And he resigned himself and gave himself fully to that and spent years and years traveling around parts of the Amazon that had hardly been explored and certainly never been explored in the way he was doing it, and the ethno botanical spiritual way of what medicinal compounds are contained in these plants and how do the local Indigenous people use and understand them? For example, of 80,000 species of plants in the Amazon rainforest and 400 billion trees in the Amazon rainforest, the statistics of likelihood that through trial and error that humans could discover ayahuasca, it’s astronomical, that one of these trees and a root when put together allow you to go and access the spirit realm and see hallucinogenic shapes and talk to the gods.

(02:28:21)
That’s almost enough to inspire spiritual thought itself, the fact that trial and error, it would take millions of years or something. I forget what the figure is, it’s incredible. But Richard Evans Schultes was one of the first people that came down and saw that. And then One River is where Wade Davis comes back, I believe, in the ’70s. And the heartbreak of the book is that all of these incredibly wild places with naked native tribes and these intact belief systems, Wade Davis comes back and a lot of the same places that Schultes went, now there’s missionary schools and they’re wearing discarded Nikes and whatever. I don’t know if there’s Nikes in the ’70s, but Western stuff has made it in. They’ve been contacted, domesticated, forced into Western society, and a lot of them then forget the thousands and thousands of years that have gone into creating the medicinal botanical knowledge that the Indigenous possess about how to cure ear infections and how to treat illnesses from the medicinal compounds flowing through these trees is lost in a single generation with the modernization.
Lex Fridman
(02:29:38)
Yeah, he wrote The Plants of the Gods: Their Sacred Healing and the Hallucinogenic Powers. That is interesting. You mentioned how to discover that. How do you find those incredible plans, those incredible things that can warp your mind in all kinds of ways? Of course, physically heal, but also take you on a mental journey. That’s interesting. So you don’t think trial and error is possible?
Paul Rosolie
(02:30:05)
I was reading about ayahuasca and they were saying statistically, if you put 1,000 humans in the Amazon and gave them villages to live in, because humans are a communal species, it would take tens and tens of thousands of years or perhaps even centuries before even the possibility. It’s like that thing, a bunch of chips on a keyboard how they write Hamlet. It’s astronomical odds to get to, oh wait, this and this dose together. What the local people believe is that the gods revealed this secret through the jungle to us as a link to the spirit world, and that that’s how we know this. Because if they didn’t remember it from their ancestors, we would have no idea how to get this information from the wild.
Lex Fridman
(02:30:55)
So I will likely do ayahuasca. What do you think exists in the spirit world that could be found by taking that journey?
Paul Rosolie
(02:31:10)
I think that ayahuasca is, I can only speak from personal experience, and for me it was as if your brain is a house you’ve lived in your entire life and it’s a big house, it’s a mansion, and there’s many, many rooms that you didn’t even know exist. Hidden rooms behind the bookshelves, under the floorboards, rooms that you had no idea were there. And some of them are fantastic and some of them are terrifying basements. And ayahuasca takes you on a journey through that. At its most effective, you sit in front of the shaman with the candlelight, with the sounds of the jungle, and you drink this substance. And after that, what happens is the journey is all inside and the shaman is supposed to be able to guide you through that.

(02:32:04)
But in my experience, you’re so deep inside like falling through nebulas out in space. No physical form. Or crawling through the jungle. It’s really, really powerful. It’s not like the recreational drugs that everyone does where you go, “I did mushrooms and I could see music and I was talking to my friends.” But no, you’re face down on the floor, usually vomiting, sometimes shitting, having dialogues with the creator. And that can be traumatizing as well as amazing.
Lex Fridman
(02:32:41)
It’s a really good way of looking at it. It’s a big house and you get to open doors that you never had before and discover what rooms are there inside you. You ever think about that, that there’s parts of yourself you haven’t discovered yet or maybe you’ve been suppressing? How much are you exploring the shadow?
Paul Rosolie
(02:33:00)
Oh, boy.
Lex Fridman
(02:33:00)
So say you, me, Carl Jung, and Jordan Peterson are on a deserted island together.
Paul Rosolie
(02:33:05)
Fuck. I didn’t even make my bed today.
Lex Fridman
(02:33:08)
There’s no bed in an island.
Paul Rosolie
(02:33:09)
Great. I want to see you and Jordan Peterson do Ayahuasca together. I think that’s the thing. Ayahuasca, to me, I’ve told you about, I’ve experienced some things that really made me believe that there’s a benevolent force around us, but to me, Ayahuasca was a ride through the scariest parts of the universe to be like, here’s what it could be like. That’s where I came up with my idea that deep space or just space, outer space is just the outside of the video game. And this is it. Because when I was on Ayahuasca, I was one of the jungle creatures and I wasn’t Paul and I didn’t have a name. And for a long time I saw many things.

(02:34:02)
I arrived at this spot in the jungle where there’s a big tree and all the animals were there and they were all, not in words, not in any language that we can understand, but they were all discussing what to do about the threat. It was all leaving. It was all flying up, and it was fire and the jungle was being destroyed. And then after that it was just space and stars and silence, crushing vacuum silence for years. And that was terrifying. That was fucking terrifying. When I came back and I had hands, man, I could remember my own name.

Deep jungle expedition

Lex Fridman
(02:34:37)
You grounded. Things are simpler. You’re back inside the video game. What are the chances you think we’re actually living in a video game?
Paul Rosolie
(02:34:46)
When you say a video game, it implies that there’s a player. Who’s the player? It’s God?
Lex Fridman
(02:34:50)
No. There’s a main player, usually. That’s not going to be God. God is the thing that creates the video game.
Paul Rosolie
(02:34:54)
So then we’re just…
Lex Fridman
(02:34:55)
And then some of these are NPCs. I’m an NPC.
Paul Rosolie
(02:34:59)
You’re an NPC? Jesus Christ. So I’m the main character?
Lex Fridman
(02:35:01)
Yeah, you created me.
Paul Rosolie
(02:35:03)
Is this Halo where you can kill the NPCs?
Lex Fridman
(02:35:07)
I see how you put the machete behind you.
Paul Rosolie
(02:35:09)
Okay, I think I’m just going to take a stand here. I’m just sick of fucking playing it halfway. I think that because people live indoors in climate controlled boxes in cities far away from nature, they’ve completely lost track of everything that’s real. And they’ve started to think that we’re living inside of a simulation. Notice that nobody carrying an alpaca up a mountain thinks that we’re living inside of a video game. They all know that it’s real because they’ve had babies on the floor of a cold hut.

(02:35:35)
They understand the consequences of life. They understand the fish and how hard it is to get them and the basic rules of the wind and the rain and the river and that we all have to play by those. Talk to a grieving mother and ask her if she’s living inside a video game. And to me, this whole thing of, are we living in a simulation, to me, that’s the infirmary of society starting to parody itself. It’s people going, “I have no meaning in my life anymore. So is this even real?” And again, go ask the Sherpa, go ask the Eskimo. They’re not worried.
Lex Fridman
(02:36:16)
You forget what fundamentally matters in life. What is the source of meaning in a human life, if you talk about such subjects. Nevertheless, you could for a time stroll in the big philosophical questions. And if you do it for short enough a time, you won’t forget about the things that matter, that there is human suffering, that there is real human joy that is real. Our time in the jungle was very hard.
Paul Rosolie
(02:36:50)
Did you suffer enough to know that it’s real?
Lex Fridman
(02:36:52)
Yeah. Man, I was hoping we were in a video game that whole time.
Paul Rosolie
(02:36:57)
That’s actually a really good way to… There was this moment that I watched where you were washing a shirt in this pathetic puddle because we had no water and because we had walked all day and tripped all day and gotten thorns in our hands and our feet and our legs, and we were lost in the jungle and it was nighttime and we didn’t know if a big tree was going to just fall on us and mousetrap kill us. There was a lot of uncertainty, but I watched something very special happen to you, and that was, I saw you crouching by the side of this puddle, it wasn’t even a flowing stream, so we couldn’t drink it, and you were just trying to wash the sweat off of your shirt. And you looked at me and you just said, “The only thing that I care about right now is water.” And I feel like in that moment we were united in the simple reality of the fact that we were so thirsty that it hurt and that it was a little scary.
Lex Fridman
(02:37:55)
Yeah, it was scary. But also there was a joy in the interaction with the water because it cools your body temperature down and there’s a faith in that interaction that eventually we’ll find clean water because water’s plentiful on earth. It’s like a delusional faith that eventually we’ll find. It was just a little celebration. I think the cooling aspect of the water, because the body temperature is really high from traversing the really dense jungle, just the cooling was somehow grounding in a way that nothing else really is. It was a little celebration of life, of life on earth, of earth, of the jungle, of everything. It was a nice moment. I think about that. Had a couple of those. There was one in the puddle and one in the river. One was full of delusion and fear, and the other one was full of relief and celebration.
Paul Rosolie
(02:39:09)
There’s this thing that they say where all the pleasure in life is derived from the transitions. When you’re cold, warm feels good. When you’re hot, cold feels good. When you’re hungry, food feels good. And when you’re that thirsty, water becomes God and it’s all you want. And also the other thing is that, when we’re out there, it felt so good to be so lost and so tired. How would you describe the physicality of what we were doing, the level of physical exertion?
Lex Fridman
(02:39:44)
Well, it’s something that I haven’t trained. I don’t even know how you would train for that kind of thing, but it’s extremely dense jungle so every single step is completely unpredictable in terms of the terrain your foot interacts with. So the different variety of slippery that is on the jungle floor is fascinating. Because some things, the slope matters, but some roots of trees are slippery, some are not. Some trees in the ground are already rotted through so if you step through, you’re going to potentially fall through. It could be a shallow hole. It could be a very deep hole with some leaves and vegetation covering up a hole where, if you fall through, you could break a leg and completely lose your footing or fall rolling downhill. And if you roll downhill, I’m pretty sure there’s a 99% probability that you’ll hit a thing with spikes on it.

(02:40:42)
So there’s so many layers of avoiding dangers, of small dangers and big dangers, all around you with every single step. So there’s a mental exhaustion that sets in, just the perception. And just observing you, you’re extremely good at perceiving, having situational awareness, of taking the information in that’s really important and filtering out the stuff that’s not important. But even for you, that’s exhausting. And, for me, it was completely exhausting just paying attention, paying attention to everything around you. So that exhaustion was surprising. Because there’s moments when you’re like, “I don’t give a anymore. I’m just going to step. I’m just going to [inaudible 02:41:22].”
Paul Rosolie
(02:41:21)
And so that’s it. You go, “I don’t care anymore,” and you reach out, and I’m just going to lean against this tree. And then what happened every time?
Lex Fridman
(02:41:28)
You get spikes in it. Yeah, yeah, yeah.
Paul Rosolie
(02:41:29)
And then you have to care.
Lex Fridman
(02:41:32)
And then there’s just bad luck because there is wasp nests. There’s just a million things. And that is physically, is mentally, psychologically exhausting, because there’s the uncertainty, when is this going to end? It’s, in our particular situation, up and down hills, up and down hills, very steep downward, very steep upward, no water, all this kind of stuff. It’s the most difficult thing I’ve ever done, but it’s very difficult to describe what are the parameters that make it difficult because I run long distances very regular. I do extremely difficult physical things regularly that on some surface level could seem much more challenging than what we did. But no, this was another beast. This is something else but it was also raw and real and beautiful because it’s what the explorers did. It’s what earth is without humans.

(02:42:25)
And also just the massive scale of the trees around us was the humbling size difference between human and tree. It’s both humbling in that, “That tree is really old. It’s the time difference, lifetime difference, and just the scale, it’s like, holy shit. We live on an earth that can create those things. Makes me feel small in every way, that life is short, that my physical presence on this earth is tiny, how vulnerable I am. All of those feelings were there. And in that, the physical endurance of traversing the jungle was the hardest journey that I remember ever taking, every step. And then that made making it out of the jungle and then made it the swim in the water that we could drink, that was just pure joy.

(02:43:40)
It was probably one of the happiest moments in my life just sitting there with you, Paul, and with JJ in the water, full darkness, the rain coming down and us all just laughing having made it through that, having eaten a bit of food before and the absurdity of the timing of all of it that it somehow worked out. And how we’re just three little humans sitting in a river. Just our heads emerged barely above water with jungle all around us. What a life.
Paul Rosolie
(02:44:30)
That was a real adventure.
Lex Fridman
(02:44:32)
That was a real adventure.
Paul Rosolie
(02:44:33)
That was a real one.
Lex Fridman
(02:44:33)
Yeah. I’ll never forget that. So it’s a real honor to have shared that. Of course, we had very different experiences. When you saw a caiman in that situation, you’re like, “I have to go meet that guy. That’s a friend of mine.”
Paul Rosolie
(02:44:50)
Well, I mean we were in the river in a thunderstorm, just our necks above, we’re all laughing our asses off. I mean, we’re in the river with the stingrays and the black caiman and the piranha and all the electric eels and everything, and it’s pitch black out. And then, what were we doing? We’re holding our headlamps up and there were those swirling moths, the infinity moths, all making those geometric patterns. And it’s like we were just three ridiculous primates, three friends in a river, just laughing because we were safer in that river than we had been in there. And we were rejoicing that the thunderstorm was, compared to the war zone that we’d been living in, the thunderstorm was safe. And it really was a beautiful moment.
Lex Fridman
(02:45:32)
And also, very different life trajectories have taken these three humans into this one place.
Paul Rosolie
(02:45:38)
Yeah.
Lex Fridman
(02:45:39)
It’s like, what?
Paul Rosolie
(02:45:40)
Yeah. That’s true.
Lex Fridman
(02:45:41)
Wow. Is this the universe that would? Because we’re like those moths, you know what I mean? We come from some weird place on this earth and we’d have all kinds of shit happen to us and we’re all pursuing some and some light, and we ended up here together enjoying this moment. That’s something else. It just felt absurd, and in that absurdity was this real human joy. And damn, water tasted good.
Paul Rosolie
(02:46:07)
Oh, water’s good. Man, water and those little oranges, those things. And then I would just say, do you feel, I feel like running, no matter how much I run, I feel like you run, you do a workout, and then you stop. Maybe people who do ultras feel this, but I felt like we woke up, it was like, wake up at dawn. 6:00 a.m, let’s start walking. Break camp, go. And it’s like pretty much you just don’t stop all day. And it’s level 10 cardio all day long and you’re sweating buckets and there’s no water. And it’s like you would never put yourself through that voluntarily. You couldn’t. You would never have the resolve to continue torturing yourself, except for that we were trying to make it to freedom to get out. And it’s like the obsession of that with the compass and the machete and the navigating, fuck.
Lex Fridman
(02:47:01)
I think there’s something to be said about the fact that we didn’t think through much of that and we just dived into it. I think we were laughing, enjoying ourselves moments before, and once you go in you’re like, “Oh shit.”
Paul Rosolie
(02:47:13)
Oh shit.
Lex Fridman
(02:47:14)
And you just come face to face with it.
Paul Rosolie
(02:47:15)
Yeah.
Lex Fridman
(02:47:16)
I think that whatever that is in humans that goes to that, that’s what the explorers do. And the best of them do it to the extreme levels.
Paul Rosolie
(02:47:28)
Well, I think that what we did was to a pretty extreme level because we left the safety of a river, of knowing where we were, and voluntarily got lost in the Amazon with very little provisions on a very, now that we’re back, now that we experienced what we experienced, I really can’t stop thinking about how fucking stupid it was that we did that. Because if we had gotten lost, Pico was saying to me, “If one of you had broken your leg, it’s days in either direction.” Even if they had sent help for us, help would take how long to scour all that jungle? Sound doesn’t travel. Even a helicopter, even if they looked for us, they wouldn’t be able to see us. How would we signal for help?

(02:48:15)
You can’t really build a fire. And so it’s like, if anything had gone wrong, if we’d gone a few degrees different to the west, would’ve taken us two more days. If we’d gotten injured, it’d be carry through that. And so somehow only afterwards am I really going, wow, thank God we got out of this. Thank God. After I see so many people going, make sure nothing happens to Lex Friedman, I’d be the deadest motherfucker on earth if anything happened.
Lex Fridman
(02:48:44)
It somehow works out.
Paul Rosolie
(02:48:46)
It does seem to somehow work out.

Jane Goodall

Lex Fridman
(02:48:48)
Let me ask you about Jane, Goodall, another explorer of a different kind. What do you think about her, about her role in understanding this natural world of ours?
Paul Rosolie
(02:48:59)
I think that Jane is a living historical treasure. I think somehow she’s alive, but she’s already reached that level where it’s like Einstein, Jane Goodall, there’s these incredible minds. And growing up as a child, my parents would read to me because I was so dyslexic. I didn’t learn to read until I was quite old. And my mom was a big Jane Goodall fan and all I wanted to hear about was animals. And so I would get read to about this lady named Jane Goodall, this girl who went to Africa and studied chimps and who broke all the rules and named her study subjects even though that wasn’t what she was supposed to do and she became this incredible advocate for earth and for ecosystems. And she seemed to realize as her career went on that teaching children to appreciate nature was the key.

(02:49:54)
Because they’re going, that thing where she says, “We don’t so much inherit the earth from our ancestors, but borrow it from our children. We’re just here. We’re just passing through.” And so if we destroy it, we’re dimming the lights on the lives of future generations. And so she’s been really, really cognizant of that. And she’s been a light in the darkness in terms of saying that animals have personalities and culture and their own inalienable rights and reasons for existing and that human life is valuable. She’s very big on that. Every day we influence the people around us and the events of the earth, even if you feel like your life is small and insignificant, that you do have an impact. And I think that’s a really powerful little candle out there in the darkness that Jane carries.
Lex Fridman
(02:50:44)
What do you think about her field work with the chimps?
Paul Rosolie
(02:50:48)
Badass. The fact that she did what she did at the age that she did at the time that she did is incredible. It’s actually incredible. She has that explorer gene, and she also has that relentless. Relentlessness is this incredible quality. She travels 300 days a year educating people, talking around the world, trying to help bolster conservation now before it’s too late. And traveling 300 days a year is not fun. Traveling at all can be not fun.

Theodore Roosevelt

Lex Fridman
(02:51:20)
So I started reading the River of Doubt book you recommended to me on Teddy Roosevelt. That guy is badass on many levels, but I didn’t realize how much of a naturalist he was, how much of a scholar of the natural world he was. That book details his journey into the Amazon jungle. What do you find inspiring about Teddy Roosevelt and that whole journey of just saying, “Fuck it. I’m going to the Amazon jungle,” of taking on that expedition?
Paul Rosolie
(02:51:50)
Well, I mean, Teddy Roosevelt, you could write volumes on what’s inspiring about him. I think that he was a weak, asthmatic, little rich kid that wasn’t physically able, that had no self-confidence, and he had pretty severe depression. He had tragedy in his life and he was very, at least for me, he’s been one of the people, one of the first historical figures where he wrote about the struggle to overcome those things and to make himself from being a weak asthmatic little teenager, to strengthening himself and building muscle and becoming this barrel-chested lion of a guy who could be the President, who could be an explorer and one of the rough riders. Just everything he does is so hyperbolically incredible. To come out of war and have the other people you fought with go, “This guy has no fear,” he must’ve just been a psychopath and had no fear. And then proving it further was that thing where he was going to give a speech to a bunch of people and he got shot in the chest.
Lex Fridman
(02:53:00)
[inaudible 02:53:00].
Paul Rosolie
(02:53:00)
It went through his spectacle case and through his speech, and even though the bullet was lodged in his chest, this man said, “Don’t hurt the guy that shot me.” I believe he asked him, why’d you do it? And then as he’s bleeding and in the rain said, “No, no, no. I’m not going to the hospital. I’m going to keep going with the speech.” What a badass. That’s incredible.
Lex Fridman
(02:53:23)
But going to the jungle on many levels is really difficult for him at that time. There’s so many things, so many more things even than now that can kill you, all the different infections, everything. And the lack of knowledge, just the sheer lack of knowledge. So that truly is an expedition, a really, really challenging expedition. There’s lessons about what it takes to be a great explorer from that, the perseverance. How important do you think is perseverance in exploration, especially through the jungle?
Paul Rosolie
(02:53:56)
I think it’s all there is, if you hear about the people. And I think that, that is a tremendous metaphor for life, because whether you hear about that plane that crashed in the Andes and the people were alone and freezing and they had to eat each other, some of them made it out, some of them kept the fire burning. And Teddy Roosevelt voluntarily, after being President, threw himself into the Amazon rainforest and survived. Came so close to dying, but survived. And so perseverance is all of it. I think that’s our quality as a human.
Lex Fridman
(02:54:33)
So they also mapped. On the biology side it’s interesting, but they mapped and documented a lot of the unknown geography and biodiversity. What does it take to do that? So when I see you move about the jungle, you’re capturing a creature. You take a picture, write it down so you can find new creatures, find new things about the jungle, document them, a scientific perspective on the jungle. Back then there was even much less known about the jungle. So what do you think it takes to document, to map?
Lex Fridman
(02:55:00)
…less known about the jungle. So what do you think it takes to document, to map that world and new unexplored wilderness?
Paul Rosolie
(02:55:07)
I mean, they’re clearly pressing botanical specimens. They’re probably shooting birds. And Roosevelt knew how to, knew how to preserve those specimens. I mean, he really was a naturalist, so he knew exactly. So if he’s seeing these animals to them, whereas we’ll take a picture and identify it, they were harvesting specimens, taking them with them, drying them out. For them, it was totally different. And it could be the first, there’s, I don’t know, I forget what JJ said, there’s something like 70 species of ant birds here and it’s like, so how likely are you to be the first person to ever see this one species of bird? And so for them, phew, as you have this bird and so perfectly preserving that specimen.

(02:55:52)
And I think a lot of non-scientific people don’t realize that every species from blue whale to elephant to blue jay to sparrow, whatever, whatever it is, whatever species we have on record, there are scientific specimens and the first people to see them, shot them. And museums are filled with these catalogs preserved birds that these explorers brought back from New Guinea and South America and Africa and then put into these drawers. And now we labeled them and we said, this is red and green macaw, this is scarlet Macaw, this is brown crested ant bird. And they’re just categorized.
Lex Fridman
(02:56:31)
That book of birds you have, it is encyclopedia of birds.
Paul Rosolie
(02:56:34)
Yo.
Lex Fridman
(02:56:35)
What?
Paul Rosolie
(02:56:36)
The human achievement in these pages.
Lex Fridman
(02:56:39)
For people listening, Paul just flipping through a huge number of pages. Is this in the Amazon or is this in Peru?
Paul Rosolie
(02:56:47)
This is just here. This is birds of Peru. Dude pages on pages of toucans and aracari and hummingbirds and ant birds and smoky brown woodpecker and tropical screech owl, which we just heard, by the way. It’s endless. Who knew there were so many birds? I had no idea there was so many birds.
Lex Fridman
(02:57:07)
Documenting all of that. I mean there’s also, which we got to experience and you’re pretty good at also is actually understanding and making the sounds of the different birds. What’s your favorite bird song to make?
Paul Rosolie
(02:57:21)
Undulated tinamou, because in the crepuscular hours of dawn and dusk, they’re usually the ones that make up what is considered by many to be the anthem of the Amazon.
Lex Fridman
(02:57:34)
Can you do a little bird for us?
Paul Rosolie
(02:57:36)
(singing). That’s what a undulated tinamou sounds like. And it’s usually like, “Oh, it is getting to be afternoon.” It’s almost like hearing church bells on a Sunday. It’s like you just, there’s something about it, you go, “Ah! There it is.”
Lex Fridman
(02:57:53)
And like you were saying, it’s a reminder, “Oh, that’s a friend of mine”.
Paul Rosolie
(02:57:56)
Yeah.
Lex Fridman
(02:57:57)
Surrounded by friends.
Paul Rosolie
(02:57:58)
I have so many friends here.
Lex Fridman
(02:58:00)
What does it take to survive out here? What are some basic principles of survival in a jungle?
Paul Rosolie
(02:58:07)
Cleanliness. I mean really, we talked about this, but keeping, I have so many holes in my skin right now. Look, I have a mosquito… There we go. I have so many spots that I’ve scratched off of my skin because mosquito bites me and then I scratch it. Or the other big one is that I worry that I have a tick. Not deliberately, not with my thinking brain, but my simian brain just wants to find and remove ticks and so I scratch. And then if my fingernails get too long, I remove my skin and then those get infected in the jungle. And so staying hyper clean, using soap, like basic stuff, keeping order to your bags, order to your gear, things in dry bags, make sure…

(02:58:59)
We explained that we got in the river during a thunderstorm. We didn’t explain why we did that because the thunderstorm came when we had eaten dinner, but we hadn’t set up our tents and so we decided to cover our bags with our boats that we had been carrying, our pack rafts that we’d been carrying in our backpacks, so all of our gear would stay dry. So the only thing we could do is either sit in the rain and be cold or sit in the river and be warm. And so keeping our gear dry, momentary discomfort for future, that to me was an incredibly smart calculation to make, is you got to be smart out here, you can not running out of a headlamp while you’re out on the trail and being stuck in that darkness. It really takes just being a little bit on your toes. And I find that that necessity of being on your toes is a place that I like to live in. It’s just the right amount of challenge here.
Lex Fridman
(02:59:54)
So keeping the gear organized and all of that, but also being willing to sort of improvise. I’ve seen you improvise very well because there is so much unknowns, there’s so much chaos and dynamic aspects that planning is not going to prevent you from having to face that in the end of the day.
Paul Rosolie
(03:00:11)
No, it’s been really funny watching you sort of shed your planning brain. Like day one, it was very much like “So are we going to…”, and then I could see your brow sort of furrow and I would go, “I don’t know what time we’re going to get there.” And you’d go, “Well, just tell me.” And I’d be like, “I don’t know what the jungle’s going to let us do.” “Let’s record the podcast tomorrow.” Okay, but if it rains, if it gets windy, if a [inaudible 03:00:39] comes, if there’s a Jaguar with rabies, anything could happen. Landslides, like anything, literally.
Lex Fridman
(03:00:48)
It’s tree, I mean the thing you mentioned, trees falling. That’s a thing in the jungle.
Paul Rosolie
(03:00:52)
That’s a major thing in the jungle.
Lex Fridman
(03:00:53)
Holy shit. First of all, a lot of trees fall and they fall quickly and they could just kill you.
Paul Rosolie
(03:00:58)
They fall quickly. They’re huge. We’re talking about trees that are the size of school buses stacked and connected to other trees with vines so that when they fall, this millennium tree, this thousand year old tree, boom, it shakes the ground, pulls down other trees with it. So if you’re anywhere near that for a few acres, you’re getting smashed. That’s the end of you. And so the jungle, at any moment that you’re out there could just decide to delete you. And then the leaf cutter ants and the army ants and the flies and everything, you’ll be digested in three days. You’ll be gone. Gone. No bones, nothing.
Lex Fridman
(03:01:33)
Who do you think would eat most of you?
Paul Rosolie
(03:01:37)
I would hope that a king vulture with a colorful face would just…
Lex Fridman
(03:01:41)
Dramatically just going there [inaudible 03:01:43].
Paul Rosolie
(03:01:42)
…get in there right in the arse. Just like nature is metal. Just like when they walk in through the elephant’s ass. I’d want that on camera trap. I think that would be a great way to go.
Lex Fridman
(03:01:50)
And we slowly look up and just kind of smile at the camera.
Paul Rosolie
(03:01:53)
Yeah. It’ll just rip out your intestine and just shake it. Just victorious over your dead body.
Lex Fridman
(03:01:58)
Well, but also honor a friend. That’s another way to go.
Paul Rosolie
(03:02:01)
Yeah, sure. But you look so, your white naked ass laying there in the jungle, you’d be like face down in the shit.
Lex Fridman
(03:02:08)
That’s why you always have to look good. Any moment, a tree can fall on you and a vulture just swoops in and eats your heart.
Paul Rosolie
(03:02:13)
That’s right.

Alone show

Lex Fridman
(03:02:16)
We talked about Alone, this show a bit.
Paul Rosolie
(03:02:18)
Yo. Rock House.
Lex Fridman
(03:02:20)
Yeah. What do you think about that guy? Rock House Roland Welker from season 7, he built the Rock House, he killed the musk ox with bow and arrow and then finished it with a knife.
Paul Rosolie
(03:02:34)
And had the GoPro mounted to document it. That’s a really mind-blowing.
Lex Fridman
(03:02:40)
I mean, so for people who don’t know that show, you’re supposed to survive as long as possible. On season 7 of the show, they literally said you can only win it if you survive a hundred days. And there’s a lot of aspects of that show that’s difficult, one of which is it’s in the cold. The other is they get just a handful of supplies, no food, nothing, none of that. So they have to figure all of that out. And this is probably one of the greatest performers on the show, Roland Welker, he built a rock house shelter. So I mean, what does survival entail? It’s building a shelter, fire, catching food, staying warm, getting enough energy to sort of keep doing the work. It takes a lot of work. Like building the Rock House, I read that, it took 500 calories an hour from him, so he had to feed himself quite a lot. You’re lifting 200 pound boulders and still the guy lost, I read, 44 pounds, which is 20% of his body weight. So that’s survival. What lessons, what inspiration do you draw from him?
Paul Rosolie
(03:03:55)
I think he was fun to watch because he had this indomitable spirit. He wasn’t there to commune with nature, he was there to win. And he was like, to me, that’s the pioneer mentality. He goes, “I’m a hunting guide. I’m out here. I’m going to win that money. I’m going to survive through the winter.” He wasn’t worried. I feel like so many people, they worry second guessing themselves, “Am I in a video game? I don’t know. What’s my…”, just questioning their entire existential identity. And this guy was like, “You know what? There’s a muskox over there. I’m going to shoot it. I’m going to stab it now. I’m going to make a pouch out of its ball sack and I’m going to live off that for the next few months and win a half a million dollars.”

(03:04:36)
And that’s an amazing amount of pragmatic optimism that I just enjoyed. And every time he would go, “We got to get back to Rock House”, and it became, even though he is all alone, he had a big smile on his face. And what made that season so great was that it was him and then it was Callie. And Roland had the muscle and could make Rock House and then Callie was the opposite. She was this girl who, yes, she could hunt with her bow and she knew how to fish and she wasn’t using raw power, but what was so endearing about her was that how much she loved being out there. As hard as it was, and as isolationist as it was, she was smiling. Every time the show cut to her, she was like, “Hey everybody, it’s morning. Can you believe the frost?” You’ve been out there for a hundred days! Amazing. I think it was really an amazing show of that the game is all here. The game of life, the game of alone and the game of life because that’s the same thing.
Lex Fridman
(03:05:37)
Yeah. She maintained that sort of silliness, the goofiness, all through it when the condition got really tough. And she had a very different perspective as you know Roland didn’t want any of the spirituality, it’s very pragmatic. And for Callie, it is very spiritual connection to the land. She said something like she wanted not only to take from the land, but to give back. I mean, there’s this kind of poetic spiritual connection to the land. It’s such a dire contrast to Roland. But she’s still a badass. I mean to survive no matter what, no matter the kind of personality, you have to be a badass. I think she took a porcupine quill from her shoulder.
Paul Rosolie
(03:06:21)
That was crazy. I think it went in somewhere completely different and it migrated to their shoulder.
Lex Fridman
(03:06:27)
Yeah.
Paul Rosolie
(03:06:28)
And the way they understood that is because they have, I said, that’s impossible. I remember that she’s pulling up her shirt and she’s like, there’s something. And then she pushes it out. And I remember I was like, “Hold up, hold up, hold up, hold up. How?” And it was because the barbs, once it goes in, as you move and flex your body, it moves a little bit each time and it gets migrated. I didn’t even think of that shit.
Lex Fridman
(03:06:51)
Plus, if I remember correctly, I think she caught two porcupines. The second one was rotting or something, or it had an infected body, whatever.
Paul Rosolie
(03:07:00)
It had the spots on it.
Lex Fridman
(03:07:01)
Yeah.
Paul Rosolie
(03:07:02)
She chose not to eat it.
Lex Fridman
(03:07:03)
No. And then she chose not to eat it at first, and then she decided to eat it eventually, yeah.
Paul Rosolie
(03:07:07)
Oh. I forgot that.
Lex Fridman
(03:07:09)
And she starves, that was an insane sort of really thoughtful, focused, collective decision. Waiting a day and then saying, “Fuck it, I need this fat.” And that was the other thing, is like fat is important.
Paul Rosolie
(03:07:24)
Oh, yeah.
Lex Fridman
(03:07:25)
It’s like meat is not enough. You learn about what are the different food sources there. Apparently there’s rabbit starvation is a thing because when you have too much lean meat, it doesn’t nourish the body. Fat is the thing that nourishes the body, especially in cold conditions. So that’s the thing.
Paul Rosolie
(03:07:47)
Yeah, she was incredible. And I thought as brash and sort of fun as Roland was, she represented a much more beautiful take on it. It was really heartbreaking when she lost. And like you said, still a badass. It’s kind like Forrest Griffin vs Stephan Bonnar. It doesn’t matter who won. You guys beat the out of each other.
Lex Fridman
(03:08:13)
And she didn’t really lose, right? She got evaced because her toe was going…
Paul Rosolie
(03:08:21)
Frostbite.
Lex Fridman
(03:08:22)
Frostbite. A hundred days, you think you can do a hundred days?
Paul Rosolie
(03:08:26)
Honestly, I’ve done… 18 years in the Amazon, man, at this point, I could. I wouldn’t sign up for another a hundred days. At this point, I don’t have that to prove I’ve survived in the wild and I wouldn’t want to voluntarily take a hundred days away from everyone I know.
Lex Fridman
(03:08:51)
Yeah, the loneliness aspect is tough.
Paul Rosolie
(03:08:54)
We’re not meant for that. I really love the people I have in my life and I wouldn’t, and you see it on the show, a lot of the people, big tough ex-Navy SEALs who are survival experts who know what they’re doing, they get out there and they go, “You know what? I miss my family.” And they go, “It’s not worth it.” They have this existential realization. They go, “I only got so many years here. This is crazy. It’s just some money. Fuck it.” And they go home.
Lex Fridman
(03:09:21)
That’s funny because you sometimes feeling yourself in the jungle and you’re alone. And there’s another guy, Jordan Jonas Hobojordo, he’s the season 6 winner. And he said that the camera made him feel less lonely. I’ve heard of him from multiple channels, one of the things is he spent all of his twenties living in Siberia with the tribes out there.
Paul Rosolie
(03:09:50)
Whoa.
Lex Fridman
(03:09:52)
Herzog Happy People. And so he actually talked about that it’s one of the loneliest time of his life because when you went up there, he didn’t speak Russian and he needed to learn the language. And even though you have people around you when you don’t speak their language, it feels really, really lonely. And he felt less lonely on the show because he had the camera and he felt like he could talk to the camera. There is an element when you have in these harsh conditions, if you record something, you feel like you’re talking to another human through it, even if it’s just a recording. I sometimes feel that maybe because I imagine a specific person that will watch it and I feel like I’m talking to that person.
Paul Rosolie
(03:10:36)
Well, I noticed that when things got especially hard, and they did get especially hard when we were out in the wilderness, that you would begin filming to share that struggle. But I also think that I’ve used that at times where, yeah, you go, well, maybe if I, because if you can tell someone else about it, then you’re on the hero’s journey. And then it sort of has to make you braver and it changes how you, because you’re “I’m cold and I’m tired and I’m hungry and this hurts and that hurts and I don’t know when we’re going to make it and how is this going to go?” And then all of a sudden you go, “Well guys, we’re here and we’re going that way.” And then you’re like, “Well, I got to keep going” because you’re like, they’re still out there if you forget.
Lex Fridman
(03:11:24)
You have to step up. That’s one of the reasons I want a family. I think when you have kids, you have to be the best version of yourself for them.
Paul Rosolie
(03:11:33)
All my friends with kids that I’ve seen them go through, where until you have a family, you’re just playing around, man. I mean, you could do important work, you can have skin in other games, but it’s once you have a little tribe of humans that depends on you. If you take that seriously, if you want to do that right, it’s one of the hardest things you could do. And it just changes everything.

Protecting the rainforest

Lex Fridman
(03:12:02)
How has your life changed since we last met?
Paul Rosolie
(03:12:05)
Speak about changing, everything.
Lex Fridman
(03:12:08)
So you’ve been, for people who don’t know, pushing Jungle Keepers forward into uncharted territories, saving more and more and more and more rainforests. There’s a lot I could ask you about that. There’s a lot of stories to be told there. It’s a fight, it’s a battle. It’s a battle to protect this beautiful area of rainforest of nature. But since we last met, you’ve continued to make a lot of progress. So what’s the story of Jungle Keepers leading up to the moment we met and after and everything you’re doing right now?
Paul Rosolie
(03:12:46)
18 years ago when I first came to the jungle, I was a kid from New York who always dreamed since I was six years old, maybe even younger, of going to a place where animals were everywhere and there’s big trees and skyscrapers of life. And so being dyslexic and not fitting in school and reading about Jane Goodall and having Lord of the Rings be one of the things I grew up on, I just chose to come to the Amazon and the first person I met was this local indigenous conservationist named Juan Julio Duran, who was trying to protect this remote river, the Las Piedras River, which in history, apparently Fawcett referenced either the Las Piedras, but he called it Tahuamanu and said, “Don’t go there, you’ll surely die from tribes.”

(03:13:37)
And so there’s very few references to this river in history. It’s stayed very wild because it’s been a place that the law hasn’t made it, that the government hasn’t really extended to, we’re sort of past the police limit. And so JJ was out here ages ago, trying to protect this river before it was too late. And when I met him, I was just a barely out of high school kid with a dream of just seeing the rainforest, let alone seeing a giant anaconda or having any sort of meaningful experience or contribution to the narrative. And somehow overall, the years that we began working together and sparked a friendship and began exploring and going on expeditions and bringing people to the rainforest and asking them for help and manifesting the hell out of this insane dream that we had. I mean, we didn’t even have a boat. We would take logs down the river, we would have to cut a tree down. Every time we wanted to return to civilization, we’d have to cut down a balsa tree and float down the river.
Lex Fridman
(03:14:35)
Float down the river on it, yeah.
Paul Rosolie
(03:14:39)
It’s madness. It’s madness. It’s pure madness. And I don’t know what made us keep going, but along the way, people showed up who cared and who wanted to help. And if it was a movie, it wouldn’t even necessarily be a good movie because you’d go, “Oh, please. You’re just telling me that you just kept doing the thing and just magically people showed up.” But yeah, that’s what happened. That’s exactly the way it went. We kept doing the thing that we loved. We said, it doesn’t matter if we don’t have funding or a boat or gasoline or friends or anything. We just kept going. And along the way we found someone who could help us start a ranger program. And then we found Dax Dasilva who helped us fund the beginning of Jungle Keepers. And then people like Mohsen and Stefan who were there making sure that this thing actually took flight off the ground.

(03:15:28)
And then right around the time that we were wondering what was going to happen and if we’re all going to have to quit and get real jobs and if we could actually save the rainforest from the destruction that was coming, Lex Fridman sends me a DM and honestly changed the entire narrative because up until then we had been playing in the minor leagues pretending, trying real, real hard and the listeners of your show in the moments after you published your episode with our conversation began showing up in droves and supporting Jungle Keepers putting in five, ten, a hundred, a thousand, we started getting these donations and the incredible team that I work with, we all went into hyperdrive, everybody, everybody started going nuts.

(03:16:17)
We all started spending 16-hour days working to try and deal with the tidal wave that Lex sent towards us just because so many people knew that we were doing this, that it was an indigenous led fight to protect this incredibly ancient virgin rainforest before it was cut and people resonated with that. And so we got this huge swell of support and this year we’ve protected thousands and thousands of more acres of rainforest because of that swell of support.
Lex Fridman
(03:16:47)
So current 50,000 acres, what’s the goal, what’s the approach to saving this rainforest?
Paul Rosolie
(03:16:53)
Since we printed this, it’s gone up to 66,000 acres. And as you know, in each of those little acres are millions and millions of animal heartbeats and societies of animals. And the goal here is that we’re between Manu National Park, Alto Purús National Park, the Tambopata Reserve, we’re in a region that’s known as the biodiversity capital of Peru, one of the most bio-diverse parts of the Western Amazon. And we’re fighting along the edge of the Trans-Amazon Highway.

(03:17:29)
And so it’s just a small group of local people and some international experts who have come together and used these incredibly out of side of the box strategies to sort of crowd fund conservation to go, “Look, we know that this incredible life is here. We have the scientific evidence, we have the national park system. If we can protect this before they cut it down, we could do something of global significance. All these Jaguars, all these monkeys, all these undescribed medicines, the uncontacted tribes that we share this forest with could all be protected.” And people have stepped up and begun to make that happen. And there’s people from all over the world and it’s incredible.
Lex Fridman
(03:18:10)
But what’s the approach? So trying to, with donations, to buy out more and more of the land and then protect it?
Paul Rosolie
(03:18:18)
So the approaches that currently the government favors extractors. So if you’re a gold miner or an illegal logger or you just want to cut down and burn a bunch of rainforests and set up a cacao farm, the government’s fine with that. It doesn’t matter. You’re not really breaking the law if you’re destroying nature.
Lex Fridman
(03:18:36)
So as long as you’re producing something from the land, they don’t see it as a loss, that nature was destroyed permanently?
Paul Rosolie
(03:18:43)
Yeah, it’s just wilderness. It’s sort of just beyond the scope of, or the local people that technically own the land out here, the local indigenous people, for instance, we fought this year to help the community of Puerto Nuevo, who’s been fighting for 20 years to have government recognized land. These are indigenous people in the Amazon, fighting to protect their own land. And you know what it was that was holding them back? They didn’t understand how the system of legal documents worked to certify that titled land. They didn’t really have the funding to go from their very, very remote community into the offices and so Jungle Keepers helped them with that. And so really all we’re doing is helping local people protect the forest, that is their world. That’s it.
Lex Fridman
(03:19:30)
If people donate, how will that help?
Paul Rosolie
(03:19:35)
If people donate to Jungle Keepers, what you’re doing is you’re helping someone like JJ, who’s an indigenous naturalist who has the vision, who has seen forest be destroyed, he’s trying to protect it before it’s too late. You’re saving mahogany trees, ironwood trees, kapok trees, skyscrapers of life, just monkeys, birds, reptiles, amphibians, birds, mammals, this entire avatar on earth, world of rainforest that produces a fifth of the oxygen we breathe and the water we drink, this incredible thing. As far as I know, it’s the most direct way to protect that.

(03:20:12)
And so the fact that we have large funders who give us a hundred thousand dollars to protect this huge swath of land and that goes through things like this and through Instagram, it goes directly to the local conservationists who work with the loggers to protect that land before it’s cut. But one of the most impactful things that has happened this year in the wake of our last conversation was that I got an email from a mother and she said, “I’m a single mom and I work a few jobs and I can’t afford to give you a ton of money, but me and my kids look at your Instagram often after dinner, and they really want to protect the heartbeats. They really want to protect the animals and the rainforest. And so we give $5 a month to Jungle Keepers.” And it was, to me that was so impactful because I used to be that little kid worried about the animals. I saw how a few million raindrops can create a flood.
Lex Fridman
(03:21:07)
Yeah. I ask that people donate to Jungle Keepers. You guys are legit. That money is going to go a long way, junglekeeper.org. If you somehow were able to raise very large, so the raindrops would make a waterfall, a very large amount of money, I don’t know what that number is, maybe $10 million, $20 million, $30 million, what are the different milestones along the way that could really help you on the journey of saving the rainforest?
Paul Rosolie
(03:21:48)
If we did, if let’s just say some company organization or if enough people donated it, let’s just say we got that $30 million. That money would go directly into stopping logging roads, into creating a corridor, a biological corridor that connects the uncontacted indigenous reserves with other tribal lands, with Manu National Park, with the Tambopata, which establishes essentially the largest protected area in the Amazon rainforest. And what makes this groundbreaking is that we’re not doing this in the traditional way. We’re doing this, take it to the people.

(03:22:22)
And that’s what’s been so exciting is that when he started this, when JJ started this 30 years ago, he had no idea. His father wanted him to be a logger. He didn’t have shoes until he was 13 years old. He grew up bathing in the river. He had no idea that a bunch of crazy foreigner scientists were going to show up and some guy in a James Bond suit was going to come down here with microphones. And that all of a sudden the world would know that he was on this quest to protect this incredible ecosystem. And all those little aliens.
Lex Fridman
(03:22:53)
Well, that’s all the important thing to remember, that the people that are cutting down the forest, the loggers are also human beings. They’ve families, they’re basically trying to survive and they’re desperate and they’re doing the thing that will bring them money. And so they’re just human beings at the core of it. If they have other options, they will probably choose to give their life to saving the community, to first and foremost providing for their family, and after that, saving the community, helping the community flourish. And I think probably a lot of them love the rainforest. They grew up in the rainforest.
Paul Rosolie
(03:23:34)
Yeah. I mean, look at Pico.
Lex Fridman
(03:23:36)
Yeah.
Paul Rosolie
(03:23:36)
Pico used to be a logger, full-time logger, long-time logger. Now he loves conservation. He’s like, [foreign language 03:23:46].
Lex Fridman
(03:23:46)
Yeah, it’s all about just providing people options. There’s some dark stuff on the goldmine stuff you’ve talked about. You showed me parts of the rainforest where the goldmines are, and they’re just kind of erasing the rainforest.
Paul Rosolie
(03:24:02)
Yeah.
Lex Fridman
(03:24:03)
So at the edges, that’s when the mining happens and it’s this ugly process of they’re just destroying the jungle just for the surface layer of the sand or whatever that they processed to collect just little bits of gold. And there’s also very dark things that happen along the way as the communities around the goldmines are created. So that the entirety of the moral system that emerges from that, that has things like prostitution where one third of the women that are drawn into that sex traffic and prostitution are minors under 17 years old, 13 to 17-year-old. There’s just a lot of really, really dark stuff.
Paul Rosolie
(03:24:52)
I think that we have a rare chance to do something against that darkness. I think that this is an example of local people who have taken action, done good work, been good to the people that have visited, harnessed a certain amount of international momentum, and now we’re on the cusp of doing something historic. And so for the children in the communities along this river, it won’t be being a prostitute in a gold mine. It’ll be becoming a trained ranger.

(03:25:35)
Like last month, our ranger coordinator and one of our female rangers went to Africa for a ranger conference. And it’s like we’re beginning to, this is someone from a little tiny village with thatched huts upriver, she went to Africa to talk about being a professional conservation ranger. And it’s like that’s changing lives. And her daughters then, she’s married to Ignacio, the guy, their kids are going to grow up seeing their parents walking around with the emblem on and go, “Oh, I want to.” And then people like Pico and Pedro and all these guys that work here are going to go, “Well, we have to protect this forest”, and then they start getting fascinated about the snakes. And then they start caring about the turtle eggs. And then all of a sudden they have a way of life and nobody needs to go steal anybody’s kids to be a prostitute in a gold mine. That’s horrible. And so it’s really a win-win for the animals, for the rangers, for the rainforest, for people, it’s biocentric conservation. It’s just making everything better.
Lex Fridman
(03:26:36)
Yeah. I’ve read in an article that said, “An estimated 1200 girls between ages of 12 and 17 are forcibly drafted into child prostitution around the communities in the gold mines, at least one-third of the prostitutes in the camp are underage. The girls had ended up in the camp after receiving a tip that there were restaurants looking for waitresses and willing to pay top dollar. They jumped on a bus together and came down to the rainforest. What they found was not what they were expecting. The mining camp restaurants served food for only a few hours a day. The rest of the time, it was the girls themselves who were on the menu. Literally at the end of the road, and without the money to return home, the girls would soon become trapped in prostitution.”
Paul Rosolie
(03:27:24)
It’s interesting to me that the most devastating destruction of nature, the complete erasure of the rainforest burned to the ground, sucked through a hose, spit out into a disgusting mercury puddle, like the complete annihilation of life on earth, goes hand in hand with the complete annihilation of a young life. It’s like it’s all based around the same thing. It’s the light versus the dark, it’s the destruction in the chaos versus a move towards order and hope. And it is incredibly dark and this region is heavy with it.

Snake makes appearance

Lex Fridman
(03:28:10)
Well, I’m glad you’re fighting for the light. Is there a milestone in the near future that you’re working towards, like financially in terms of donations?
Paul Rosolie
(03:28:22)
There is. In the next year and a half, as you saw in your time here, there’s roads working around the Jungle Keepers concessions. All the work that the local people are doing to protect this land is trying to be dismantled by international corporations that are subcontracting logging companies here. And really what we need is $30 million in the next two years to protect the whole thing. You’ve seen the ancient mahogany trees, you’ve seen the families of monkeys, you’ve seen the caiman in the river. All of this is standing in the pathway of destruction. That road, they’re going to come down that road, and men with chainsaws are going to dismantle a forest that has been growing since the beginning. This is so magical. Do you see the snake over there?
Lex Fridman
(03:29:10)
Yeah.
Paul Rosolie
(03:29:11)
Do you?
Lex Fridman
(03:29:12)
There’s a snake.
Paul Rosolie
(03:29:13)
Okay. I’m just going to, don’t move. I don’t want you to move. I’m going to just, this is one of the most beautiful snakes in the Amazon rainforest. This is the blunt-headed tree snake, my favorite snakes. I’ve been hoping that you would get to see this snake. I have been praying.
Lex Fridman
(03:29:29)
Oh, boy.
Paul Rosolie
(03:29:30)
Okay. Okay. Let’s just go right back into this. Okay. Look at this little beauty creation. Let’s keep you away from the fire. Look at this little blunt-headed tree snake.
Lex Fridman
(03:29:47)
Wow.
Paul Rosolie
(03:29:49)
Such an incredible.
Lex Fridman
(03:29:50)
So tell me about the snake.
Paul Rosolie
(03:29:52)
Harmless little snake. If you put your hand out, he’ll probably just crawl onto your hand. Just be real careful with the fire. So look, I’m just going to put them like this…
Paul Rosolie
(03:30:00)
Put him like this. We’re going to… Yeah, let’s just snake safety. So he’s a tree snake. Yep. Nice and slow. Nice and slow. Nice and slow. So you nice and slow. Just really slow. Just be the tree. Be the tree that he climbs on. And this is again, this is a snake that’s so thin and so small.

(03:30:25)
There you go. There you go. Nice and slow. Just be the tree. Let him crawl around. So he is going to try and do all this stuff. Let me see if I can just calm him down for a second. Let me just see. He’s a very active little snake.

(03:30:38)
So see like the snake the other night. Just look at this. I can see the light through his body. To me, this is an alien. This is strange little life form. His eyes are two thirds of his head. I’m not joking. You look at their skull. He’s so tiny. He’s so tiny.
Lex Fridman
(03:31:02)
For people listening, there’s a snake in Paul’s hands right now is very… It’s long, of course, but very skinny. Very skinny.
Paul Rosolie
(03:31:11)
Very, very light. And also for everyone listening, the odds of that as we’re sitting here, doing this podcast, that a snake would just be crawling by in the jungle, might sound like something that would happen. But the density of snakes in the Amazon rainforest makes this a very unique experience.
Lex Fridman
(03:31:34)
Can you tell me a little bit about the coloration scheme? A little bit brown?
Paul Rosolie
(03:31:39)
Yeah. Just to describe this as we were talking here, it’s just a banded white and brown snake, with this tiny little head about the size of my pinky nail. Two thirds of this snake’s head is made up of its gigantic eyes.

(03:31:57)
It’s got a small mouth, and it’s about a third as thick as a pencil. It’s basically a moving shoestring. It’s incredibly, incredibly thin. The only thing I am thinking, Lex, is that if we have Dan come and just do some shots of…
Lex Fridman
(03:32:17)
Yeah, that’s true.
Paul Rosolie
(03:32:19)
Dan.
Lex Fridman
(03:32:22)
So what are we looking at here?
Paul Rosolie
(03:32:25)
The snake that was crawling behind us in the jungle that we were talking about jungle keepers and what we could do, and the snake just showed up at that moment. And this is a very active little snake who’s out for a hunt tonight and wants to find something to eat.

(03:32:41)
So this is a blunt-headed tree snake, totally harmless, little… Literally a moving shoestring. Super beautiful little animal. When you talk about aliens, to me, this is an alien. What are you thinking? What are you doing right now? What do you think about the fact that you are being handled by these giant humans?
Lex Fridman
(03:33:05)
And as you were saying, it reaches up to the leaves, you get closer.
Paul Rosolie
(03:33:08)
Yeah. The snake just naturally knows to go look. You just put them anywhere near leaves and he is like, I got this. He just wants to go right up into that tree. I just want you to try holding them and real gentle, just be the tree.

(03:33:22)
And just do the same thing you learned last night, just nice and gentle. Yep. And see, he’s holding onto my finger right now. He’s just going up. There you go. Perfect. Nice and easy. He’s a little erratic. He’s a little goofy.
Lex Fridman
(03:33:41)
Maybe he’s camera shy. Maybe a fan of the podcast. And gigantic eyes relative to his body size. Oh-
Paul Rosolie
(03:33:56)
Jeez.
Lex Fridman
(03:33:57)
… hello, moth. Traffic, traffic in the jungle.
Paul Rosolie
(03:34:01)
And then for everyone listening as we’re handling the snake that we found that was crawling by us, literally by our shoulders as we’re talking, a bat flies through, no joke, eight inches from Lex’s ear. Just zips past his head as he’s holding a snake while we’re sitting here in the jungle is just… We’re just in it now. Now, he’s going to try and back up.
Lex Fridman
(03:34:26)
And how do you…
Paul Rosolie
(03:34:27)
Yeah, why don’t you… Let’s encourage him to come back this way.
Lex Fridman
(03:34:31)
He’s weaved this way.
Paul Rosolie
(03:34:33)
He’s okay. He’s just trying to back up. Yeah, right there. Release.
Lex Fridman
(03:34:36)
Oh.
Paul Rosolie
(03:34:36)
Release. Okay. This is what I’m going to do. We’re going to say thank you, Mr. Snake.
Lex Fridman
(03:34:42)
Thank you, Mr. Snake.
Paul Rosolie
(03:34:43)
Thank you, Mr. Snake. Go back up into the tree. Here we go. There you go. There you go. There you go. And then we can resume normal podcasting now, because-
Lex Fridman
(03:34:56)
We really are in the jungle right now.
Paul Rosolie
(03:34:57)
We really are in the jungle. That’s one of my favorite snakes. That’s one of my favorite little aliens on this planet. Look at that.
Lex Fridman
(03:35:09)
And it’s going on some long journey. It’s going to-
Paul Rosolie
(03:35:14)
Up into the canopy.
Lex Fridman
(03:35:15)
… carry the rest of the night. So that little snake is one of the millions of life forms heartbeats that you’re trying to protect.
Paul Rosolie
(03:35:27)
Exactly. To me, after almost 20 years down here, the people here have become my friends, the caiman on the river, the monkeys. When I fall asleep at night, I think about all the different forests that when they bulldoze this forest, when they chop down these trees, that they vanish, that we take away their world.

(03:35:54)
And in that very evolutionary historical sense of remembering the primordial soup, it’s like this little creature is surviving out here somehow. And we have the chance to save it.

(03:36:08)
And even if you don’t care about the little creature on the pale blue dot, each of these little creatures contributes to this massive orchestral hole that creates climactic stability on this planet. And the Amazon is one of the most important parts of that. And each of these little guys is playing a role in there.

Uncontacted tribes

Lex Fridman
(03:36:26)
So one of the other fascinating life forms is other humans, but living a very different kind of life. So uncontacted tribes, what do you find most fascinating about them?
Paul Rosolie
(03:36:38)
What I find most fascinating about the uncontacted tribes is that while me and you are sitting here with microphones and a light, somewhere out there, in that darkness, in that direction, not so far away as the crow flies, there are people sitting around a fire in the dark.

(03:36:57)
Probably with little more than a few leaves over their heads, who don’t even have the use of stone tools, who only have metal objects that they’ve stolen from nearby communities. They’re living such primitive, isolated nomadic lives in the modern world.

(03:37:21)
And they’re still living naked out in the jungle. It’s truly incredible. It’s truly remarkable. And I think that it’s because they can’t advocate for themselves. They can’t protect themselves.

(03:37:33)
It’s sort of like, well, we can let them get shot up by loggers and let their land get bulldozed while they hide. They have no idea that their world is being destroyed. But they’re the scariest and most fascinating thing out there right now in the jungle.
Lex Fridman
(03:37:51)
Because you’ve spoken about them being dangerous, what do you think their relationship with violence is? Why is violence part of their approach to the external world?
Paul Rosolie
(03:38:02)
So from the best I understand it that at the turn of the century, industrial revolution, we had sudden immense need for rubber, for hoses, and gaskets, and wires, and tires and the war machine.

(03:38:18)
And the only way to get rubber was to come down to the Amazon rainforest and get the local people who knew the jungle to go out into the jungle and cut rubber trees and collect the latex. And Henry Ford tried doing Fordlandia, tried having rubber plantations, but leaf blight killed it. And so you had this period of horrendous extraction in the Amazon where the rubber barons were coming down and just raping and pillaging the tribes and making them go out to tap these trees.

(03:38:48)
And the uncontacted tribes said, no. They had their six-foot-long longbows, seven-foot-long arrows with giant bamboo tips. And they moved further back into the forest. And they said, we will not be conquered. And since that time, they’ve been out there.

(03:39:05)
And it’s confusing, because in a way, they’re still running scared a century later. And their grandparents would’ve told them, the outside world, everyone you see in the outside world is trying to kill you. So kill them first. So can you blame them for being violent? No.

(03:39:21)
Is this river still wild? Because loggers were scared to go here, for a long time for almost a century late? That’s why this forest is still here? Yes. And so is it a human rights issue that we protect the last people on earth that have no government, no affiliation, no language that we can explain?

(03:39:43)
We don’t know what their medicinal plant knowledge is. We don’t know their creation myths. We know nothing about them. And they’re just out there right now with arrows and arrows living in the dark, surviving in the jungle, naked without even spoons. Forget about the wheel, forget about iPhones. They got nothing. And they’re making it work.
Lex Fridman
(03:40:01)
We don’t know their creation myths. So they have a very primitive existence. Do you think their values… First of all, do you think their nature is similar to ours? And how do their values differ from ours?
Paul Rosolie
(03:40:21)
This is complicated because the anthropologist in me wants to say that they have a historical reason for the violent life that they have. They experienced incredible generational trauma some time ago.

(03:40:40)
And because they’ve been living isolated in the jungle, that has permeated to become their culture, they’ve become a culture of violence. But yet, the contacted modern indigenous communities that we work with, that are my friends that work here…

(03:40:56)
Just the other day, we were speaking to one of them who was pulling spikes out of your hand while he was explaining that he tried to help them, the brothers, Los Hermanos, he tried to help them. He tried to give them a gift. And what did they do? They shot him in the head.
Lex Fridman
(03:41:13)
Yeah. He said, there are brothers. And he tried to give them bananas.
Paul Rosolie
(03:41:20)
Plantains.
Lex Fridman
(03:41:21)
Plantains, boat full of plantains. And they shot at him.
Paul Rosolie
(03:41:24)
They shot three arrows at him, and one of them actually hit him in the skull and put in the hospital, and he got helicopter evacuated from his community. And so he’s brave for surviving, but he’s a lucky survivor.

(03:41:38)
They are incredibly accurate with those bamboo tipped arrows. And those arrows are seven feet long. So when you get hit by one, they come at a velocity that can rip through you. And the range on a shotgun is way shorter than the range on a longbow.

(03:41:57)
You’re talking about a couple of hundred meters on a longbow. And they’re deadly accurate. They can take spider monkeys out of a tree. And so there’s stories of loggers, and I’ve seen the photos of the bodies of loggers who attacked one of the tribes.

(03:42:14)
And the tribes hadn’t done anything. But these loggers came around a bend. They started shooting shotguns at the tribe, and the tribe scattered into the forest. And as the loggers boat went around a bend, they just started flying arrows.

(03:42:25)
Took out the boat driver, boat skidded to the side, and then everybody was standing in the river and you can’t run. And the tribe just descended on them and just porcupined them full of arrows.
Lex Fridman
(03:42:35)
Shotgun versus bow. There’s a shotgun shell here, by the way, from the loggers.
Paul Rosolie
(03:42:43)
Yeah, we picked that up yesterday. Was that yesterday?
Lex Fridman
(03:42:45)
That was… I don’t know.
Paul Rosolie
(03:42:47)
I don’t know.
Lex Fridman
(03:42:48)
One of the things that happens here is time loses meaning in some kind of deep way that it does when you’re in a big city, in the United States, for example, and there’s schedules and meetings and all this kind of stuff. It transforms the meaning, your experience of time, your interaction with time, the role of time, all of this. I’ve forgotten time and I’ve forgotten the existence of the outside world.
Paul Rosolie
(03:43:20)
And how does that feel?
Lex Fridman
(03:43:26)
It feels more honest. It also puts in perspective like all the busyness, all the… It kind of takes the ant out of the ant colony and says, hey, you’re just an ant. This is just an ant colony. And there’s a big world out there.

(03:43:47)
It’s a chance to be grateful, to celebrate this earth of ours and the things that make it worth living on, including the simple things that make the individual life worth living, which is water, and then food and the rest is just details.

(03:44:04)
Of course, the friendships and social interaction. That’s a really big one actually. That one, I’m taking for granted because I didn’t get a chance yet to really spend time alone. And when I came here, I’ve gotten a chance to hang out with you.

(03:44:19)
And there’s a kind of camaraderie, there’s a friendship there that if that’s broken, that’s a tough one too. You spent quite a lot of time alone in the jungle. Ever get a alone out here?
Paul Rosolie
(03:44:34)
Yeah. Yeah. I mean, the first 15 years we were doing this, there would be times that JJ would be busy in town with his family. And for sheer love of the rainforest, I would have to come alone out here.

(03:44:49)
And we didn’t have running water. I didn’t have running water. I didn’t have lights. All I had was a couple of candles in the darkness and a tent. And I was 20-something years old, living in the Amazon by myself.

(03:44:59)
Your boat sunk. And yeah, it’s incredibly lonely. I had to learn through experience because I thought there’s a period, I think when you’re young… As a young man, I had this thing. I wanted to prove that I could be like the explorers.

(03:45:15)
I wanted to prove that I could handle the elements, that I could go out alone, that I could have these deep connective moments with the jungle. And it’s like, I did that and that’s great. And you know what? The kid from Into the Wild learned right before he died in that bus? That if you don’t have somebody to share it with, it doesn’t matter.
Lex Fridman
(03:45:40)
But some kind of even just deep human level, even if you have somebody to share it with… You ever just get alone out here. Just this sense of existential dread of what… The jungle has a way of not caring about any individual organism because it just kind of churns. It’s like it makes you realize that life is finite quite intensely.
Paul Rosolie
(03:46:23)
For me, it’s comforting being out here, because I find the rat race, the national narrative, the need to make money, to worry about war, to be outraged about the newest thing that politician said and what that actor did.

(03:46:39)
And there’s always just this unending media storm. And everyone’s worried and everyone’s trying to optimize their sunlight exposure and find the solution and buy the right new thing.

(03:46:53)
And to me coming out here, first of all, I mean something out here because I can help someone. I can help people. I can help these animals. And so I find my meaning out here. But also, there’s losing the madness over the mountains.

(03:47:11)
It’s nature has always, and for many people, been where things make sense. And to me, I think I’m a simple analog type of person. That it makes sense that when it rains, you get in the river to stay warm and you wait for the dawn and you see a little tree snake and it makes more sense.

(03:47:33)
And I think that the overwhelming teaming complexity that is inside the ant mound of society can be dizzying for some people. And I think that maybe it’s the dyslexia, maybe it’s just that I love nature, but now when I land in JFK, I feel like a frightened animal.

(03:47:58)
As if you released some animal that had never seen it onto a Times Square, and you could just imagine this dog with its ears back, running away from taxis and just cowering from the noise.

(03:48:10)
And it’s just hustle and bustle and people are brutal, and how much you want it for? Get in the car, screaming over the intercom and just everything, sensory changes and let’s get home. Okay, let’s go. You got a meeting, you got to get to the next place. You got to give a talk. You got to say…

(03:48:27)
Out here, when we finish up here, what are we going to do? We’re going to eat some food, maybe go catch a crocodile. Go walk around the jungle a night. It’s slower. It makes sense. And again, there’s that deep meaning of that here, we can be the guardians for good.

(03:48:44)
We can hold that candle up and know for sure that we’re protecting the trees from being destroyed. And it’s that simple thing of just, this is good. There you go. It’s simple.

(03:48:57)
In society, I feel like everyone’s always losing their minds and forgetting the most basic of fundamental truths. And out here, you can’t really argue with them. When we needed water, it was like, shit, if we don’t get water, we’re fucked.

(03:49:11)
And that’s, to me, that’s where the camaraderie comes from. Because no matter what, we could go to the most fancy-ass restaurant through the biggest, most famous people in the world. It doesn’t matter.

(03:49:23)
We still remember what it was like standing around in the jungle going, fuck, we’re scared and we don’t have water. We got reduced to the simplest form of humans. And that’s something. And we survived. And that’s cool.
Lex Fridman
(03:49:36)
And you take all those people in their nice dresses and their fancy restaurants, you put in those conditions, they’re all going to want the same thing, that’s water.
Paul Rosolie
(03:49:45)
Yes.
Lex Fridman
(03:49:46)
It’s all the same thing.
Paul Rosolie
(03:49:47)
All the beautiful people.

Mortality

Lex Fridman
(03:49:49)
How has your view of your own mortality evolved over your interaction with the jungle? How often do you think about your death?
Paul Rosolie
(03:49:58)
Well, I don’t anymore because I’ve come to believe that there is a benevolent God, spirit, creator taking care of us. And I don’t think about my own death. We have a little bit of time here and we clearly know nothing about what we’re doing here.

(03:50:19)
And it seems like we just have to do the best we can. And so it doesn’t scare me. I’ve come close to dying a lot of times and I just don’t think… You don’t want to have a bad death. First of all, you don’t want to be a statistic.

(03:50:37)
You don’t want to find out. You don’t want to try out a… Be the first to try out a new product and oops, it crushed you. That’s a terrible way to go, or the people that used to… In the Gold Rush, they were using mercury and they were all getting… Or lead. It was lead poisoning.

(03:50:52)
And it’s like, oh, a few million people died that way. And it’s like, you want a good death. You want to staring down the eyes of a tiger or hanging off the edge of a cliff, saving somebody’s… Something, something worthy. Warrior’s death.
Lex Fridman
(03:51:07)
Riding a 16-foot black caiman just-
Paul Rosolie
(03:51:11)
Boots on, screaming. Yeah. That would be fun. That’d be a good one.

Steve Irwin

Lex Fridman
(03:51:18)
A lot of people say that you carry the spirit of Steve Irwin in your heart, in the way you carry yourself in this world. I mean, that guy was full of joy.
Paul Rosolie
(03:51:31)
If I have a percentage of Steve Irwin, I would be honored. But that guy… I think there’s only one Steve. I think that he occupied his own strata of just shining light. Everything was positive, enthusiasm, love and happiness, and save the animals and do better and let’s make it fun.

(03:51:52)
And that was so infectious that it sort of transcended his TV show. It transcended his conservation work. It transcended business and entrepreneurship. It just through sheer magnetism and enthusiasm, I mean, everyone knew who Steve was. Everyone loved Steve.

(03:52:12)
We still all love Steve. And so it’s just amazing what one spirit can do. So if anybody makes that comparison, I get really uncomfortable because to me, Steve Irwin is just the G.O.A.T. And so I’m okay with that.
Lex Fridman
(03:52:31)
Well, I at least agree with that comparison. Having spent time with you, there’s just an eternal flame of joy and adventure too. Just pulling you. A dark question, but do you think you might meet the same end, giving your life in some way to something you love?
Paul Rosolie
(03:52:53)
That is a dark question, but I think most likely, I’ll get whacked by loggers. I think that loggers or gold miners will take me out. I don’t picture myself going from animals, but…
Lex Fridman
(03:53:06)
That would be heartbreaking too.
Paul Rosolie
(03:53:08)
Yeah, it would. But yeah, at the same time though, the Kurt Cobain value of that, if I died doing what I love to protect the river, it’d be worth so much more. A lot… We’d get the 30 million if I died tomorrow for sure.

(03:53:18)
So we’ve already talked about this with my friends. I’m like, if I get whacked, do the foundation, make the documentary, protect the river, protect the heartbeats. Call it The Heartbeats, Jungle Keepers, The Heartbeats. Be ready for it because these things do happen.

(03:53:33)
People get pissed if you get in their way. And as many happy people whose lives were changing, there’s also going to be some jealous, shitty, upset people who are mad that they can’t make prostitutes out of young girls and keep destroying the planet. And so they might just erase you. Me.
Lex Fridman
(03:53:51)
Well, I hope you… Like a Clint Eastwood character, just impossible to kill. I like how you squinted your eyes. On cue. Who do you think will play you in a movie?
Paul Rosolie
(03:54:09)
God, somebody with the right nose. Somebody who can live up to this [inaudible 03:54:15]. Yeah.
Lex Fridman
(03:54:15)
All right. Italian?
Paul Rosolie
(03:54:16)
Yeah.
Lex Fridman
(03:54:18)
It’s funny. Do you think of yourself as Italian or human, American?
Paul Rosolie
(03:54:23)
That’s the thing. My life has been the United Nations of whatever. To me, that’s the other thing. You go back to society and everyone’s obsessed with race. To me, I’m like, look, leopards have black babies and yellow babies, one mother. They’re all leopards.

(03:54:44)
And I’m so color-blind and race blind and everything else. I’ve lived in India. My friends are Peruvian, my family, we got Italian, Filipino, just everything. And so I’m so immersed in it that I find it very jarring and disconcerting, how much time we spend talking about different religions and just the differences in humans.

(03:55:08)
I’m like, dude, we’re talking about whether or not our ecosystems are going to be able to provide for us. We’re talking about nuclear. What we’re talking about this some pretty serious shit on the table.

(03:55:19)
And we’re over here arguing over shades of gray of… It’s so trivial and that drives me crazy. And as does the outrage where it’s like, no, you have to care. I’ve been criticized for not caring enough about that. And I’m like, who cares what the hell I am? Who gives a shit what the hell? I’m a human. We’re all human.

(03:55:40)
It’s not that easy. But it’s kind of fun sometimes. And we’re at a better time. And when you think about the Middle Ages, even if you were a king, you still didn’t have it that good. You didn’t have pineapples in the winter. You didn’t even know what the fuck a pineapple was. We have pineapples whenever we want them. We can fly on planes to other countries.
Lex Fridman
(03:56:02)
By the way, let’s clarify, we, you mean a large fraction of the world? I mentioned to you, one of the biggest things I’ve noticed when I immigrated from the Soviet Union to the United States is how plentiful bananas and pineapples were. The fruit section, the produce section of the…

(03:56:23)
Didn’t have to wait in line at the grocery store, could just eat as many bananas and pineapples, and cherries, and watermelon as you want. That’s not everybody has that.
Paul Rosolie
(03:56:34)
No, that’s true. Not everybody has that, but…
Lex Fridman
(03:56:37)
But everybody could be that king. No.
Paul Rosolie
(03:56:41)
But a growing number of people today-
Lex Fridman
(03:56:43)
Can feast on pineapple.
Paul Rosolie
(03:56:45)
… can feast on pineapple and have toasters and new distracting apps all the way until the grave.
Lex Fridman
(03:56:51)
That’s the thing that I also noticed is I don’t think so much about politics when I’m here, or-
Paul Rosolie
(03:56:57)
We haven’t even talked about it. We haven’t.
Lex Fridman
(03:56:59)
Do you want to talk about the stupid differences between humans? Except to just laugh at the absurdity of it on occasion.
Paul Rosolie
(03:57:08)
We’ve been too busy trying to survive glaciers and jungles and avalanches and all kinds of shit.
Lex Fridman
(03:57:14)
Do you think nature is brutal as Werner Herzog showed it? Or is it beautiful?
Paul Rosolie
(03:57:21)
I think the brutality of nature is the chaos, and I think that we are the only ones in it that are capable of organizing in the direction of order and light. So yes, there are going to be hyenas tearing each other apart. Yes, there’s going to be war-torn nations and poor starving children, but we as humans, have the power to work towards something more organized than that.
Lex Fridman
(03:57:54)
So there is a force within nature that’s always searching for order, for good.
Paul Rosolie
(03:58:01)
It’s kind of a unifying theory if you think about it. I mean, all of the chaos of history and the wars and the chaos of nature. Through technology and organization, there’s so many people, more people today than ever before, I think, who are so concerned, who realize that the incredible power, like what Jane Goodall says about how you can affect the people around you.

(03:58:22)
How you can do good in the world, how you can change the narrative of conservation from one of loss and darkness to one of innovation and light. We can do incredible things. We are the masters as humans.

(03:58:36)
And I think that we’re on the cusp of understanding the true potential of that. I just think that more than ever, people have harnessed this ability to do good in the world and be proud of it and just change the darkness into something else.

God

Lex Fridman
(03:58:57)
When you have lived here and taken in the ways of the Amazon jungle, how have your views of God… You mentioned, how have your views of God change? Who is God?
Paul Rosolie
(03:59:12)
I’ve come to believe that, again, back to that Christ wasn’t a Christian, Muhammad wasn’t a Muslim, and Buddha wasn’t a Buddhist. That the game game is love and compassion and the universe is chaotic and dangerous and nature is chaotic and dangerous. But if this is some sort of a biological video game that our reality, that the test is, can we be good? And we go through it every day.

(03:59:44)
Can you be good to your parent? Can you be good to your partner? Can you be good to your coworkers? It’s so difficult and we see how people can cheat and steal and hurt and destroy.

(03:59:57)
And the incredible impact that it has on the world, the returning exponential impact that one act of kindness, one act of good can do. And so I see nature as God. I see the religions as different cultural manifestations of the same truth, the same creative force. Maybe me and you have the same beliefs, and your aliens are my angels.
Lex Fridman
(04:00:34)
Well, thank you for being one of the humans trying to do good in this world, and thank you for bringing me along for some adventure and I believe more adventure awaits.
Paul Rosolie
(04:00:50)
Thank you for being enough of a psychopath to actually just sign on to come into the Amazon rainforest in a suit. And a year ago when you told me that you were going to do this, I truly didn’t believe you.

(04:01:05)
So for being a man of your word and for the incredible work you do to connect humans, and to create dialogue, and to do good in the world and for all the adventures that we’ve had, thank you so much.
Lex Fridman
(04:01:15)
Thank you, brother.
Paul Rosolie
(04:01:16)
Lex, thanks man.
Lex Fridman
(04:01:19)
Thanks for listening to this conversation with Paul Rosalie. To support this podcast, please check out our sponsors in the description. And now, let me leave you with some words from Joseph Campbell. The big question is whether you are going to be able to say a hearty yes to your adventure. Thank you for listening and hope to see you next time.

Transcript for Sean Carroll: General Relativity, Quantum Mechanics, Black Holes & Aliens | Lex Fridman Podcast #428

This is a transcript of Lex Fridman Podcast #428 with Sean Carroll.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
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Table of Contents

Here are the loose “chapters” in the conversation.
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Introduction

Sean Carroll
(00:00:00)
The whole point of relativity is to say there’s no such thing as right now when you’re far away. That is doubly true for what’s inside a black hole. You might think, “Well, the galaxy is very big.” It’s really not. It’s some tens of thousands of light years across and billions of years old. You don’t need to move at a high fraction of the speed of light to fill the galaxy.
Lex Fridman
(00:00:23)
The number of worlds is …
Sean Carroll
(00:00:26)
Very big.
Lex Fridman
(00:00:26)
… very, very, very big. Where do those worlds fit, where they go?
Sean Carroll
(00:00:34)
The short answer is the worlds don’t exist in space. Space exists separately in each world.
Lex Fridman
(00:00:48)
The following is a conversation with Sean Carroll. His third time in this podcast. He is a theoretical physicist at Johns Hopkins, host of the Mindscape Podcast that I personally love and highly recommend, and author of many books, including the most recent book series called The Biggest Ideas in the Universe.

(00:01:07)
The first book of which is titled Space, Time, and Motion. It’s on the topic of general relativity. The second coming out on May 14th, you should definitely pre-order it, it’s titled the Quanta and Fields. That one is on the topic of quantum mechanics.

(00:01:24)
Sean is a legit, active, theoretical physicist and at the same time is one of the greatest communicators of physics ever. I highly encourage you listen to his podcast, read his books, and pre-order the new book to support his work. This was, as always, a big honor and a pleasure for me. This is Lex Fridman Podcast. To support it, please check out our sponsors in the description. Now, dear friends here’s Sean Carroll.

General relativity


(00:01:55)
In book one of the series, The Biggest Ideas in the Universe called Space, Time, Motion, you take on classical mechanics, general relativity by taking on the main equation of general relativity and making it accessibly easy to understand. Maybe at the high level, what is general relativity? What’s a good way to start to try to explain it?
Sean Carroll
(00:02:18)
Probably the best way to start to try to explain it is special relativity, which came first, 1905. It was the culmination of many decades of people putting things together. But it was Einstein in 1905. In fact, it wasn’t even Einstein. I should give more credit to Minkowski in 1907. Einstein in 1905 figured out that you could get rid of the ether, the idea of a rest frame for the universe and all the equations of physics would make sense with the speed of light being a maximum.

(00:02:50)
But then it was Minkowski who used to be Einstein’s professor in 1907 who realized the most elegant way of thinking about this idea of Einstein’s was to blend space and time together into spacetime to really imagine that there is no hard and fast division of the four-dimensional world in which we live into space and time separately.

(00:03:11)
Einstein was at first dismissive of this. He thought it was just like, “Oh, the mathematicians or over-formalizing again.” But then he later realized that if spacetime is a thing, it can have properties and in particular it can have a geometry. It can be curved from place to place. That was what let him solve the problem of gravity.

(00:03:33)
He had previously been trying to fit in what we knew about gravity from Newtonian mechanics, the inverse square law of gravity, to his new relativistic theory. It didn’t work. The final leap was to say gravity is the curvature of spacetime, and that statement is basically general relativity.
Lex Fridman
(00:03:54)
The tension with Minkowski was he was a mathematician.
Sean Carroll
(00:03:56)
Yes.
Lex Fridman
(00:03:57)
It’s the tension between physics and mathematics. In fact, in your lecture about this equation, one of them, you say that Einstein is a better physicist than he gets credit for.
Sean Carroll
(00:04:09)
Yep. I know that’s hard. That’s a little bit of a joke there, right?
Lex Fridman
(00:04:14)
Yeah.
Sean Carroll
(00:04:15)
Because we all give Einstein a lot of credit. But then we also, partly based on fact, but partly to make ourselves feel better, tell ourselves a story about how later in life, Einstein couldn’t keep up. There were younger people doing quantum mechanics and quantum field theory and particle physics, and he was just unable to really philosophically get over his objections to that.

(00:04:37)
I think that that story about the latter part is completely wrong, almost 180 degrees wrong. I think that Einstein understood quantum mechanics as well as anyone, at least up through the 1930s. I think that his philosophical objections to it are correct. He should actually have been taken much more seriously about that.

(00:04:58)
What he did, what he achieved in trying to think these problems through is to really basically understand the idea of quantum entanglement, which is important these days when it comes to understanding quantum mechanics. Now, it’s true that in the ’40s and ’50s he placed his efforts in hopes for unifying electricity and magnetism with gravity. That didn’t really work out very well.

(00:05:23)
All of us try things that don’t work out. I don’t hold that against him. But in terms of IQ points, in terms of trying to be a clear-thinking physicist, he was really, really great.
Lex Fridman
(00:05:33)
What does greatness look like for a physicist? How difficult is it to take the leap from special relativity to general relativity? How difficult is it to imagine that, to consider spacetime together and to imagine that there’s a curvature to this whole thing?
Sean Carroll
(00:05:53)
Yeah. That’s a great question. I think that if you want to make the case for Einstein’s greatness, which is not hard to do, there’s two things you point at. One is in 1905, his famous miracle year, he writes three different papers on three wildly different subjects, all of which would make you famous just for writing that one paper.

(00:06:17)
Special relativity is one of them. Brownian motion is another one, which is just the little vibrations of tiny little dust specks in the air. But who cares about that? What matters is it proves the existence of atoms. He explains Brownian motion by imagining there are molecules in the air and deriving their properties. Brilliant.

(00:06:35)
Then he basically starts the world on the road to quantum mechanics with his paper on, which again, is given a boring label of the photoelectric effect. What it really was is he invented photons. He showed that light should be thought of as particles as well as waves. He did all three of those very different things in one year.

(00:06:55)
Okay. But the other thing that gets him genius status is, like you say, general relativity. This takes 10 years from 1905 to 1915. He wasn’t only doing general relativity. He was working on other things. He invented refrigerator. He did various interesting things. He wasn’t even the only one working on the problem.

(00:07:13)
There were other people who suggested relativistic theories of gravity. But he really applied himself to it. I think as your question suggests, the solution was not a matter of turning a crank. It was something fundamentally creative. In his own telling of the story, his greatest moment, his happiest moment was when he realized that if the way that we would modern … say it in modern terms, if you were in a rocket ship accelerating at 1G, at acceleration due to gravity, if the rocket ship were very quiet, you wouldn’t be able to know the difference between being in a rocket ship and being on the surface of the earth.

(00:07:55)
Gravity is not detectable or at least not distinguishable from acceleration. Number one, that’s a pretty clever thing to think. But number two, if you or I had had that thought, we would’ve gone, “Huh. We’re pretty clever.” He reasons from there to say, “Okay. If gravity is not detectable, then it can’t be like an ordinary force.”

(00:08:17)
The electromagnetic force is detectable. We can put charged particles around. Positively charged particles and negatively charged particles respond differently to an electric field or to a magnetic field. He realizes that what his thought experiment showed, or at least suggested, is that gravity isn’t like that. Everything responds in the same way to gravity. How could that be the case?

(00:08:39)
Then this other leap he makes is, “Oh, it’s because it’s the curvature of spacetime.” It’s a feature of spacetime. It’s not a force on top of it. The feature that it is, is curvature. Then finally he says, “Okay. Clearly, I’m going to need the mathematical tools necessary to describe curvature. I don’t know them, so I will learn them.” They didn’t have MOOCs or AI helpers back in those days. He had to sit down and read the math papers, and he taught himself differential geometry and invented general relativity.
Lex Fridman
(00:09:09)
What about the step of including time as just another dimension, combining space and time, is that a simple mathematical leap as Minkowski suggested?
Sean Carroll
(00:09:21)
It’s certainly not simple, actually. It’s a profound insight. That’s why I said I think we should give Minkowski more credit than we do. He’s the one who really put the finishing touches on special relativity. Again, many people had talked about how things change when you move close to the speed of light, what Maxwell’s equations of electromagnetism predict and so forth, what their symmetries are. People like Lorenz and Fitzgerald and Poincare, there’s a story that goes there.

(00:09:52)
In the usual telling Einstein puts the capstone on it. He’s the one who says, “All of this makes much more sense if there just is no ether. It is undetectable. We don’t know how fast. Everything is relative.” Thus, the name relativity. But he didn’t take the actual final step, which was to realize that the underlying structure that he had invented is best thought of as unifying space and time together.

(00:10:16)
I honestly don’t know what was going through Minkowski’s mind when he thought that. I’m not sure if he was so mathematically adept that it was just clear to him or he was really struggling it and he did trial and error for a while. I’m not sure.
Lex Fridman
(00:10:31)
Do you, for him or Einstein, visualize the four-dimensional space, try to play with the idea of time is just another dimension?
Sean Carroll
(00:10:38)
Oh, yeah. All the time. I mean, we, of course, make our lives easy by ignoring two of the dimensions of space. Instead of four-dimensional spacetime, we just draw pictures of one dimension of space, one dimension of time. The so-called spacetime diagram.

(00:10:54)
I mean, maybe this is lurking underneath your question. But even the best physicists will draw a vertical axis and a horizontal axis and will go space, time. But deep down that’s wrong, because you’re sort of preferring one direction of space and one direction of time. It’s really the whole two-dimensional thing that is spacetime.

(00:11:16)
The more legitimate thing to draw on that picture are rays of light, are light cones. From every point, there is a fixed direction at which the speed of light would represent. That is actually inherent in the structure. The division into space and time is something that’s easy for us human beings.
Lex Fridman
(00:11:36)
What is the difference between space and time from the perspective of general relativity?
Sean Carroll
(00:11:41)
It’s the difference between X and Y when you draw axes on a piece of paper.
Lex Fridman
(00:11:46)
There’s really no difference?
Sean Carroll
(00:11:47)
There is almost no difference. There’s one difference that is important, which is the following; If you have a curve in space, I’m going to draw it horizontally, because that’s usually what we do in spacetime diagrams, if you have a curve in space, you’ve heard the motto before that the shortest distance between two points is a straight line.

(00:12:06)
If you have a curve in time, which is by the way, literally all of our lives, we all evolve in time. You can start with one event in spacetime, and another event in spacetime. What Minkowski points out is that the time you measure along your trajectory in the universe is precisely analogous to the distance you travel on a curve through space.

(00:12:29)
By precisely, I mean it is also true that the actual distance you travel through depends on your path. You can go a straight line, shortest distance and curvy line would be longer. The time you measure in spacetime, the literal time that takes off on your clock also depends on your path, but it depends on it the other way.

(00:12:49)
That the longest time between two points is a straight line. If you zig back and forth in spacetime, you take less and less time to go from point A to point B.
Lex Fridman
(00:13:01)
How do we make sense of that, the difference between the observed reality and the objective reality are underneath it, or is objective reality a silly notion given general relativity?
Sean Carroll
(00:13:13)
I’m a huge believer in objective reality. I think that objective reality, objectivity …
Lex Fridman
(00:13:16)
You’re fan.
Sean Carroll
(00:13:17)
… is real. But I do think that people are a little overly casual about the relationship between what we observe and objective reality in the following sense. Of course, in order to explain the world, our starting point and our ending point is our observations, our experimental input, the phenomena we experience and see around us in the world.

(00:13:43)
But in between, there’s a theory, there’s a mathematical formalization of our ideas about what is going on. If a theory fits the data and is very simple and makes sense in its own terms, then we say that the theory is right. That means that we should attribute some reality to the entities that play an important role in that theory, at least provisionally until we can come up with a better theory down the road.

Black holes

Lex Fridman
(00:14:13)
I think a nice way to test the difference between objective reality and the observed reality is what happens at the edge of the horizon of a black hole. Technically, as you get closer to that horizon, time stands still?
Sean Carroll
(00:14:31)
Yes and no. It depends on exactly how careful we are being. Here is a bunch of things I think are correct. If you imagine there is a black hole, spacetime, the whole solution Einstein’s equation, and you treat you and me as what we call test particles. We don’t have any gravitational fields ourselves. We just move around in the gravitational field. That’s obviously an approximation. Okay. But let’s imagine that.

(00:14:59)
You stand outside the black hole and I fall in. As I’m falling in, I’m waving to you because I’m going into the black hole, you will see me move more and more slowly. Also, the light for me is redshifted. I kind of look embarrassed, because I’m falling into a black hole. There is a limit. There’s a last moment that light will be emitted from me, from your perspective forever. Okay.

(00:15:27)
Now you don’t literally see it because I’m emitting photons more and more slowly because from your point of view. It’s not like I’m equally bright. I basically fade from view in that picture. Okay. That’s one approximation. The other approximation is I do have a gravitational field of my own, and therefore as I approach the black hole, the black hole doesn’t just sit there and let me pass through. It moves out to eat me up because its net energy mass is going to be mine, plus its.

(00:16:01)
But roughly speaking, yes, I think so. I don’t like to go to the dramatic extremes because that’s where the approximations break down. But if you see something falling into a black hole, you see its clock ticking more and more slowly.
Lex Fridman
(00:16:12)
How do we know it fell in?
Sean Carroll
(00:16:13)
We don’t. I mean, how would we. Because it’s always possible that right at the last minute it had a change of heart and starts accelerating away. If you don’t see it passing, you don’t know. Let’s point out that as smart as Einstein was, he never figured out black holes, and he could have. It’s embarrassing. It took decades for people thinking about general relativity to understand that there are such things as black holes.

(00:16:39)
Because basically Einstein comes up with general relativity in 1915. Two years later, Schwarzschild, Karl Schwarzschild derives the solution to Einstein’s equation that represents a black hole, the Schwarzschild solution. No one recognized it for what it was until the ’50s, David Finkelstein and other people. That’s just one of these examples of physicists not being as clever as they should have been.
Lex Fridman
(00:17:04)
Well, that’s the singularity. That’s the edge of the theory. The limit. It’s understandable that it’s difficult to imagine the limit of things.
Sean Carroll
(00:17:14)
It is absolutely hard to imagine. A black hole is very different to many ways from what we’re used to. On the other hand, I mean the real reason, of course, is that between 1915 and 1955, there’s a bunch of other things that are really interesting going on in physics. All of particle physics and quantum field theory. Many of the greatest minds were focused on that.

(00:17:33)
But still, if the universe hands you a solution to general relativity in terms of curved spacetime and its mysterious certain features of it, I would put some effort in trying to figure it out.
Lex Fridman
(00:17:44)
How does a black hole work? Put yourself in the shoes of Einstein and take general relativity to its natural conclusion about these massive things.
Sean Carroll
(00:17:53)
It’s best to think of a black hole as not an object so much as a region of spacetime. Okay. It’s a region with the property, at least in classical general relativity, quantum mechanics makes everything harder. But let’s imagine we’re being classical for the moment. It’s a region of spacetime with the property that if you enter, you can’t leave. Literally the equivalent of escaping a black hole would be moving faster than the speed of light. They’re both precisely equally difficult. You would have to move faster than the speed of light to escape from the black hole.

(00:18:24)
Once you’re in, that’s fine. In principle, you don’t even notice when you cross the event horizon, as we call it. The event horizon is that point of no return, where once you’re inside, you can’t leave. But meanwhile, the spacetime is collapsing around you to ultimately a singularity in your future, which means that the gravitational forces are so strong, they tear your body apart and you will die in a finite amount of time.

(00:18:51)
The time it takes, if the black hole is about the mass of the sun to go from the event horizon to the singularity takes about 1 millionth of a second.

Hawking radiation

Lex Fridman
(00:19:03)
What happens to you if you fall into the black hole? If we think of an object as information, that information gets destroyed.
Sean Carroll
(00:19:11)
Well, you’ve raised a crucially difficult point. That’s why I keep needing to distinguish between black holes according to Einstein’s theory, General Relativity, which is book one of Spacetime and Geometry, which is perfectly classical. Then come the 1970s, we start asking about quantum mechanics and what happens in quantum mechanics.

(00:19:34)
According to classical general relativity, the information that makes up you when you fall into the black hole is lost to the outside world. It’s there, it’s inside the black hole, but we can’t get it anymore. In the 1970s, Stephen Hawking comes along and points out that black holes radiate. They give off photons and other particles to the universe around them. As they radiate, they lose mass, and eventually they evaporate, they disappear.

(00:20:03)
Once that happens, I can no longer say the information about you or a book that I threw in the black hole or whatever is still there, is hidden behind the black hole because the black hole has gone away. Either that information is destroyed, like you said, or it is somehow transferred to the radiation that is coming out to the Hawking radiation.

(00:20:23)
The large majority of people who think about this belief that the information is somehow transferred to the radiation and information is conserved. That is a feature both of general relativity by itself and of quantum mechanics by itself. When you put them together, that should still be a feature.

(00:20:40)
We don’t know that for sure. There are people who have doubted it, including Stephen Hawking for a long time. But that’s what most people think. What we’re trying to do now in a topic which has generated many, many hundreds of papers called the Black Hole Information Loss Puzzle is figure out how to get the information from you or the book into the radiation that is escaping the black hole.
Lex Fridman
(00:21:03)
Is there any way to observe Hawking radiation to a degree where you can start getting insight? Or is this all just in the space of theory right now?
Sean Carroll
(00:21:12)
Right now, we are nowhere close to observing Hawking radiation. Here’s the sad fact. The larger the black hole is, the lower its temperature is. A small black hole, like a microscopically small black hole might be very visible. It’s given off light. But something like the black hole, the center of our galaxy, 3 million times the mass of the sun or something like that, Sagittarius A star, that is so cold and low temperature that it’s radiation will never be observable.

(00:21:43)
Black holes are hard to make. We don’t have any nearby. The ones we have out there in the universe are very, very faint. There’s no immediate hope for detecting Hawking radiation.
Lex Fridman
(00:21:51)
Allegedly. We don’t have any nearby?
Sean Carroll
(00:21:53)
As far as we know, we don’t have any nearby.
Lex Fridman
(00:21:56)
Tiny ones be hard to detect somewhere at the edges of the solar system, maybe?
Sean Carroll
(00:22:00)
You don’t want them to be too tiny or they’re exploding. They’re very bright and then they’ll be visible. But there’s an absolutely regime where black holes are large enough not to be visible because the larger ones are fainter. Not giving off radiation, but small enough to not been detected through their gravitational effect. Yeah.
Lex Fridman
(00:22:17)
Psychologically, just emotionally, how do you feel about black holes? They scare you.
Sean Carroll
(00:22:21)
I love them. I love black holes. But the universe weirdly makes it hard to make a black hole, because you really need to squeeze an enormous amount of matter and energy into a very, very small region of space. We know how to make stellar black holes. A supermassive star can collapse to make a black hole.

(00:22:42)
We know we also have these supermassive black holes, the center of galaxies. We’re a little unclear where they came from. I mean, maybe stellar black holes that got together and combined. But that’s one of the exciting things about new data from the James Webb Space Telescope is that quite large black holes seem to exist relatively early in the history of the universe. It was already difficult to figure out where they came from. Now it’s an even tougher puzzle.

Aliens

Lex Fridman
(00:23:11)
These supermassive black holes are formed somewhere early on in the universe. I mean, that’s a feature, not a bug, that we don’t have too many of them. Otherwise, we wouldn’t have the time or the space to form the little pockets of complexity that we’ll call humans.
Sean Carroll
(00:23:28)
I think that’s fair. Yeah. It’s always interesting when something is difficult, but happens anyway. I mean, the probability of making a black hole could have been zero. It could have been one. But it’s this interesting number in between, which is fun.
Lex Fridman
(00:23:42)
Are there more intelligent alien civilization than there are supermassive black holes?
Sean Carroll
(00:23:46)
Yeah. I have no idea. But I think your intuition is right that it would’ve been easy for there to be lots of civilizations then we would’ve noticed them already and we haven’t. Absolutely the simplest explanation for why we haven’t is that they’re not there.
Lex Fridman
(00:24:04)
Yeah. I just think it’s so easy to make them though. There must be … I understand that’s the simplest explanation. But also …
Sean Carroll
(00:24:12)
How easy is it to make life or eukaryotic life or multicellular life?
Lex Fridman
(00:24:17)
It seems like life finds a way. Intelligent alien civilizations, sure, maybe there is somewhere along that chain a really, really hard leap. But once you start life, once you get the origin of life, it seems like life just finds a way everywhere in every condition. It just figures it out.
Sean Carroll
(00:24:37)
I mean, I get it. I get exactly what you’re thinking. I think is a perfectly reasonable attitude to have before you confront the data. I would not have expected earth to be special in any way. I would’ve expected there to be plenty of very noticeable extraterrestrial civilizations out there. But even if life finds a way, even if we buy everything you say, how long does it take for life to find a way? What if it typically takes 100 billion years, then we’d be alone.
Lex Fridman
(00:25:07)
It’s a time thing. To you, really most likely, there’s no alien civilizations out there. I can’t see it. I believe there’s a ton of them, and there’s another explanation why we can’t see them.
Sean Carroll
(00:25:19)
I don’t believe that very strongly. Look, I’m not going to place a lot of bets here. I’m both pretty up in the air about whether or not life itself is all over the place. It’s possible when we visit other worlds, other solar systems, there’s very tiny microscopic life ubiquitous, but none of it has reached some complex form.

(00:25:41)
It’s also possible there isn’t any. It’s also possible that there are intelligent civilizations that have better things to do than knock on our doors. I think we should be very humble about these things we know so little about.
Lex Fridman
(00:25:53)
It’s also possible there’s a great filter where there’s something fundamental about once the civilization develops complex enough technology, that technology is more statistically likely to destroy everybody versus to continue being creative.
Sean Carroll
(00:26:10)
That is absolutely possible. I’m actually putting less credence on that one just because you need to happen every single time. If even one, I mean, this goes back to John von Neumann pointed out that you don’t need to send the aliens around the galaxy. You can build self-reproducing probes and send them around the galaxy. You might think, “Well, the galaxy is very big.” It’s really not. It’s some tens of thousands of light years across and billions of years old. You don’t need to move at a high fraction of the speed of light to fill the galaxy.
Lex Fridman
(00:26:45)
If you were an intelligent alien civilization, the dictator of one, you would just send out a lot of probes, self-replicating probes …
Sean Carroll
(00:26:52)
100%.
Lex Fridman
(00:26:53)
… to spread out.
Sean Carroll
(00:26:54)
Yes. What you should do … If you want the optimistic spin, here’s the optimistic spin. People looking for intelligent life elsewhere often tune in with their radio telescopes, at least we did before Arecibo was decommissioned. That’s not a very promising way to find intelligent life elsewhere, because why in the world would a super intelligent alien civilization waste all of its energy by beaming it in random directions into the sky?

(00:27:22)
For one thing, it just passes you by. If we are here on earth, we’ve only been listening to radio waves for or a couple 100 years. Okay. If an intelligent alien civilization exists for a billion years, they have to pinpoint exactly the right time to send us this signal. It is much, much more efficient to send probes and to park, to go to the other solar systems, just sit there and wait for an intelligent civilization to arise in that solar system.

(00:27:55)
This is the 2001 monolith hypothesis. I would be less surprised to find a quiescent alien artifact in our solar system than I would to catch a radio signal from an intelligent civilization.
Lex Fridman
(00:28:13)
You’re a sucker for in-person conversations versus remote.
Sean Carroll
(00:28:17)
I just want to integrate over time. A probe can just sit there and wait, whereas a radio wave goes right by you.
Lex Fridman
(00:28:27)
How hard is it for an alien civilization, again, you have the dictator of one, to figure out a probe that is most likely to find a common language with whatever it finds.
Sean Carroll
(00:28:38)
Couldn’t I be like the elected leader of alien civilization?
Lex Fridman
(00:28:40)
Elected leader, democratic leader. Elected leader of a democratic alien civilization. Yes.
Sean Carroll
(00:28:47)
I think we would figure out that language thing pretty quickly. I mean, maybe not as quickly as we do when different human tribes find each other, because obviously there’s a lot of commonalities in humanity. But there is logic in math, and there is the physical world. You can point to a rock and go “rock.” I don’t think it would take that long.

(00:29:08)
I know that Arrival, the movie, based on a Ted Chiang story suggested that the way that aliens communicate is going to be fundamentally different. But also, they had recognition and other things I don’t believe in. I think that if we actually find aliens, that will not be our long-term problem.
Lex Fridman
(00:29:28)
There’s a folks … One of the places you’re affiliated with is Santa Fe, and they approach the question of complexity in many different ways and ask the question in many different ways of what is life, thinking broadly? To you would be able to find it. You’ll think you show up, a probe shows up to a planet, we’ll see a thing and be like, “Yeah. That’s a living thing.”
Sean Carroll
(00:29:51)
Well, again, if it’s intelligent and technologically advanced, the more short-term question of if we get some spectroscopic data from an exoplanet, so we know a little bit about what is in its atmosphere, how can we judge whether or not that atmosphere is giving us a signature of life existing? That’s a very hard question that people are debating about.

(00:30:15)
I mean, one very simple-minded, but perhaps interesting approach is to say, “Small molecules don’t tell you anything, because even if life could make them something else could also make them. But long molecules, that’s the thing that life would produce.”
Lex Fridman
(00:30:32)
Signs of complexity. I don’t know. I just have this nervous feeling that we won’t be able to detect. We’ll show up to a planet. There have a bunch of liquid on it. We take a swim in the liquid. We won’t be able to see the intelligence in it, whether that intelligence looks like something like ants or … We’ll see movement, perhaps, strange movement. But we won’t be able to see the intelligence in it or communicate with it. I guess if we have nearly infinite amount of time to play with different ideas, we might be able to.
Sean Carroll
(00:31:13)
I think I’m in favor of this kind of humility, this intellectual humility that we won’t know because we should be prepared for surprises. But I do always keep coming back to the idea that we all live in the same physical universe. Well, let’s put it this way. The development of our intelligence has certainly been connected to our ability to manipulate the physical world around us.

(00:31:40)
I would guess, without 100% credence by any means, but my guess would be that any advanced kind of life would also have that capability. Both dolphins and octopuses are potential counterexamples to that. But I think in the details, there would be enough similarities that we would recognize it.

Holographic principle

Lex Fridman
(00:32:02)
I don’t know how we got on this-
Sean Carroll
(00:32:00)
… would be enough similarities that we would recognize it.
Lex Fridman
(00:32:02)
I don’t know how we got on this topic, but I think it was from super massive black holes. So if we return to black holes and talk about the holographic principle more broadly, you have a recent paper on the topic. You’ve been thinking about the topic in terms of rigorous research perspective and just as a popular book writer?
Sean Carroll
(00:32:22)
Mm-hmm.
Lex Fridman
(00:32:22)
So what is the holographic principle?
Sean Carroll
(00:32:25)
Well, it goes back to this question that we were talking about with the information and how it gets out. In quantum mechanics, certainly, arguably, even before quantum mechanics comes along in classical statistical mechanics, there’s a relationship between information and entropy. Entropy is my favorite thing to talk about that I’ve written books about and will continue to write books about. So Hawking tells us that black holes have entropy, and it’s a finite amount of entropy. It’s not an infinite amount. But the belief is, and now we’re already getting quite speculative, the belief is that the entropy of a black hole is the largest amount of entropy that you can have in a region of space-time. It’s the most densely packed that entropy can be. What that means is there’s a maximum amount of information that you can fit into that region of space, and you call it a black hole.

(00:33:20)
Iinterestingly, you might expect if I have a box and I’m going to put information in it and I don’t tell you how I’m going to put the information in, but I ask, “How does the information I can put in scale with the size of the box?” You might think, “Well, it goes as the volume of the box because the information takes up some volume, and I can only fit in a certain amount.” That is what you might guess for the black hole, but it’s not what the answer is. The answer is that the maximum information as reflected in the black hole entropy scales as the area of the black hole’s event horizon, not the volume inside. So people thought about that in both deep and superficial ways for a long time, and they proposed what we now call the holographic principle, that the way that space-time and quantum gravity convey information or hold information is not different bits or qubits for quantum information at every point in space-time.

(00:34:20)
It is something holographic, which means it’s embedded in or located in or can be thought of as pertaining to one dimension less of the three dimensions of space that we live in. So in the case of the black hole, the event horizon is two-dimensional, embedded in a three-dimensional universe. The holographic principle would say all of the information contained in the black hole can be thought of as living on the event horizon rather than in the interior of the black hole. I need to say one more thing about that, which is that this was an idea, the idea I just told you was the original holographic principle put forward by people like Gerard ‘t Hooft and Leonard Susskind, the super famous physicist. Leonard Susskind was on my podcast and gave a great talk. He’s very good at explaining these things.
Lex Fridman
(00:35:08)
Mindscape Podcast-
Sean Carroll
(00:35:08)
Mindscape Podcast.
Lex Fridman
(00:35:09)
Everybody should listen.
Sean Carroll
(00:35:10)
That’s right, yes.
Lex Fridman
(00:35:11)
You don’t just have physicists on.
Sean Carroll
(00:35:13)
I don’t.
Lex Fridman
(00:35:14)
I love Mindscape.
Sean Carroll
(00:35:15)
Oh, thank you very much.
Lex Fridman
(00:35:16)
Curiosity-driven-
Sean Carroll
(00:35:17)
Yeah, ideas-
Lex Fridman
(00:35:18)
… exploration of ideas.
Sean Carroll
(00:35:18)
Fresh ideas from smart people.
Lex Fridman
(00:35:19)
Yeah.
Sean Carroll
(00:35:20)
Yeah.
Lex Fridman
(00:35:20)
But anyway, what I was trying to get at with Susskind and also at ‘t Hooft were a little vague. They were a little hand wavy about holography and what it meant, where holography, the idea that information is encoded on a boundary really came into its own was with Juan Maldacena in the 1990s and the AdS-CFT correspondence, which we don’t have to get into that into any detail, but it’s a whole full-blown theory of… It’s two different theories. One theory in N dimensions of space-time without gravity, and another theory in N+1 dimensions of space-time with gravity. The idea is that this N dimensional theory is casting a hologram into the N+1 dimensional universe to make it look like it has gravity. That’s holography with a vengeance, and that’s an enormous source of interest for theoretical physicists these days.
Lex Fridman
(00:36:16)
How should we picture what impact that has, the fact that you can store all the information you can think of as all the information that goes into a black hole can be stored at the event horizon?
Sean Carroll
(00:36:27)
Yeah, it’s a good question. One of the things that quantum field theory indirectly suggests is that there’s not that much information in you and me compared to the volume of space-time we take up. As far as quantum field theory is concerned, you and I are mostly empty space, and so we are not information dense. The density of information in us or in a book or a CD or whatever, computer RAM, is indeed encoded by volume. There’s different bits located at different points in space, but that density of information is super-duper low. So we are just like the speed of light or just the big bang for the information in a black hole, we are far away in our everyday experience from the regime where these questions become relevant. So it’s very far away from our intuition. We don’t really know how to think about these things. We can do the math, but we don’t feel it in our bones.
Lex Fridman
(00:37:23)
So you can just write off that weird stuff happens in a black hole.
Sean Carroll
(00:37:27)
Well, we’d like to do better, but we’re trying. That’s why we have an information loss puzzle because we haven’t completely solved it. So here, just one thing to keep in mind. Once space-time becomes flexible, which it does according to general relativity and you have quantum mechanics, which has fluctuations in virtual particles and things like that, the very idea of a location in space-time becomes a little bit fuzzy, ’cause it’s flexible and quantum mechanics says you can even pin it down. So information can propagate in ways that you might not have expected, and that’s easy to say and it’s true, but we haven’t yet come up with the right way to talk about it that is perfectly rigorous.
Lex Fridman
(00:38:10)
It’s crazy how dense with information a black hole is, and then plus like quantum mechanics starts to come into play, so you almost want to romanticize the interesting computation type things that are going on inside the black hole.
Sean Carroll
(00:38:23)
You do. You do, but I’ll point out one other thing. It’s information dense, but it’s also very, very high entropy. So a black hole is kind of like a very, very, very specific random number. It takes a lot of digits to specify it, but the digits don’t tell you anything. They don’t give you anything useful to work on, so it takes a lot of information, but it’s not of a form that we can learn a lot from.
Lex Fridman
(00:38:52)
But hypothetically, I guess as you mentioned, the information might be preserved. The information that goes into a black hole, it doesn’t get destroyed. So what does that mean when the entropy is really high?
Sean Carroll
(00:39:05)
Well, I said that the black hole is the highest density of information, but it’s not the highest amount of information because the black hole can evaporate. When it evaporates and people have done the equations for this, when it evaporates, the entropy that it turns into is actually higher than the entropy of the black hole was, which is good because entropy is supposed to go up, but it’s much more dilute. It’s spread across a huge volume of space-time. So in principle, all that you made the black hole out of, the information that it took is still there, we think, in that information, but it’s scattered to the four winds.
Lex Fridman
(00:39:44)
We just talked about the event horizon of a black hole. What’s on the inside? What’s at the center of it?
Sean Carroll
(00:39:48)
No one’s been there, so-
Lex Fridman
(00:39:50)
And came back to tell?
Sean Carroll
(00:39:51)
… again, this is a theoretical prediction. But I’ll say one super crucial feature of the black holes that we know and love, the kind that Schwarzschild first invented, there’s a singularity, but it’s not at the middle of the black hole. Remember space and time are parts of one unified space-time, the location of the singularity in the black hole is not the middle of space, but our future. It is a moment of time. It is like a big crunch. The big bang was an expansion from a singularity in the past. Big crunch probably doesn’t exist, but if it did, it would be a collapse to a singularity in the future. That’s what the interiors of black holes are like. You can be fine in the interior, but things are becoming more and more crowded. Space-time is becoming more and more warped, and eventually you hit a limit, and that’s the singularity in your future.
Lex Fridman
(00:40:42)
I wonder what time is on the inside of a black hole.
Sean Carroll
(00:40:46)
Time always ticks by at one second per second. That’s all it can ever do. Time can tick by differently for different people, and so you have things like the twin paradox where two people initially are the same age, one goes off in the speed of light and comes back, now they’re not. You can even work out that the one who goes out and comes back will be younger because they did not take the shortest distance path. But locally, as far as you and your wristwatch are concerned, time is not funny. Your neurological signals in your brain and your heartbeat and your wristwatch, whatever’s happening to them is happening to all of them at the same time. So time always seems to be ticking along at the same rate.
Lex Fridman
(00:41:28)
Well, if you fall into a black hole and then I’m an observer just watching it, and then you come out once it evaporates a million years later, I guess you’d be exactly the same age? Have you aged at all?
Sean Carroll
(00:41:45)
You would be converted into photons. You would not be you anymore.
Lex Fridman
(00:41:49)
Right. So it’s not at all possible that information is preserved exactly as it went in.
Sean Carroll
(00:41:55)
It depends on what you might preserve. It’s there in the microscopic configuration of the universe. It’s exactly as if I took a regular book, made it paper and I burned it. The laws of physics say that all the information in the book is still there in the heat and light and ashes. You’re never going to get it. It’s a matter of practice, but in principle, it’s still there.
Lex Fridman
(00:42:15)
But what about the age of things from the observer perspective, from outside the black hole?
Sean Carroll
(00:42:21)
From outside the black hole, doesn’t matter ’cause they’re inside the black hole.
Lex Fridman
(00:42:26)
No. Okay. There’s no way to escape the black hole-
Sean Carroll
(00:42:30)
Right.
Sean Carroll
(00:42:30)
… except-
Lex Fridman
(00:42:32)
To let it evaporate.
Lex Fridman
(00:42:33)
… to let it evaporate. But also, by the way, just in relativity, special relativity, forget about general relativity, it’s enormously tempting to say, “Okay, here’s what’s happening to me right now. I want to know what’s happening far away right now.” The whole point of relativity is to say there’s no such thing as right now when you’re far away, and that is doubly true for what’s inside a black hole. So you’re tempted to say, “Well, how fast is their clock ticking?” Or, “How old are they now?” Not allowed to say that according to relativity.
Lex Fridman
(00:43:05)
‘Cause space and time is treated the same, and so it doesn’t even make sense.
Sean Carroll
(00:43:08)
Yeah.
Lex Fridman
(00:43:09)
What happens to time in the holographic principle?
Sean Carroll
(00:43:12)
As far as we know, nothing dramatic happens. We’re not anywhere close to being confident that we know what’s going on here yet. So there are good unanswered questions about whether time is fundamental, whether time is emergent, whether it has something to do with quantum entanglement, whether time really exists at all, different theories, different proponents of different things, but there’s nothing specifically about holography that would make us change our opinions about time, whatever they happen to be.
Lex Fridman
(00:43:42)
But holography is fundamentally about, it’s a question of space?
Sean Carroll
(00:43:46)
It really is, yeah.
Lex Fridman
(00:43:47)
Okay. So time is just like an-
Sean Carroll
(00:43:49)
Time just goes along for the ride as far as we know. Yeah.
Lex Fridman
(00:43:51)
So all the questions about time is just almost like separate questions, whether it’s emergent and all that kind of stuff?
Sean Carroll
(00:43:56)
Yeah, that might be a reflection of our ignorance right now, but yes.
Lex Fridman
(00:44:01)
If we figure out a lot, millions of years from now about black holes, how surprised would you be if they traveled back in time and told you everything you want to know about black holes? How much do you think there is still to know, and how mind-blowing would it be?
Sean Carroll
(00:44:20)
It does depend on what they would say. I think that there are colleagues of mine who think that we’re pretty close to figuring out how information gets out of black holes, how to quantize gravity, things like that. I’m more skeptical that we are pretty close. I think that there’s room for a bunch of surprises to come. So in that sense, I suspect I would be surprised. The biggest and most interesting surprise to me would if quantum mechanics itself were somehow superseded by something better. As far as I know, there’s no empirical evidence-based reason to think that quantum mechanics is not 100% correct, but it might not be. That’s always possible, and there are, again, respectable friends of mine who speculate about it. So that’s the first thing I’d want to know.
Lex Fridman
(00:45:15)
Oh, so the black hole would be the most clear illustration-
Sean Carroll
(00:45:18)
Yeah, that’s where it would show up.
Lex Fridman
(00:45:19)
… or if there’s something new it would show up there.
Sean Carroll
(00:45:22)
Maybe. The point is that black holes are mysterious for various reasons. So yeah, if our best theory of the universe is wrong, that might help explain why.
Lex Fridman
(00:45:30)
But do you think it’s possible we’ll find something interesting, like black holes sometimes create new universes or black holes are a kind of portal through space-time to another place or something like this. Then our whole conception of what is the fabric of space-time changes completely ’cause black holes, it’s like Swiss cheese type of situation.
Sean Carroll
(00:45:52)
Yeah. That would be less surprising to me ’cause I’ve already written papers about that. We don’t have, again, strong reason to think that the interior of a black hole leads to another universe. But it is possible, and it’s also very possible that that’s true for some black holes and not others. This is stuff, it’s easy to ask questions we don’t know the answer to. The problem is the questions that are easy to ask that we don’t know the answer to are super hard to answer.
Lex Fridman
(00:46:20)
Because these objects are very difficult to test and to explore for us-
Sean Carroll
(00:46:23)
The regimes are just very far away. So either literally far away in space, but also in energy or mass or time or whatever.
Lex Fridman
(00:46:30)
You’ve published a paper on the holographic principle or that involves the holographic principle. Can you explain the details of that?
Sean Carroll
(00:46:38)
Yeah, I’m always interested in, since my first published paper, taking these wild speculative ideas and trying to test them against data. The problem is when you’re dealing with wild speculative ideas, they’re usually not well-defined enough to make a prediction. It’s kind of, “I know what’s going to happen in some cases, I don’t know what’s going to happen in other cases.” So we did the following thing: As I’ve already mentioned, the holographic principle, which is meant to reflect the information contained in black holes seems to be telling us that there’s less information, less stuff that can go on than you might naively expect. So let’s upgrade naively expect to predict using quantum field theory. Quantum field theory is our best theory of fundamental physics right now. Unlike this holographic black hole stuff, quantum field theory is entirely local. In every point of space, something can go on. Then you add up all the different points in space, okay? Not holographic at all.

(00:47:40)
So there’s a mismatch between the expectation for what is happening even in empty space in quantum field theory versus what the holographic principle would predict. How do you reconcile these two things? So there’s one way of doing it that had been suggested previously, which is to say that in the quantum field theory way of talking, it implies there’s a whole bunch more states, a whole bunch more ways the system could be than there really are. I’ll do a little bit of math just because there might be some people in the audience who like the math. If I draw two axes on a two-dimensional geometry, like the surface of the table, you know that the whole point of it being two-dimensional is I can draw two vectors that are perpendicular to each other. I can’t draw three vectors that are all perpendicular to each other. They need to overlap a little bit. That’s true for any numbers of dimensions. But I can ask, “Okay, how much do they have to overlap?

(00:48:40)
If I try to put more vectors into a vector space, then the dimensionality of the vector space, can I make them almost perpendicular to each other?” The mathematical answer is, as the number of dimensions gets very, very large, you can fit a huge extra number of vectors in that are almost perpendicular to each other. So in this case, what we’re suggesting is the number of things that can happen in a region of space is correctly described by holography. It is somewhat over-counted by quantum field theory, but that’s because the quantum field theory states are not exactly perpendicular to each other. I should have mentioned that in quantum mechanics, states are given by vectors in some huge dimensional vector space; very, very, very, very large dimensional vector space. So maybe the quantum field theory states are not quite perpendicular to each other. If that is true, that’s a speculation already. But if that’s true, how would you know what is the experimental deviation?

(00:49:45)
It would’ve been completely respectable if we had gone through and made some guesses and found that there is no noticeable experimental difference because, again, these things are in regimes very, very far away. We stuck our necks out. We made some very, very specific guesses as to how this weird overlap of states would show up in the equations of motion for particles like neutrinos. Then we made predictions on how the neutrinos would behave on the basis of those wild guesses and then we compared them with data. What we found is we’re pretty close but haven’t yet reached the detectability of the effect that we are predicting. In other words, well, basically one way of saying what we predict is if a neutrino, and there’s reasons why it’s neutrinos, we can go into if you want, but it’s not that interesting, if a neutrino comes to us from across the universe from some galaxy very, very far away, there is a probability as it’s traveling that it will dissolve into other neutrinos because they’re not really perpendicular to each other as vectors as they would ordinarily be in quantum field theory.

(00:50:53)
That means that if you look at neutrinos coming from far enough away with high enough energies, they should disappear. If you see a whole bunch of nearby neutrinos, but then further away you should see fewer. There is an experiment called IceCube, which is this amazing testament to the ingenuity of human beings where they go to Antarctica and they drill holes and they put photodetectors on a string a mile deep in these holes. They basically use all of the ice in a cube, I don’t know whether it’s a mile or not, but it’s like a kilometer or something like that, some big region. That much ice is their detector. They’re looking for flashes when a cosmic ray or neutrino or whatever hits a water molecule in the ice [inaudible 00:51:47]
Lex Fridman
(00:51:46)
Make flashes in the ice.
Sean Carroll
(00:51:48)
Yes-
Lex Fridman
(00:51:48)
… they’re looking for-
Sean Carroll
(00:51:49)
… they’re looking for flashes in the ice.
Lex Fridman
(00:51:51)
What does the detector of that look like?
Sean Carroll
(00:51:55)
It’s a bunch of strings, many, many, many strings with 360 degree photodetectors. You will-
Lex Fridman
(00:52:03)
That’s really cool.
Sean Carroll
(00:52:04)
It’s extremely cool. They’ve done amazing work, and they find neutrinos.
Lex Fridman
(00:52:09)
So they’re looking for neutrinos.
Sean Carroll
(00:52:10)
Yeah. So the whole point is most cosmic rays are protons because why? Because protons exist, and they’re massive enough that you can accelerate them to very high energies. So high-energy cosmic rays tend to be protons. They also tend to hit the Earth’s atmosphere and decay into other particles. So neutrinos on the other hand, punch right through, at least usually, to a great extent, so not just Antarctica, but the whole earth. Occasionally, a neutrino will interact with a particle here on earth, and there’s neutrinos is going through your body all the time from the sun, from the universe, etc. So if you’re patient enough and you have a big enough part of the Antarctic ice sheet to look at, the nice thing about ice is it’s transparent, so nature has built you a neutrino detector. That’s what IceCube does.
Lex Fridman
(00:53:02)
So why ice? So is it just because the low noise and you get to watch this thing and it’s-
Sean Carroll
(00:53:07)
It’s much more dense than air, but it’s transparent.
Lex Fridman
(00:53:13)
So yeah, much more dense, so higher probability, and then it’s transparency, and then it’s also in the middle of nowhere, so you can… Humans are great-
Sean Carroll
(00:53:20)
That’s all you need. There’s not that much ice-
Lex Fridman
(00:53:21)
I love it-
Sean Carroll
(00:53:21)
… right? Yeah.
Lex Fridman
(00:53:22)
… so humor me impressed.
Sean Carroll
(00:53:24)
There’s more ice in Antarctic than anywhere else. Right. So anyway, you can go and you can get a plot from the IceCube experiment, how many neutrinos there are that they’ve detected with very high energies. We predict in our weird little holographic guessing game that there should be a cutoff. You should see neutrinos as you get to higher and higher energies and then they should disappear. If you look at the data, their data gives out exactly where our cutoff is. That doesn’t mean that our cutoff is right, it means they lose the ability to do the experiment exactly where we predict the cutoff should be.
Lex Fridman
(00:53:58)
Oh, boy, okay, but why is there a limit?
Sean Carroll
(00:54:03)
Oh, just because there are fewer, fewer high-energy neutrinos. So there’s a spectrum and it goes down, but what we’re plotting here is-
Lex Fridman
(00:54:11)
Got it.
Sean Carroll
(00:54:11)
… number of neutrinos versus energy, it’s fading away, and they just get very, very few.
Lex Fridman
(00:54:17)
You need the high-energy neutrinos for your prediction.
Sean Carroll
(00:54:20)
Our effect is a little bit bigger for higher energies, yeah.
Lex Fridman
(00:54:23)
Got it, and that effect has to do with this almost perpendicular thing.
Sean Carroll
(00:54:26)
Let me just mention the name of Oliver Friedrich, who was a post-doc who led this. He deserves the credit for doing this. I was a co-author and a collaborator and I did some work, but he really gets the lion’s share.
Lex Fridman
(00:54:36)
Thank you, Oliver. Thank you for pushing this wild science forward. Just to speak to that, the meta process of it, how do you approach asking these big questions and trying to formulate as a paper, as an experiment that could make a prediction, all that kind of stuff? What’s your process?
Sean Carroll
(00:54:56)
There’s very interesting things that happens once you’re a theoretical physicist, once you become trained. You’re a graduate student, you’ve written some papers and whatever, suddenly you are the world’s expert in a really infinitesimally tiny area of knowledge and you know not that much about other areas. There’s an overwhelming temptation to just drill deep, just keep doing basically the thing that you started doing, but maybe that thing you started doing is not the most interesting thing to the world or to you or whatever. So you need to separately develop the capability of stepping back and going, ” Okay, now that I can write papers in that area, now that I’m trained enough in the general procedure, what is the best match between my interests, my abilities and what is actually interesting?” Honestly, I’ve not been very good at that over my career.

(00:55:51)
My process traditionally was I was working in this general area of particle physics, field theory, general relativity, cosmology, and I would try to take things other people were talking about and ask myself whether or not it really fit together. So I guess I have three papers that I’ve ever written that have done super well in terms of getting cited and things like that. One was my first ever paper that I get very little credit for, that was my advisor and his collaborator set that up. The other two were basically, my idea. One was right after we discovered that the universe was accelerating. So in 1998 observations showed that not only is the universe expanding, but it’s expanding faster and faster. So that’s attributed to either Einstein’s cosmological constant or some more complicated form of dark energy, some mysterious thing that fills the universe.

Dark energy


(00:56:47)
People were throwing around ideas about this dark energy stuff, “What could it be?” And so forth. Most of the people throwing around these ideas were cosmologists. They work on cosmology. They think about the universe all at once. Since I like to talk to people in different areas, I was more familiar than average with what a respectable working particle physicist would think about these things. What I immediately thought was, “You guys are throwing around these theories. These theories are wildly unnatural. They’re super finely tuned. Any particle physicist would just be embarrassed to be talking about this.” But rather than just scoffing at them, I sat down and asked myself, “Okay, is there a respectable version? Is there a way to keep the particle physicists happy but also make the universe accelerate?” I realized that there is some very specific set of models that is relatively natural, and guess what? You can make a new experimental prediction on the basis of those, and so I did that. People were very happy about that.
Lex Fridman
(00:57:50)
What was the thing that would make physicists happy that would make sense of this fragile thing that people call dark energy?
Sean Carroll
(00:57:59)
So the fact that dark energy pervades the whole universe and is slowly changing, that should immediately set off alarm bells because particle physics is a story of length scales and time scales that are generally, guess what? Small, right? Particles are small. They vibrate quickly, and you’re telling me now I have a new field and its typical rate of change is once every billion years. That’s just not natural. Indeed, you can formalize that and say, look, even if you wrote down a particle that evolved slowly over billions of years, if you let it interact with other particles at all, that would make it move faster, its dynamics would be faster, its mass would be higher, et cetera, et cetera. So there’s a whole story. Things need to be robust, and they all talk to each other in quantum field theory.

(00:58:53)
So how do you stop that from happening? The answer is symmetry. You can impose a symmetry that protects your new field from talking to any other fields, and this is good for two reasons. Number one, it can keep the dynamics slow. So you can’t tell me why it’s slow. You just made that up, but at least it can protect it from speeding up because it’s not talking to any other particles. The other is, it makes it harder to detect. Naively, experiments looking for fifth forces or time changes of fundamental constants of nature like the charge of the electron, these experiments should have been able to detect these dark energy fields, and I was able to propose a way to stop that from happening.
Lex Fridman
(00:59:39)
The detection.
Sean Carroll
(00:59:40)
The detection, yeah, because a symmetry could stop it from interacting with all these other fields, and therefore, it makes it harder to detect. Just by luck, I realized, ’cause it was actually based on my first-ever paper, there’s one loophole. If you impose these symmetries, so you protect the dark energy field from interacting with any other fields, there’s one interaction that is still allowed that you can’t rule out. It is a very specific interaction between your dark energy field and photons, which are very common, and it has the following effect: As a photon travels through the dark energy, the photon has a polarization, up, down, left, right, whatever it happens to be, and as it travels through the dark energy, that photon will rotate its polarization. This is called birefringence. You can run the numbers and say you can’t make a very precise prediction, ’cause we’re making up this model.

(01:00:34)
But if you want to roughly fit the data, you can predict how much polarization, rotation, there should be, a couple of degrees, not that much. So that’s very hard to detect. People have been trying to do it. Right now, literally, we’re on the edge of either being able to detect it or rule it out using the cosmic microwave background. There is just truth in advertising, there is a claim on the market that it’s been detected, that it’s there. It’s not very statistically significant. If I were to bet, I think it would probably go away. It’s very hard thing to observe. But maybe as you get better and better data, cleaner and cleaner analysis, it will persist, and we will have directly detected the dark energy.
Lex Fridman
(01:01:21)
So if we just take this tangent of dark energy, people will sometimes bring up dark energy and dark matter as an example why physicists have lost it, lost their mind. We’re just going to say that there’s this field that permeates everything. It’s unlike any other field, and it’s invisible, and it helps us work out some of the math. How do you respond to those kinds of suggestions.
Sean Carroll
(01:01:50)
Well, two ways. One way is, those people would’ve had to say the same thing when we discovered the planet Neptune, ’cause it’s exactly analogous where we have a very good theory, in that case, Newtonian gravity in the solar system. We made predictions. The predictions were slightly off for the motion of the outer planets. You found that you could explain that motion by positing something very simple, one more planet in a very, very particular place, and you went and looked for it, and there it was. That was the first successful example of finding dark matter in the universe.
Lex Fridman
(01:02:26)
It’s a matter, though, we can’t see.
Sean Carroll
(01:02:27)
Neptune was dark.
Lex Fridman
(01:02:28)
Yeah.

Dark matter

Sean Carroll
(01:02:29)
There’s a difference between dark matter and dark energy. Dark matter as far as we are hypothesizing it is a particle of some sort. It’s just a particle that interacts with us very weakly. So we know how much of it there is. We know more or less where it is. We know some of its properties. We don’t know specifically what it is. But it’s not anything fundamentally mysterious, it’s a particle. Dark energy is a different story. So dark energy is indeed uniformly spread throughout space and has this very weird property that it doesn’t seem to evolve as far as we can tell. It’s the same amount of energy in every cubic centimeter of space from moment to moment in time. That’s why far and away the leading candidate for dark energy is Einstein’s cosmological constant.

(01:03:16)
The cosmological constant is strictly constant, 100% constant. The data say it better be 98% constant or better, so 100% constant works, and it’s also very robust. It’s just there. It’s not doing anything. It doesn’t interact with any other particles. It makes perfect sense. Probably the dark energy is the cosmological constant. The dark matter, super important to emphasize here. It was hypothesized at first in the ’70s and ’80s mostly to explain the rotation of galaxies. Today, the evidence for dark matter is both much better than it was in the 1980s and from different sources. It is mostly from observations of the cosmic background radiation or of large scale structure.
Sean Carroll
(01:04:00)
From observations of the cosmic background radiation or of large-scale structure. We have multiple independent lines of evidence, also gravitational lensing and things like that, many, many pieces of evidence that say that dark matter is there and also that say that the effects of dark matter are different than if we modified gravity. That was my first answer to your question is dark matter we have a lot of evidence for. But the other one is of course we would love it if it weren’t dark matter. Our vested interest is 100% aligned with it being something more cool and interesting than dark matter because dark matter’s just a particle. That’s the most boring thing in the world.
Lex Fridman
(01:04:43)
And it’s non-uniformly distributed through space, dark matter?
Sean Carroll
(01:04:46)
Absolutely. Yeah.
Lex Fridman
(01:04:47)
And so this-
Sean Carroll
(01:04:48)
You can even see maps of it that we’ve constructed from gravitational lensing.
Lex Fridman
(01:04:51)
Verifiable clumps of dark matter in the galaxy that explains stuff.
Sean Carroll
(01:04:56)
Bigger than the galaxy, sadly. We think that in the galaxy dark matter is lumpy, but it’s weaker, its effects are weaker. But on the scale of large scale structure and clusters of galaxies and things like that, yes, we can show you where the dark matter is.
Lex Fridman
(01:05:11)
Could there be a super cool explanation for dark matter that would be interesting as opposed to just another particle that sits there and clumps?
Sean Carroll
(01:05:19)
The super cool explanation would be modifying gravity rather than inventing a new particle. Sadly, that doesn’t really work. We’ve tried. I’ve tried. That’s my third paper that was very successful. I tried to unify dark matter and dark energy together. That was my idea. That was my aspiration, not even idea. I tried to do it. It failed even before we wrote the paper. I realized that my idea did not help. It could possibly explain away the dark energy, but it would not explain the way the dark matter, and so I thought it was not that interesting, actually. And then two different collaborators of mine said, “Has anyone thought of this idea?” They thought of exactly the same idea completely independently of me. And I said, “Well, if three different people found the same idea, maybe it is interesting,” and so we wrote the paper. And yeah, it was very interesting. People are very interested in it.
Lex Fridman
(01:06:09)
Can you describe this paper a little bit? It’s fascinating how much of a thing there is, dark energy and dark matter, and we don’t quite understand it. What was your dive into exploring how to unify the two?
Sean Carroll
(01:06:22)
Here is what we know about dark matter and dark energy: They become important in regimes where gravity is very, very, very weak. That’s the opposite from what you would expect if you actually were modifying gravity. There’s a rule of thumb in quantum field theory, et cetera that new effects show up when the effects are strong. We understand weak fields, we don’t understand strong fields. But okay, maybe this is different.

(01:06:54)
What do I mean by when gravity is weak? The dark energy shows up late of the universe. Early in the history of the universe, the dark energy is irrelevant, but remember the density of dark energy stays constant. The density of matter and radiation go down. At early times, the dark energy was completely irrelevant compared to matter and radiation. At late times, it becomes important. That’s also when the universe is dilute and gravity is relatively weak.

(01:07:21)
Now think about galaxies. A galaxy is more dense in the middle, less dense on the outside. And there is a phenomenological fact about galaxies that in the interior of galaxies you don’t need dark matter. That’s not so surprising because the density of stars and gas is very high there and the dark matter is just subdominant. But then there’s generally a radius inside of which you don’t need dark matter to fit the data, outside of which you do need dark matter to fit the data. That’s again when gravity is weak.

(01:07:51)
I asked myself, “Of course, we know in field theory new effects should show up when fields are strong, not weak, but let’s throw that out of the window. Can I write down a theory where gravity alters when it is weak?” And we’ve already said what gravity is. What is gravity? It’s the curvature of space-time. There are mathematical quantities that measure the curvature of space-time. And generally, you would say, “I have an understanding, Einstein’s equation,” which I explained to the readers in the book, “relates the curvature of space-time to matter and energy. The more matter and energy, the more curvature.” I’m saying what if you add a new term in there that says, “The less matter and energy, the more curvature”? No reason to do that except to fit the data. I tried to unify the need for dark matter and the need for dark energy.
Lex Fridman
(01:08:48)
That would be really cool if that was the case.
Sean Carroll
(01:08:50)
Super cool. It’d be the best. It’d be great. It didn’t work.
Lex Fridman
(01:08:56)
It’d be really interesting if gravity did something funky when there’s not much of it, almost like at the edges of it gets noisy.
Sean Carroll
(01:09:03)
That was exactly the hope.
Lex Fridman
(01:09:05)
Right. Aw, man.
Sean Carroll
(01:09:07)
But the great thing about physics is there are equations. You can come up with the words and you can wave your hands, but then you got to write down the equations; and I did. And I figured out that it could help with the dark energy, the acceleration of the universe; it doesn’t help with dark matter at all. Yeah.
Lex Fridman
(01:09:24)
It just sucks that the scale of galaxies and scale of solar systems, the physics is boring.
Sean Carroll
(01:09:33)
Yeah, it does. I agree. I tear my hair out when people who are not physicists accuse physicists, like you say, of losing the plot because they need dark matter and dark energy. I don’t want dark matter and dark energy; I want something much cooler than that. I’ve tried. But you got to listen to the equations and to the data.
Lex Fridman
(01:09:58)
You’ve mentioned three papers, your first ever, your first awesome paper ever, and your second awesome paper ever. Of course you wrote many papers, so you’re being very harsh on the others. But-
Sean Carroll
(01:10:10)
Well, by the way, this is not awesomeness, this is impact.
Lex Fridman
(01:10:14)
Impact.
Sean Carroll
(01:10:14)
Right?
Lex Fridman
(01:10:14)
Sure.
Sean Carroll
(01:10:15)
There’s no correlation between awesomeness and impact. Some of my best papers fell without a stone and vice versa.
Lex Fridman
(01:10:22)
Tree falls in the forest. Yeah.
Sean Carroll
(01:10:23)
Yeah. The first paper was called Limits on the Lorentz and Parity Violating Modification of Electromagnetism… Or Electrodynamics. We figured out how to violate Lorentz invariance, which is the symmetry underlying relativity. And the important thing is we figured out a way to do it that didn’t violate anything else and was experimentally testable. People love that. The second paper was called Quintessence and the Rest of the World. Quintessence is this dynamical dark energy field. The rest of the world is because I was talking about how the quintessence field would interact with other particles and fields and how to avoid the interactions you don’t want. And the third paper was called Is Cosmic Speed-Up Due to Gravitational Physics? Something like that. You see the common theme. I’m taking what we know, the standard model of particle physics, general relativity, tweaking them in some way, and then trying to fit the data
Lex Fridman
(01:11:20)
And trying to make it so it’s experimentally validated.
Sean Carroll
(01:11:22)
Ideally, yes, that’s right. That’s the goal.

Quantum mechanics

Lex Fridman
(01:11:25)
You wrote the book Something Deeply Hidden on the mysteries of quantum mechanics and a new book coming out soon, part of that, Biggest Ideas in the Universe series we mentioned called Quanta and Fields. That’s focusing on quantum mechanics. Big question first, biggest ideas in the universe, what to you is most beautiful or perhaps most mysterious about quantum mechanics?
Sean Carroll
(01:11:52)
Quantum mechanics is a harder one. I wrote a textbook on general relativity, and I started it by saying, “General relativity is the most beautiful physical theory ever invented.” And I will stand by that. It is less fundamental than quantum mechanics, but quantum mechanics is a little more mysterious. It’s a little bit kludgy right now. If you think about how we teach quantum mechanics to our students, the Copenhagen interpretation, it’s a God-awful mess. No one’s going to accuse that of being very beautiful. I’m a fan of the many-worlds interpretation of quantum mechanics, and that is very beautiful in the sense that fewer ingredients, just one equation, and it could cover everything in the world.

(01:12:35)
It depends on what you mean by beauty, but I think that the answer to your question is quantum mechanics can start with extraordinarily austere, tiny ingredients and in principle lead to the world. That boggles my mind. It’s much more comprehensive. General relativity is about gravity, and that’s great. Quantum mechanics is about everything and seems to be up to the task. And so I don’t know, is that beauty or not? But it’s certainly impressive.
Lex Fridman
(01:13:03)
Both for the theory, the predictive power of the theory and the fact that the theory describes tiny things creating everything we see around us.
Sean Carroll
(01:13:10)
It’s a monist theory. In classical mechanics, I have a particle here, particle there; I describe them separately. I can tell you what this particle’s doing, what that particle’s doing. In quantum mechanics, we have entanglement, as Einstein pointed out to us in 1935. And what that means is there is a single state for these two particles. There’s not one state for this particle, one state for the other particle. And indeed, there’s a single state for the whole universe called the wave function of the universe, if you want to call it that. And it obeys one equation. And is our job then to chop it up, to carve it up, to figure out how to get tables and chairs and things like that out of it.
Lex Fridman
(01:13:53)
You mentioned the many-worlds interpretation, and it is in fact beautiful, but it’s one of your more controversial things you stand behind. You’ve probably gotten a bunch of flak for it.
Sean Carroll
(01:14:05)
I’m a big boy. I can take it.
Lex Fridman
(01:14:07)
Well, can you first explain it and then maybe speak to the flak you may have gotten?
Sean Carroll
(01:14:12)
Sure. The classic experiment to explain quantum mechanics to people is called the Stern-Gerlach experiment. You’re measuring the spin of a particle. And in quantum mechanics, the spin is just a spin. It’s the rate at which something is rotating around in a very down to earth sense, the difference being is that it’s quantized. For something like a single electron or a single neutron, it’s either spinning clockwise or counterclockwise. Let’s put it this way. Those are the only two measurement outcomes you will ever get. There’s no it’s spinning faster or slower, it’s either spinning one direction or the other. That’s it. Two choices. According to the rules of quantum mechanics, I can set up an electron, let’s say, in a state where it is neither purely clockwise or counterclockwise but a superposition of both. And that’s not just because we don’t know the answer, it’s because it truly is both until we measure it. And then when we measure it, we see one or the other. This is the fundamental mystery of quantum mechanics is that how we describe the system when we’re not looking at it is different from what we see when we look at it.

(01:15:21)
We teach our students in the Copenhagen way of thinking is that the act of measuring the spin of the electron causes a radical change in the physical state. It spontaneously collapses from being a superposition of clockwise and counterclockwise to being one or the other. And you can tell me the probability that that happens, but that’s all you can tell me. And I can’t be very specific about when it happens, what caused it to happen, why it’s happening, none of that. That’s all called the measurement problem of quantum mechanics.

(01:15:54)
Many-worlds just says, “Look, I just told you a minute ago that there’s only one way function for the whole universe, and that means that you can’t take too seriously just describing the electron, you have to include everything else in the universe.” In particular, you clearly have to interact with the electron in order to measure it. Whatever is interacting with the electron should be included in the wave function that you’re describing. And look, maybe it’s just you, maybe your eyeballs are able to perceive it, but okay, I’m going to include you in the wave function. Since you have a very sophisticated listenership, I’ll be a little bit more careful than average. What does it mean to measure the spin of the electron? We don’t need to go into details, but we want the following thing to be true: If the electron were in a state that was 100% spinning clockwise, then we want the measurement to tell us it was spinning clockwise. We want your brain to go, “Yes, the electron was spinning clockwise.” Likewise, if it was 100% counterclockwise, we want to see that, to measure that.

(01:17:03)
The rules of quantum mechanics, the Schrodinger equation of quantum mechanics, is 100% clear that if you want to measure it clockwise when it’s clockwise and measure it counterclockwise when it’s counterclockwise, then when it starts out in a superposition, what will happen is that you and the electron will entangle with each other. And by that I mean that the state of the universe evolves into part saying, “The electron was spinning clockwise, and I saw it clockwise,” and part of the state is it’s in a superposition with the part that says, “The electron was spinning counterclockwise, and I saw it counterclockwise.” Everyone agrees with this; entirely uncontroversial. Straightforward consequence of the Schrodinger equation.

(01:17:49)
And then Niels Bohr would say, “And then part of that wave function disappears,” and we’re in the other part. And you can’t predict which part it’ll be, only the probability. Hugh Everett, who was a graduate student in the 1950s, was thinking about this, says, “I have a better idea. Part of the wave function does not magically disappear, it stays there.” The reason why that idea, Everett’s idea that the whole wave function always sticks around and just obeys the Schrodinger equation was not thought of years before is because naively, you look at it and you go, “Okay, this is predicting that I will be in a superposition, that I will be in a superposition of having seen the electron be clockwise and having seen it be counterclockwise.” No experimenter has ever felt like they were in a superposition. You always see an outcome.

(01:18:41)
Everett’s move, which was genius, was to say, “The problem is not the Schrodinger equation. The problem is you have misidentified yourself in the Schrodinger equation.” You have said, “Oh, look, there’s a person who saw counterclockwise, there’s a person who saw clockwise; I should be that superposition of both.” And Everett says, “No, no, no, you’re not,” because the part of the wave function in which the spin was clockwise, once that exists, it is completely unaffected by the part of the wave function that says the spin was counterclockwise. They are apart from each other. They are un-interacting. They have no influence. What happens in one part has no influence in the other part. Everett says, “The simple resolution is to identify yourself as either the one who saw spin clockwise or the one who saw spin counterclockwise.” There are now two people once you’ve done that experiment. The Schrodinger equation doesn’t have to be messed with, all you have to do is locate yourself correctly in the wave function. That’s many-worlds.
Lex Fridman
(01:19:47)
The number of worlds is-
Sean Carroll
(01:19:50)
Very big.
Lex Fridman
(01:19:50)
… very, very, very big. Where do those worlds fit? Where do they go?
Sean Carroll
(01:19:58)
The short answer is the worlds don’t exist in space, space exists separately in each world. There’s a technical answer to your question, which is Hilbert space, the space of all possible quantum mechanical states, but physically, we want to put these worlds somewhere. That’s just a wrong intuition that we have. There is no such thing as the physical spatial location of the worlds because space is inside the worlds.
Lex Fridman
(01:20:29)
One of the properties of this interpretation is that you can’t travel from one world to the other.
Sean Carroll
(01:20:34)
That’s right.
Lex Fridman
(01:20:35)
Which makes you feel that they’re existing separately.
Sean Carroll
(01:20:43)
They are existing separately and simultaneously.
Lex Fridman
(01:20:45)
And simultaneously.
Sean Carroll
(01:20:46)
Without locations in space.
Lex Fridman
(01:20:48)
Without locations in space. How is it possible to visualize them existing without a location in space?
Sean Carroll
(01:20:55)
The real answer to that, the honest answer is the equations predict it. If you can’t visualize it, so much worse for you. The equations are crystal clear about what they’re predicting.
Lex Fridman
(01:21:07)
Is there a way to get closer to understanding and visualizing the weirdness of the implications of this?
Sean Carroll
(01:21:16)
I don’t think it’s that hard. It wasn’t that hard for me. I don’t mind the idea that when I make a quantum mechanical measurement there is, later on in the universe, multiple descendants of my present self who got different answers for that measurement. I can’t interact with them. Hilbert space, the space law of quantum wave functions, was always big enough to include all of them. I’m going to worry about the parts of the universe I can observe.

(01:21:47)
Let’s put it this way. Many-worlds comes about by taking the Schrodinger equation seriously. The Schrodinger equation was invented to fit the data, to fit the spectrum of different atoms and different emission and absorption experiments. And it’s perfectly legitimate to say, “Well, okay, you’re taking the Schrodinger equation, you’re extrapolating it, you’re trusting it, believing it beyond what we can observe. I don’t want to do that.” That’s perfectly legit except, okay, then what do you believe? Come up with a better theory. You’re saying you don’t believe the Schrodinger equation; tell me the equation that you believe in. And people have done that. Turns out it’s super hard to do that in a legitimate way that fits the data.
Lex Fridman
(01:22:36)
And many-worlds is a really clean.
Sean Carroll
(01:22:40)
Absolutely the most austere, clean, no extra baggage theory of quantum mechanics.
Lex Fridman
(01:22:45)
But if it in fact is correct, isn’t this the weirdest thing of anything we know?
Sean Carroll
(01:22:55)
Yes. In fact, let me put it this way. The single best reason in my mind to be skeptical about many-worlds is not because it doesn’t make sense or it doesn’t fit the data or I don’t know where the worlds are going or whatever, it’s because to make that extrapolation, to take seriously the equation that we know is correct in other regimes requires new philosophy, requires a new way of thinking about identity, about probability, about prediction, a whole bunch of things. It’s work to do that philosophy, and I’ve been doing it and others have done it, and I think it’s very, very doable, but it’s not straightforward. It’s not a simple extrapolation from what we already know, it’s a grand extrapolation very far away. And if you just wanted to be methodologically conservative and say, “That’s a step too far; I don’t want to buy it,” I’m sympathetic to that. I think that you’re just wimping out, I think that you should have more courage, but I get the impulse.
Lex Fridman
(01:24:00)
And there is, under many-worlds, an era of time where, if you rewind it back, there’s going to be one initial state.
Sean Carroll
(01:24:13)
That’s right. All of quantum mechanics, all different versions require a kind of arrow of time. It might be different in every kind, but the quantum measurement process is irreversible. You can measure something, it collapses; you can’t go backwards. If someone tells you the outcome… If I say I’ve measured an electron, “Its spin is clockwise,” and they say, “What was it before I measured it?” You know there was some part of it that was clockwise, but you don’t know how much. And many-worlds is no different. But the nice thing is that the kind of arrow of time you need in many-worlds is exactly the kind of arrow of time you need anyway for entropy and thermodynamics and so forth. You need a simple, low entropy initial state. That’s what you need in both cases.
Lex Fridman
(01:24:56)
If you actually look at under many-worlds into the entire history of the universe, correct me if I’m wrong, but it looks very deterministic.
Sean Carroll
(01:25:06)
Yes.
Lex Fridman
(01:25:06)
In each moment, does the moment contain the memory of the entire history of the universe? To you, does the moment contain the memory of everything that preceded it?
Sean Carroll
(01:25:17)
As far as we know, according to many-worlds, the wave function of the universe, all the branches of the universe at once, all the worlds does contain all the information. Calling it a memory is a little bit dangerous because it’s not the same kind of memory that you and I have in our brains because our memories rely on the arrow of time, and the whole point of the Schrodinger equation or Newton’s laws is they don’t have an arrow of time built in. They’re reversible. The state of the universe not only remembers where it came from but also determines where it’s going to go in a way that our memories don’t do that.
Lex Fridman
(01:25:57)
But our memories, we can do replay. Can you do this?
Sean Carroll
(01:26:01)
We can, but the act of forming a memory increases the entropy of the universe. It is an irreversible process also. You can walk on a beach and leave your footprints there. That’s a record of your passing. It will eventually be erased by the ever-increasing entropy of the universe.
Lex Fridman
(01:26:18)
Well, but you can imperfectly replay it. I guess can we return, travel back in time imperfectly?
Sean Carroll
(01:26:25)
Oh, it depends on the level of precision you’re trying to ask that question. The universe contains the information about where the universe was, but you and I don’t. We’re nowhere close.
Lex Fridman
(01:26:39)
And it’s, what, computationally very costly to try to consult the universe?
Sean Carroll
(01:26:45)
Well, it depends on, again, exactly what you’re asking. There are some simple questions like what was the temperature of the universe 30 seconds after the Big Bang? We can answer that. That’s amazing that we can answer that to pretty high precision. But if you want to know where every atom was, then no.
Lex Fridman
(01:27:05)
What to you is the Big Bang? Why? Why did it happen?
Sean Carroll
(01:27:13)
We have no idea. I think that that’s a super important question that I can imagine making progress on, but right now I’m more or less maximally uncertain about what the answer is.
Lex Fridman
(01:27:24)
Do you think black holes will help potentially?
Sean Carroll
(01:27:24)
No.
Lex Fridman
(01:27:26)
No.
Sean Carroll
(01:27:26)
Not that much. Quantum gravity will help, and maybe black holes will help us figure out quantum gravity, so indirectly, yes. But we have the situation where general relativity, Einstein’s theory unambiguously predicts there was a singularity in the past. There was a moment of time when the universe had infinite curvature, infinite energy, infinite expansion rate, the whole bit. That’s just a fancy way of saying the theory has broken down. And classical general relativity is not up to the task of what saying what really happened at that moment. It is completely possible there was, in some sense, a moment of time before which there were no other moments. And that would be the Big Bang. Even if it’s not a classical general relativity kind of thing, even if quantum mechanics is involved, maybe that’s what happened. It’s also completely possible there was time before that space and time and they evolved into our hot big bang by some procedure that we don’t really understand.
Lex Fridman
(01:28:24)
And if time and space are emergent, then the before even starts getting real weird.
Sean Carroll
(01:28:29)
Well, I think that if there is a first moment of time, that would be very good evidence or that would fit hand in glove with the idea that time is emergent. If time is fundamental, then it tends to go forever because it’s fundamental.
Lex Fridman
(01:28:44)
Well, yeah. The general formulation of this question is what’s outside of it? Well, what’s outside of our universe, in time and in space? I know it’s a pothead question, Sean. I understand. I apologize.
Sean Carroll
(01:28:57)
That’s my life. My life is asking pothead questions. Some of them, the answer is that’s not the right way to think about it.
Lex Fridman
(01:29:03)
Okay. But is it possible to think at all about what’s outside our universe?
Sean Carroll
(01:29:09)
It’s absolutely legit to ask questions, but you have to be comfortable with the possibility that the answer is there’s no such thing as outside our universe. That’s absolutely on the table. In fact, that is the simplest, most likely to be correct answer that we know of.
Lex Fridman
(01:29:24)
But it’s the only thing in the universe that wouldn’t have an outside.
Sean Carroll
(01:29:30)
Yeah. If the universe is the totality of everything, it would not have an outside.
Lex Fridman
(01:29:34)
That’s so weird to think that there’s not an outside. We want there to be a creator, a creative force that led to this and an outside. This is our town, and then there’s a bigger world. And there’s always a bigger world. And to think that there’s not [inaudible 01:29:53].
Sean Carroll
(01:29:52)
Because that is our experience. That’s the world we grew up in. The universe doesn’t need to obey those rules.
Lex Fridman
(01:30:00)
Such a weird thing.
Sean Carroll
(01:30:02)
When I was a kid, that used to keep me up at night. What if the universe had not existed?
Lex Fridman
(01:30:06)
Right. It feels like a lot of pressure that if this is the only universe and we’re here, one of the few intelligent civilizations, maybe the only one, it’s the old theories that we’re the center of everything, it just feels suspicious. That’s why many-worlds is exciting to me because it is humbling in all the right kinds of ways. It feels like infinity is the way this whole thing runs.
Sean Carroll
(01:30:37)
There’s one pitfall that I’ll just mention because there’s a move that is made in these theoretical edges of cosmology that I think is a little bit mistaken, which is to say I’m going to think about the universe on the basis of imagining that I am a typical observer. This is called the principle of typicality, or the principle of mediocrity, or even the Copernican principle. Nothing special about me, I’m just typical in the universe. But then you draw some conclusions from this, and what you end up realizing is you’ve been hilariously presumptuous because by saying, “I’m a typical observer in the universe,” you’re saying, “Typical observers in the universe are like me,” and that is completely unjustified by anything. I’m not telling you what the right way to do it is, but these kinds of questions that are not quite grounded in experimental verification or falsification are ones you have to be very careful about.
Lex Fridman
(01:31:33)
That to me is one of the most interesting questions. And there’s different ways to approach it, but what’s outside of this? How did the big mess start? How do we get something from nothing? That’s always the thing you’re sneaking up to when you’re studying all of these questions. You’re always thinking that’s where the black hole and the unifying, getting quantum gravity, all this kind of stuff, you’re always sneaking up to that question, where did all of this come from?
Sean Carroll
(01:32:02)
Yeah, that’s fair.
Lex Fridman
(01:32:02)
And I think that’s probably an answerable question, right?
Sean Carroll
(01:32:09)
No.
Lex Fridman
(01:32:10)
It doesn’t have to be. You think there could be a turtle at the bottom of this that refuses to reveal its identity?
Sean Carroll
(01:32:17)
Yes. I think that specifically the question why is there something rather than nothing? does not have the kind of answer that we would ordinarily attribute to why questions because typical why questions are embedded in the universe. And when we answer them, we take advantage of the features of the universe that we know and love. But the universe itself, as far as we know, is not embedded in anything bigger or stronger, and therefore it can just be.

Simulation

Lex Fridman
(01:32:47)
Do you think it’s possible this whole place is simulated?
Sean Carroll
(01:32:51)
Sure.
Lex Fridman
(01:32:52)
It’s a really interesting, dark, twisted video game that we’re all existing in.
Sean Carroll
(01:32:57)
My own podcast listeners, Mindscape listeners tease me because they know from my AMA episodes that if you ever start a question by asking, “Do you think it’s possible that…” the answer’s going to be yes. That might not be the answer that you care about, but it’s possible, sure, as long as you’re not adding two even numbers together and getting an odd number.
Lex Fridman
(01:33:21)
When you say it’s possible, there’s a mathematically yes, and then there’s more of intuitive.
Sean Carroll
(01:33:26)
Yeah. You want to know whether it’s plausible. You want to know is there a-
Lex Fridman
(01:33:27)
Plausible.
Sean Carroll
(01:33:30)
… reasonable, non-zero credence to attach to this? I don’t think that there’s any philosophical knockout objection to the simulation hypothesis. I also think that there’s absolutely no reason to take it seriously.
Lex Fridman
(01:33:45)
Do you think humans will try to create one? I guess that’s how I always think about it. I’ve spent quite a bit of time over the past few years and a lot more recently in virtual worlds and just am always captivated by the possibility of creating higher and high resolution worlds. And as we’ll talk a little bit about artificial intelligence, the advancement on the Sora front, you can automatically generate those worlds, and the possibility of existing in those automatically generated worlds is pretty exciting as long as there’s a consistent physics, quantum mechanics and general relativity that governs the generation of those worlds. It just seems like humans will for sure try to create this.
Sean Carroll
(01:34:34)
Yeah, I think they will create better and better simulations. I think the philosopher, David Chalmers, has done what I consider to be a good job of arguing that we should treat things that happen in virtual reality and in simulated realities as just as real as the reality that we experience. I also think that as a practical matter, people will realize how much harder it is to simulate a realistic world than we naively believe. This is not a my lifetime kind of worry.

AGI

Lex Fridman
(01:35:02)
Yeah. The practical matter of going from a prototype that’s impressive to a thing that governs everything. Similar question on this front is in AGI. You’ve said that we’re very far away from AGI.
Sean Carroll
(01:35:17)
I want to eliminate the phrase AGI.
Lex Fridman
(01:35:22)
Basically, when you’re analyzing large language models and seeing how far are they from whatever AGI is, and we can talk about different notions of intelligence, that we’re not as close as some people in public view are talking about. What’s your intuition behind that?
Sean Carroll
(01:35:41)
My intuition is basically that artificial intelligence is different than human intelligence, and so the mistake that is being made by focusing on AGI among those who do is an artificial agent that, as we can make them now or in the near future, might be way better than human beings at some things, way worse-
Sean Carroll
(01:36:00)
… Better than human beings at some things. Way worse than human beings at other things. And rather than trying to ask, how close is it to being a human-like intelligent, we should appreciate it for what its capabilities are, and that will both be more accurate and help us put it to work and protect us from the dangers better rather than always anthropomorphizing it.
Lex Fridman
(01:36:22)
I think the underlying idea there under the definition of AGI is that the capabilities are extremely impressive. That’s not a precise statement, but meaning-
Sean Carroll
(01:36:36)
Sure. No, I get that. I completely agree.
Lex Fridman
(01:36:38)
And then the underlying question where a lot of the debate is, is how impressive is it? What are the limits of large language models? Can they really do things like common sense reasoning? How much do they really understand about the world or are they just fancy mimicry machines? And where do you fall on that as to the limits of large language models?
Sean Carroll
(01:37:02)
I don’t think that there are many limits in principle. I am a physicalist about consciousness and awareness and things like that. I see no obstacle to, in principle, building an artificial machine that is indistinguishable in thought and cognition from a human being. But we’re not trying to do that. What a large language model is trying to do is to predict text. That’s what it does. And it is leveraging the fact that we human beings for very good evolutionary biology reasons, attribute intentionality and intelligence and agency to things that act like human beings. As I was driving here to get to this podcast space, I was using Google Maps and Google Maps was talking to me, but I wanted to stop to get a cup of coffee. So I didn’t do what Google Maps told me to do. I went around a block that it didn’t like. And so it gets annoyed. It says like, “No, why are you doing …” It doesn’t say exactly in this, but you know what I mean. It’s like, “No, turn left, turn left,” and you turn right.

(01:38:10)
It is impossible as a human being not to feel a little bit sad that Google Maps is getting mad at you. It’s not. It’s not even trying to, it’s not a large language model, no aspirations to intentionality, but we attribute that all the time. Dan Dennett, the philosopher, wrote a very influential paper on The Intentional Stance, the fact that it’s the most natural thing in the world for we human beings to attribute more intentionality to artificial things than are really there, which is not to say it can’t be really there. But if you’re trying to be rational and clear thinking about this, the first step is to recognize our huge bias towards attributing things below the surface to systems that are able to, at the surface level, act human.
Lex Fridman
(01:39:01)
So if that huge bias of intentionality is there in the data, in the human data, in the vast landscape of human data that AI models, large language models, and video models in the future are trained on, don’t you think that that intentionality will emerge as fundamental to the behavior of these systems naturally?
Sean Carroll
(01:39:24)
Well, I don’t think it will happen naturally. I think it could happen. Again, I’m not against the principle. But again, the way that large language models came to be and what they’re optimized for is wildly different than the way that human beings came to be and what they’re optimized for. So I think we’re missing a chance to be much more clear-headed about what large language models are by judging them against human beings. Again, both in positive ways and negative ways.
Lex Fridman
(01:39:57)
Well, I think … To push back on what they’re optimized for is different to describe how they’re trained versus what they’re optimized for. So they’re trained in this very trivial way of predicting text tokens, but you can describe what they’re optimized for and what the actual task in hand is, is to construct a world model, meaning an understanding of the world. And that’s where it starts getting closer to what humans are kind of doing, where just in the case of large language models, know how the sausage is made, and we don’t know how it’s made for us humans.
Sean Carroll
(01:40:28)
But they’re not optimized for that. They’re optimized to sound human.
Lex Fridman
(01:40:31)
That’s the fine-tuning. But the actual training is optimized for understanding, creating a compressed representation of all the stuff that humans have created on the internet.
Sean Carroll
(01:40:44)
Right.
Lex Fridman
(01:40:44)
And the hope is that that gives you a deep understanding of the world.
Sean Carroll
(01:40:50)
Yeah. So that’s why I think that there’s a set of hugely interesting questions to be asked about the ways in which large language models actually do represent the world. Because what is clear is that they’re very good at acting human. The open question in my mind is, is the easiest, most efficient, best way to act human to do the same things that human beings do or are there other ways? And I think that’s an open question. I just heard a talk by Melanie Mitchell at Santa Fe Institute, an artificial intelligence researcher, and she told two stories about two different papers, one that someone else wrote and one that her group is following up on. And they were modeling Othello. Othello, the game with a little rectangular board, white and black squares. So the experiment was the following. They fed a neural network the moves that were being made in the most symbolic form, E5 just means that, okay, you put a token down on E5. So it gives a long string, it does this for millions of games, real legitimate games.

(01:41:53)
And then it asks the question, the paper asks the question, “Okay, you’ve trained it to tell what would be a legitimate next move from not a legitimate next move. Did it in its brain, in its little large language model brain.” I don’t even know if it’s technically large language model, but a deep learning network. “Did it come up with a representation of the Othello board?” Well, how do you know? And so they construct a little probe network that they insert, and you ask it, “What is it doing right at this moment?” And the answer is that the little probe network can ask, “Would this be legitimate or is this token white or black?” Or whatever, things that in practice would amount to it has invented the Othello board. And it found that the probe got the right answer, not 100% of the time, but more than by chance, substantially more than by chance. So they said there’s some tentative evidence that this neural network has discovered the Othello board just out of data, raw data.

(01:42:59)
But then Melanie’s group asked the question, “Okay, are you sure that that understanding of the Othello board wasn’t built into your probe?” And what they found was at least half of the improvement was built into the probe. Not all of it. And look, a Othello board is way simpler than the world. So that’s why I just think it’s an open question, whether or not … I mean, it would be remarkable either way to learn that large language models that are good at doing what we train them to do are good because they’ve built the same kind of model of the world that we have in our minds or that they’re good despite not having that model. Either one of these is an amazing thing. I just don’t think the data are clear on which one is true.
Lex Fridman
(01:43:49)
I think I have some sort of intellectual humility about the whole thing because I was humbled by several stages in the machine learning development over the past 20 years. And I just would never have predicted that LLMs, the way they’re trained, on the scale of data they’re trained would be as impressive as they are. And that’s where intellectual humility steps in, where my intuition would say something like with Melanie, where you need to be able to have very sort of concrete common sense reasoning, symbolic reasoning type things in a system in order for it to be very intelligent. But here, I’m so impressed by what it’s capable to do, train on the next token prediction essentially … My conception of the nature of intelligence is just completely, not completely, but humbled, I should say.
Sean Carroll
(01:44:48)
Look, and I think that’s perfectly fair. I also was, I almost say pleasantly, but I don’t know whether it’s pleasantly or unpleasantly, but factually surprised by the recent rate of progress. Clearly some kind of phase transition percolation has happened and the improvement has been remarkable, absolutely amazing. That I have no arguments with. That doesn’t yet tell me the mechanism by which that improvement happened. Constructing a model much like a human being is clearly one possible mechanism, but part of the intellectual humility is to say maybe there are others.
Lex Fridman
(01:45:24)
I was chatting with the CEO of Anthropic, Dario Amodei, so behind Claude and that company, but a lot of the AI companies are really focused on expanding the scale of compute. If we assume that AI is not data limited, but is compute limited, you can make the system much more intelligent by using more compute. So let me ask you almost on the physics level, do you think physics can help expand the scale of compute and maybe the scale of energy required to make that compute happen?
Sean Carroll
(01:46:02)
Yeah, 100%. I think this is one of the biggest things that physics can help with, and it’s an obvious kind of low-hanging fruit situation where the heat generation, the inefficiency, the waste of existing high-level computers is nowhere near the efficiency of our brains. It’s hilariously worse, and we haven’t tried to optimize that hard on that frontier. I mean, your laptop heats up when it’s sitting on your lap. It doesn’t need to. Your brain doesn’t heat up like that. So clearly there exists in the world of physics, the capability of doing these computations with much less waste heat being generated, and I look forward to people doing that, yeah.
Lex Fridman
(01:46:49)
Are you excited for the possibility of nuclear fusion?
Sean Carroll
(01:46:52)
I am cautiously optimistic. Excited would be too strong. I mean, it’d be great, but if we really tried solar power, it would also be great.
Lex Fridman
(01:47:02)
I think Ilya Sutskever said this, that the future of humanity on Earth will be just the entire surface of Earth is covered in solar panels and data centers.
Sean Carroll
(01:47:13)
Why would you waste the surface of the Earth with solar panels? Put them in space.
Lex Fridman
(01:47:16)
Sure, you can go in space. Yeah.
Sean Carroll
(01:47:17)
Space is bigger than the Earth.
Lex Fridman
(01:47:20)
Yeah, just solar panels everywhere.
Sean Carroll
(01:47:21)
Yeah.
Lex Fridman
(01:47:21)
I like it.
Sean Carroll
(01:47:24)
We already have fusion. It’s called the Sun.
Lex Fridman
(01:47:26)
Yeah, that’s true. And there’s probably more and more efficient ways of catching that energy.
Sean Carroll
(01:47:33)
Sending it down is the hard part, absolutely. But that’s an engineering problem.
Lex Fridman
(01:47:37)
So I just wonder where the data centers, the compute centers can expand to, if that’s the future. If AI is as effective as it possibly could be, then the scale of computation will keep increasing, but perhaps it’s a race between efficiency and scale.
Sean Carroll
(01:47:56)
There are constraints. There’s a certain amount of energy, a certain amount of damage we can do to the environment before it’s not worth it anymore. So yeah, I think that’s a new question. In fact, it’s kind of frustrating because we get better and better at doing things efficiently, but we invent more things we want to do faster than we get good at doing them efficiently. So we’re continuing to make things worse in various ways.
Lex Fridman
(01:48:19)
I mean, that’s the dance of humanity where we’re constantly creating better motivated technologies that are potentially causing a lot more harm, and that includes for weapons, includes AI used as weapons, that includes nuclear weapons, of course, which is surprising to me that we haven’t destroyed human civilization yet, given how many nuclear warheads are out there.
Sean Carroll
(01:48:41)
Look, I’m with you. Between nuclear and bioweapons, it is a little bit surprising that we haven’t caused enormous devastation. Of course, we did drop two atomic bombs on Japan, but compared to what could have happened or could happen tomorrow, it could be much worse.
Lex Fridman
(01:48:57)
It does seem like there’s an underlying, speaking of quantum fields, there’s a field of goodness within the human heart that in some kind of game theoretic way, we create really powerful things that could destroy each other, and there’s greed and ego and all this kind of power hungry dictators that are at play here in all the geopolitical landscape, but we somehow always don’t go too far.
Sean Carroll
(01:49:25)
But that’s exactly what you would say right before we went too far.

Complexity

Lex Fridman
(01:49:27)
Right before we went too far, and that’s why we don’t see aliens. So you’re like I mentioned, associated with Santa Fe Institute. I just would love to take a stroll down the landscape of ideas explored there.
Sean Carroll
(01:49:43)
Sure.
Lex Fridman
(01:49:44)
So they look at complexity in all kinds of ways. What do you think about the emergence of complexity from simple things interacting simply?
Sean Carroll
(01:49:52)
I think it’s a fascinating topic. I mean, that’s why I’m thinking about these things these days rather than the papers that I was describing to you before. All of those papers I described to you before are guesses. What if the laws of physics are different in the following way? And then you can work out the consequences. At some point in my life, I said, “What is the chance I’m going to guess right?” Einstein guessed right, Steven Weinberg guessed right, but there’s a very small number of times that people guessed right. Whereas with this emergence of complexity from simplicity, I really do think that we haven’t understood the basics yet. I think we’re still kind of pre-paradigmatic. There have been some spectacular discoveries. People like Geoffrey West at Santa Fe and others have really given us true insights into important systems. But still, there’s a lot of the basics, I think are not understood.

(01:50:40)
And so searching for the general principles is what I like to do, and I think it’s absolutely possible that … And to be a little bit more substantive than that. This is kind of a cliche. I think the key is information, and I think that what we see through the history of the universe as you go from simple to more and more complex is really subsystems of the universe figuring out how to use information to do whatever, to survive or to thrive or to reproduce. I mean, that’s the sort of fuel, the leverage, the resource that we have for a while anyway, until the heat death. But that’s where the complexity is really driven by.
Lex Fridman
(01:51:20)
But the mechanism of it. I mean, you mentioned Geoffrey West. What are interesting inklings of progress in this realm? And what are systems that interest you in terms of information? So I mean, for me, just as a fan of complexity, just even looking at simple cellular automata is always just a fascinating way to illustrate the emergence of complexity.
Sean Carroll
(01:51:42)
So for those of the listeners who don’t know, viewers, cellular automata come from imagining a very simple configuration. For example, a set of ones and zeros along a line, and then you met a rule that says, “Okay, I’m going to evolve this in time.” And generally the simplest ones start with just each block of three ones and zeros have a rule that they will determinously go to either one or a zero, and you can actually classify all the different possibilities, a small number of possible cellular automata of that form.

(01:52:15)
And what was discovered by various people, including Stephen Wolfram is some of these cellular automata have the feature that you start from almost nothing like 0, 0, 0, 0, 1, 0, 0, 0, 0, and you let it rip and it becomes wildly complex. Okay, so this is very provocative, very interesting. It’s also not how physics works at all because as we said, physics conserves information. You can go forward or backwards. These cellular automata do not, they’re not reversible in any sense. You’ve built in an arrow of time, you have a starting point, and then you evolve. So what I’m interested in is seeing how in the real world with the real laws of physics and underlying reversibility, but macroscopic irreversibility from entropy and the arrow of time, et cetera, how does that lead to complexity? I think that that’s an answerable question. I don’t think that cellular automata are really helping us in that one.
Lex Fridman
(01:53:11)
So what does the landscape of entropy in the universe look like?
Sean Carroll
(01:53:18)
Well, entropy is hard to localize. It’s a property of systems, not of parts of systems. Having said that, we can do approximate answers to the question. The answer is black holes are huge in entropy. Let’s put it this way, the whole observable universe that we were in had a certain amount of entropy before stars and planets and black holes started to form, 10 to the 88th. I can even tell you the number. Okay. The single black hole at the center of our galaxy has entropy, 10 to the 90. Single black hole at the of our galaxy has more entropy than the whole universe used to have not too long ago. So most of the entropy in the universe today is in the form of black holes.
Lex Fridman
(01:54:04)
Okay, that’s fascinating first of all. But second of all, if we take black holes away, what are the different interesting perturbations in entropy across space? Where do we earthlings fit into that?
Sean Carroll
(01:54:18)
The interesting thing to me is that if you start with a system that is isolated from the rest of the universe and you start it at low entropy, there’s almost a theorem that says if you’re very, very, very low entropy, then the system looks pretty simple. Because low entropy means there’s only a small number of ways that you can rearrange the parts to look like that. So if there’s not that many ways, the answer’s going to look simple.

(01:54:46)
But there’s also almost a theorem that says when you’re at maximum entropy, the system is going to look simple because it’s all smeared out. If it had interesting structure, then it would be complicated. So entropy in this isolated system only goes up. That’s the second law of thermodynamics. But complexity starts low, goes up, and then goes down again. Sometimes people think that complexity or life or whatever is fighting against the second law of thermodynamics, fighting against the increase of entropy. That is precisely the wrong way to think about it. We are surfers riding the wave of increasing entropy. We rely on increasing entropy to survive. That is part of what makes us special. This table maintains its stability mechanically, which I mean there’s molecules there, have forces on each other, and it holds up. You and I aren’t like that. We maintain our stability dynamically by ingesting food, fuel, food, and water and air and so forth, burning it, increasing its entropy. We are non equilibrium, quasi steady-state systems. We are using the fuel the universe gives us in the form of low entropy energy to maintain our stability.
Lex Fridman
(01:56:06)
I just wonder what that mechanism of surfing looks like. First of all, one question to ask, do you think it’s possible to have a kind of size of complexity where you have very precise ways or clearly defined ways of measuring complexity?
Sean Carroll
(01:56:25)
I think it is, and I think we don’t. It’s possible to have it, I don’t think we yet have it because in part because complexity is not a univalent thing. There’s different ideas that go under the rubric of complexity. One version is just [inaudible 01:56:41] complexity. If you have a configuration or a string of numbers or whatever, can you compress it so that you have a small program that will output that? That’s [inaudible 01:56:51] complexity, but that’s the complexity of a string of numbers. It’s not like the complexity of a problem, computational complexity, the traveling salesman problem or factoring large numbers. That’s a whole different kind of question that is also about complexity. So we don’t have that sort of unified view of it.
Lex Fridman
(01:57:09)
So you think it’s possible to have a complexity of a physical system?
Sean Carroll
(01:57:13)
Yeah, absolutely.
Lex Fridman
(01:57:14)
In the same way we do entropy?
Sean Carroll
(01:57:15)
Yeah.
Lex Fridman
(01:57:17)
You think that’s a Sean Carroll paper or what?
Sean Carroll
(01:57:20)
We are working on various things. The glib thing that I’m trying to work on right now with a student is Complexo Genesis. How does complexity come to be if all the universe is doing is moving from low entropy to high entropy?
Lex Fridman
(01:57:33)
It’s a sexy name.
Sean Carroll
(01:57:34)
It’s a good name. Yeah, I like the name. I’ve just got to write the paper.
Lex Fridman
(01:57:38)
Sometimes a name, a rose by any other name. In which context, the birth of complexity are you most interested in?
Sean Carroll
(01:57:49)
Well, I think it comes in stages. So I think that if you go from … I’m again a physicist, so biologists studying evolution will talk about how complexity evolves all the time, the complexity of the genome, the complexity of our physiology. But they take for granted that life already existed and entropy is increasing and so forth. I want to go back to the beginning and say the early universe was simple and low entropy and entropy increases with time, and the universe sort of differentiates and becomes more complex. But that statement, which is indisputably true, has different meanings because complexity has different meanings. So sort of the most basic primal version of complexity is what you might think of as configurational complexity. That’s what [inaudible 01:58:39] gets at. How much information do you need to specify the configuration of the system?

(01:58:44)
Then there’s a whole other step where subsystems of the universe start burning fuel. So in many ways, a planet and a star are not that different in configurational complexity. They’re both spheres with density high at the middle and getting less as you go out. But there’s something fundamentally different because the star only survives as long as it has fuel. I mean, then it turns into a brown dwarf or white dwarf for whatever. But as a star, as a main sequence star, it is an out of equilibrium system, but it’s more or less static. If I spill the coffee mug and it falls, in the process of falling it’ out of equilibrium, but it’s also changing all the time. A specific kind of system is where it looks sort of macroscopically stationary, like a star, but underneath the hood, it’s burning fuel to beat the band in order to maintain that stability. So as stars form, that’s a different kind of complexity that comes to be.

(01:59:43)
Then there’s another kind of complexity that comes to be, roughly speaking at the origin of life, because that’s where you have information really being gathered and utilized by subsystems of the universe. And then arguably, there’s any number of stages past that. I mean, one of the most obvious ones to me is we talk about simulation theory, but you and I run simulations in our heads. They’re just not that good. But we imagine different hypothetical futures. Bacteria don’t do that. So that’s the kind of information processing that is a form of complexity, and so I would like to understand all these stages and how they fit together.
Lex Fridman
(02:00:20)
Yeah, imagination.
Sean Carroll
(02:00:21)
Yeah, mental time travel.
Lex Fridman
(02:00:24)
Yeah. The things going on in my head when I’m imagining worlds are super compressed representations of those worlds, but [inaudible 02:00:32] get to the essence of them, and maybe it’s possible with non-human computing type devices to do those kinds of simulations in more and more compressed ways.
Sean Carroll
(02:00:41)
There’s an argument to be made that literally what separates human beings from other species on Earth is our ability to imagine counterfactual hypothetical futures.
Lex Fridman
(02:00:55)
Yeah, I mean, that’s one of the big features. I don’t know if it’s a-
Sean Carroll
(02:00:59)
Everyone has their own favorite little feature, but that’s why I said there’s an argument to be made. I did a podcast episode on it with Adam Bulley. It developed slowly. I did a different podcast. Sorry to keep mentioning podcast episodes I did. But Malcolm Maciver, who is an engineer at Northwestern, has a theory about one of the major stages in evolution is when fish first climbed on the land. And I mean, of course that is a major stage of evolution, but in particular, there’s a cognitive shift because when you’re a fish swimming under the water, the attenuation length of light in water is not that long. You can’t see kilometers away. You can see meters away, and you’re moving at meters per second. So all of the evolutionary optimization is make all of your decisions on a timescale of less than a second. When you see something new, you have to make a rapid fire decision what to do about it.

(02:01:51)
As soon as you climb onto land, you can essentially see forever, you can see stars in the sky. So now a whole new mode of reasoning opens up where you see something far away and rather than saying, “Look up [inaudible 02:02:06],” I see this, I react. You can say, “Okay, I see that thing. What if I did this? What if I did that? What if I did something different?” And that’s the birth of imagination eventually.

Consciousness

Lex Fridman
(02:02:17)
You’ve been critical on panpsychism.
Sean Carroll
(02:02:20)
Yes, you’ve noticed that.
Lex Fridman
(02:02:22)
Can you make the case for Panpsychism and against it? So panpsychism is the idea that consciousness permeates all matter. Maybe it’s a fundamental force or a physics of the fabric of the universe.
Sean Carroll
(02:02:39)
Panpsychism, thought everywhere, consciousness everywhere.
Lex Fridman
(02:02:45)
To a point of entertainment, the idea frustrates you, which sort of as a fan is wonderful to watch, and you’ve had great episodes with panpsychists on your podcast where you go at it.
Sean Carroll
(02:02:58)
I had David Chalmers, who’s one of the world’s great philosophers, and he is panpsychism curious. He doesn’t commit to anything, but he’s certainly willing to entertain it. Philip Goff, who I’ve had, who is a great guy, but he’s devoted to panpsychism. In fact, he’s almost single-handedly responsible for the upsurge of interest in panpsychism in the popular imagination. And the argument for it is supposed to be that there is something fundamentally uncapturable about conscious awareness by physical behavior of atoms and molecules. So the panpsychist will say, “Look, you can tell me maybe someday, through advances of neuroscience and what have you, exactly what happens in your brain and how that translates into thought and speech and action. What you can’t tell me is what it is like to be me. You can’t tell me what I am experiencing when I see something that is red or that I taste something that is sweet. You can tell me what neurons fire, but you can’t tell me what I’m experiencing, that first-person, inner subjective experience is simply not capturable by physics.”

(02:04:14)
And therefore, this is an old argument, of course, but then therefore is supposed to be, I need something that is not contained within physics to account for that, and I’m just going to call it mind. We don’t know what it is yet. We’re going to call it mind, and it has to be separate from physics. And then there’s two ways to go. If you buy that much, you can either say, okay, I’m going to be a dualist. I’m going to believe that there’s matter and mind, and they’re separate from each other and they’re interacting somehow. Or that’s a little bit complicated and sketchy as far as physics is going to go. So I’m going to believe in mind, but I’m going to put it prior to matter. I’m going to believe that mind comes first, and that consciousness is the fundamental aspect of reality and everything else, including matter and physics comes from it. That would be at least as simple as physics comes first.

(02:05:07)
Now, the physicalist such as myself will say, I don’t have any problem explaining what it’s like to be you or what you experience when you see red. It’s a certain way of talking about the atoms and the neurons, et cetera, that make up you. Just like the hardness or the brownness of this table, these are words that we attach to certain underlying configurations of ordinary physical matter. Likewise, sadness and redness or whatever are words that we attach to you to describe what you’re doing. And when it comes to consciousness in general, I’m very quick to say I do not claim to have any special insight on how consciousness works other than I see no reason to change the laws of physics to account for it.
Lex Fridman
(02:05:58)
If you don’t have to change the laws of physics, where do you think it emerges from? Is consciousness an illusion that’s almost like a shorthand that we humans use to describe a certain kind of feeling we have when interacting with the world, or is there some big leap that happens at some stage?
Sean Carroll
(02:06:15)
I almost never use the word illusion. Illusion means that there’s something that you think you’re perceiving that is actually not there. Like an oasis in the desert is an illusion. It has no causal efficacy. If you walk up to where the oasis is supposed to be, you’ll say you were wrong about it being there. That’s different than something being emergent or non-fundamental, but also real. This table is real, even though I know it’s made of atoms, that doesn’t remove the realness from the table. I think that consciousness and free will and things like that are just as real in tables and chairs.
Lex Fridman
(02:06:47)
Oasis in the desert does have causal efficacy in that you’re thirsty [inaudible 02:06:53].
Sean Carroll
(02:06:53)
It leads you to draw incorrect conclusions about the world.
Lex Fridman
(02:06:56)
Sure, but imagining a thing can sometimes bring it to reality, as we’ve seen, and that has a kind of causal efficacy.
Sean Carroll
(02:07:07)
But your understanding of the world in a way that gives you power over it and influence over it is decreased rather than increased by believing in that oasis. That is not true about consciousness or this table.
Lex Fridman
(02:07:20)
You don’t think you can increase the chance of a thing existing by imagining it existing?
Sean Carroll
(02:07:29)
No. Unless you build it or make it.
Lex Fridman
(02:07:32)
No, that’s what I mean. Imagining humans can fly if you’re the Wright brothers.
Sean Carroll
(02:07:37)
[inaudible 02:07:37] imagine that humans are flying, in terms of counterfactuals in the future, absolutely. Imagination is crucially important, but that’s not an illusion. That’s just a imagination.
Lex Fridman
(02:07:48)
Okay. The possibility of the future versus what the reality is. I mean, the future is a concept, so you can … Time is just a concept, so you can play with that.
Lex Fridman
(02:08:01)
Time is just a concept so you can play with that. But yes, reality. So, to you … So for example, I love asking this. So, Donald Hoffman thinks that the entirety of the conversation we’ve been having about space-time is an illusion. Is it possible for you to steelman the case for that? Can you make the case for and against reality, as I think he writes, that the laws of physics as we know them with space-time, is it interface to a much deeper thing that we don’t at all understand and that we’re fooling ourselves by constructing this world?
Sean Carroll
(02:08:45)
Well, I think there’s part of that idea that is perfectly respectable and part of it that is perfectly nonsensical and I’m not even going to try to steelman the nonsensical part. The real part to me is what is called structural realism, so we don’t know what the world is at a deep fundamental level. Let’s put ourselves in the minds of people living 200 years ago, they didn’t know about quantum mechanics, they didn’t know about relativity, that doesn’t mean they were wrong about the universe that they understood, they had Newton’s laws, they could predict what time the sun was going to rise perfectly well.

(02:09:23)
In the progress of science, the words that would be used to give the most fundamental description of how you were predicting the sun would rise changed because now you have curved space-time and things like that and you didn’t have any of those words 200 years ago. But the prediction is the same, why? Because that prediction, independent of what we thought the fundamental ontology was, the prediction pointed to something true about our understanding of reality. To call it an illusion is just wrong, I think. We might not know what the best, most comprehensive way of stating it is but it’s still true.
Lex Fridman
(02:10:06)
Is it true in the way, for example, belief in God is true? Because for most of human history, people have believed in a God or multiple gods and that seemed very true to them as an explanation for the way the world is, some of the deeper questions about life itself with the human condition and why certain things happen, that was a good explainer. So, to you, that’s not an illusion?
Sean Carroll
(02:10:40)
No, I think that was completely an illusion. I think it was a very, very reasonable illusion to be under. There are illusions, there are substantive claims about the world that go beyond predictions that we can make and verify which later turned out to be wrong and the existence of God was one of them. If those people at that time had abandoned their belief in God and replaced it with a mechanistic universe, they would’ve done just as well at understanding things. Again, because there are so many things they didn’t understand, it was very reasonable for them to have that belief, it wasn’t that they were dummies or anything like that. But that is, as we understand the universe better and better, some things stick with us, some things get replaced.

Naturalism

Lex Fridman
(02:11:23)
So, like you said, you are a believer of the mechanistic universe, you’re a naturalist and, as you’ve described, a poetic naturalist.
Sean Carroll
(02:11:35)
That’s right.
Lex Fridman
(02:11:35)
What’s the word poetic … What is naturalism and what is poetic naturalism?
Sean Carroll
(02:11:39)
Naturalism is just the idea that all that exists is the natural world, there’s no supernatural world. You can have arguments about what that means but I would claim that the argument should be about what the word supernatural means, not the word natural. The natural world is the world that we learn about by doing science. The poetic part means that you shouldn’t be too, I want to say, fundamentalist about what the natural world is. As we went from Newtonian space-time to Einsteinian space-time, something is maintained there, there is a different story that we can tell about the world.

(02:12:19)
And that story, in the Newtonian regime, if you want to fly a rocket to the moon, you don’t use general relativity, you use Newtonian mechanics, that story works perfectly well. The poetic aspect of the story is that there are many ways of talking about the natural world and, as long as those ways latch onto something real and causally efficacious about the functioning of the world, then we attribute some reality and truth to them.
Lex Fridman
(02:12:44)
So, the poetic really looks at the, let’s say, the pothead questions at the edge of science is more open to them.
Sean Carroll
(02:12:52)
It’s doing double duty a little bit so that’s why it’s confusing. The more obvious respectable duty it’s doing is that tables are real. Even though you know that it’s really a quantum field theory wave function, tables are still real, there are a different way of talking about the underlying deeper reality of it. The other duty it’s doing is that we move beyond purely descriptive vocabularies for discussing the universe onto normative and prescriptive and judgmental ways of talking about the universe. This painting is beautiful, that one is ugly. This action is morally right, that one is morally wrong. These are also ways of talking about the universe, they are not fixed by the phenomena, they’re not determined by our observations, they cannot be ruled out by a crucial experiment but they’re still valid. They might not be universal, they might be subjective but they’re not arbitrary and they do have a role in describing how the world works.
Lex Fridman
(02:13:50)
So, you don’t think it’s possible to construct experiments that explore the realms of morality and even meaning? So, those are subjective?
Sean Carroll
(02:14:02)
Yeah. They’re human, they’re personal.
Lex Fridman
(02:14:04)
But do you think that’s just because we don’t have a … The tools of science have not expanded enough to incorporate the human experience?
Sean Carroll
(02:14:13)
No, I don’t think that’s what it is. I think that what we mean by aesthetics or morality are we’re attaching categories, properties to things that happen in the physical world and there is always going to be some subjectivity to our attachment and how we do that and that’s okay and, the faster we recognize that and deal with it, the better off we’ll be.
Lex Fridman
(02:14:32)
But if we deeply and fully understand the function of the human mind, it won’t be able to incorporate that?
Sean Carroll
(02:14:39)
No. That will absolutely be helpful in explaining why certain people have certain moral beliefs, it won’t justify those beliefs as right or wrong.
Lex Fridman
(02:14:48)
Do you think it’s possible to have a general relativity that includes the observer effect where the human mind is the observer?
Sean Carroll
(02:14:56)
Sure.
Lex Fridman
(02:14:57)
How we morph in the same way gravity morphs space-time, how does the human mind morph reality and have a very thorough theory of how that morphing actually happens?
Sean Carroll
(02:15:14)
That’s a very pothead question, Lex, but-
Lex Fridman
(02:15:16)
I’m sorry.
Sean Carroll
(02:15:17)
It’s okay.
Lex Fridman
(02:15:17)
But do you think it’s possible?
Sean Carroll
(02:15:20)
The answer is yes. I think that there’s no-
Lex Fridman
(02:15:20)
Okay, all right.
Sean Carroll
(02:15:22)
I think we are part of the physical world, the natural world. Physicalism would’ve been just as good a word to use as naturalism, maybe even a more accurate word but it’s a little bit more off-putting so I do want to snap your more attractive label than physicalism.

Limits of science

Lex Fridman
(02:15:40)
Are there limits to science?
Sean Carroll
(02:15:42)
Sure. We just talked about one, right? Science can’t tell you right from wrong. You need science to implement your ideas about right and wrong. If you are functioning on the basis of an incorrect view of how the world works, you might very well think you’re doing right but actually be doing wrong but all the science in the world won’t tell you which action is right and which action is wrong.
Lex Fridman
(02:16:05)
Dictators and people in power sometimes use science as an authority to convince you what’s right and wrong, studying Nazi science is fascinating.
Sean Carroll
(02:16:16)
Yeah. But there’s an instrumentalist view here, you have to first decide what your goals are and then science can help you achieve those goals. If your goals are horrible, science has no problem helping you achieve them, science is happy to help out.
Lex Fridman
(02:16:30)
Let me ask you about the method behind the madness on several aspects of your life. So, you mentioned your approach to writing for research and writing popular books, how do you find the time of the day? What’s the day in the life of Sean Carroll looks like?
Sean Carroll
(02:16:44)
Very unclear how I have the time, honestly.
Lex Fridman
(02:16:45)
So, you don’t have a thing where, in the morning, you try to fight for two hours somewhere?
Sean Carroll
(02:16:51)
I don’t, I’m really terrible at that. My strategy for finding time is just to ignore interruptions and emails but it’s a different time every day, some days it never happens, some weeks it never happens.
Lex Fridman
(02:17:04)
Oh, really? You’re able to pull it off? Because you’re extremely prolific. So, you’re able to have days where you don’t write-
Sean Carroll
(02:17:09)
Oh, my god, yes. Yeah.
Lex Fridman
(02:17:09)
… and still write the next day?
Sean Carroll
(02:17:11)
Right.
Lex Fridman
(02:17:12)
Oh, wow. That’s a rare thing, right? A lot of prolific writers will-
Sean Carroll
(02:17:17)
I guess it’s true.
Lex Fridman
(02:17:18)
… carve out two hours because, otherwise, it just disappears.
Sean Carroll
(02:17:21)
Right. No, I get that. Yeah, I do. And yeah, it just everyone has their foibles or whatever so I’m not able to do that, therefore, I have to just figure it out on the fly.
Lex Fridman
(02:17:37)
And what’s the actual process look like when you’re writing popular stuff? You get behind a computer?
Sean Carroll
(02:17:42)
Yeah, get behind a computer. My way of doing it … So, my wife, Jennifer, is a science writer but it’s interesting because our techniques are entirely different. She will think about something but then she’ll free write, she’ll just sit at a computer and write I think this, I think this, I think this. And then that will be vastly compressed, edited, rewritten or whatever until the final thing happens. I will just sit there silently thinking for a very long time and then I’ll write what is almost the final draft. So, a lot of it happens. There might be some scribbles for an outline or something like that but a lot of it is in my brain before it’s on the page.
Lex Fridman
(02:18:18)
So, that’s the case for The Biggest Ideas in the Universe, the quanta book and the space, time and motion book?
Sean Carroll
(02:18:23)
Yeah, Quanta and Fields, which is actually mostly about quantum field theory and particle physics, that’s coming out in May. And that is I’m letting people in on things that no other book lets them in on so I hope it’s worth it. It’s a challenge because it’s a lot of equations.
Lex Fridman
(02:18:40)
You did the same thing with Space, Time and Motion. You did something quite interesting which is you made the equation the centerpiece of a book.
Sean Carroll
(02:18:48)
Right, there’s a lot of equations. Book two goes further in those directions than book one did. So, it’s more cool stuff, it’s also more mind-bending, it’s more of a challenge. Book three that I’m writing right now is called Complexity and Emergence.
Lex Fridman
(02:19:09)
Oh wow.
Sean Carroll
(02:19:09)
And that’ll be the final part of the trilogy.
Lex Fridman
(02:19:11)
Oh, that’s fascinating. So, there’s a lot of, probably, ideas there, that’s a real cutting edge.
Sean Carroll
(02:19:17)
Well, but I’m not trying to be cutting edge. In other words, I’m not trying to speculate in these books. Obviously, in other books, I’ve been very free about speculating but the point of these books is to say things that, 500 years from now, will still be true. And so, there are some things we know about complexity and emergence and I want to focus on those. And I will mention, I’m happy to say, this is something that needs to be speculated about but I won’t pretend to be telling you what one is the right one.
Lex Fridman
(02:19:44)
You somehow found the balance between the rigor of mathematics and still accessible which is interesting.
Sean Carroll
(02:19:50)
I try. Look, these three books, the Biggest Ideas books are absolutely an experiment. They’re going to appeal to a smaller audience than other books will but that audience should love them. My 19-year-old Self would’ve been so happy to get these books, I can’t tell you.
Lex Fridman
(02:20:07)
Yeah, in terms of looking back in history, those are books … The trilogy would be truly special in that way.
Sean Carroll
(02:20:13)
Worked for Lord of the Rings so I figured why not me.
Lex Fridman
(02:20:16)
You and Tolkien.
Sean Carroll
(02:20:17)
Yeah.
Lex Fridman
(02:20:18)
Just different styles, different topics.
Sean Carroll
(02:20:20)
Same ultimate reality.

Mindscape podcast

Lex Fridman
(02:20:24)
We mentioned Mindscape Podcast, I love it. You interview a huge variety of experts from all kinds of fields so just several questions I want to ask. How do you prepare? How prepare to have a good conversation? How do you prepare in a way that satisfies, makes your own curious mind happy, all that kind of stuff?
Sean Carroll
(02:20:46)
Yeah, no, these are great questions and I’ve struggled and changed my techniques over the years, it’s a over five-year-old podcast, might be approaching six years old now. I started out over-preparing when I first started, I had a journey that I was going to go down. Many of the people I talk to are academics or thinkers who write books so they have a story to tell, I could just say, “Okay, give me your lecture and then, an hour later, stop.” So, the mistake is to anticipate what the lecture would be and to ask the leading questions that would pull it out of them. What I do now is much more here are the points, here are the big questions that I’m interested in and so I have a much sketchier outline to start and then try to make it more of a real conversation.

(02:21:38)
I’m helped by the fact that it is not my day job so I strictly limit myself to one day of my life per podcast episode on average, some days take more. And that includes, not just doing the research, but inviting the guest, recording it, editing it, publishing it. So, I need to be very, very efficient at that, yeah.
Lex Fridman
(02:22:00)
You enforce constraints for yourself in which creativity can emerge.
Sean Carroll
(02:22:03)
That’s right, that’s right. And look, sometimes, if I’m interviewing a theoretical physicist, I can just go in. And where I’m interviewing an economist or a historian, I have to do a lot of work.
Lex Fridman
(02:22:16)
Do you ever find yourself getting lost in rabbit holes that serve no purpose except satisfying your own curiosity and then potentially expanding the range of things you know that can help your actual work and research and writing?
Sean Carroll
(02:22:31)
Yes, on both counts. Some people have so many things to talk about that you don’t know where to start or finish, others have a message. And one of the thing I discovered over the course of these years is the correlation with age. There are brilliant people and I try very hard on the podcast to get all sorts of people, different ages and things like that and, bless their hearts, the most brilliant young people are not as practiced at wandering past their literal research. The have less mastery over the field as a whole, much less how to talk about it. Whereas, certain older people just have their pad answers and that’s boring.

(02:23:15)
So, you want somewhere in between, the ideal person who has a broad enough of a scope that they can wander outside their specific papers they’ve written but they’re not overly practiced so they’re just giving you their canned answers.
Lex Fridman
(02:23:29)
I feel like there’s a connection to the metaphor of entropy and complexity, as you said there.
Sean Carroll
(02:23:33)
Yeah. Edge of chaos, yeah.
Lex Fridman
(02:23:36)
You also do incredible AMAs and people should sign up to your Patreon because you can get to ask questions, Sean Carroll. Well, for several hours, you just answer in fascinating ways some really interesting questions. Is there something you could say about the process of finding the answers to those?
Sean Carroll
(02:23:57)
That’s a great one. Again, it’s evolved over time. So, the Ask me Anything episodes were first, when I started doing them, they were only for Patreon subscribers to both listen to and to ask the questions. But then I actually asked my Patreon subscribers, “Would you like me to release them publicly?” and they overwhelmingly voted yes so I do that. So, the Patreon supporters ask the questions, everyone can listen. And also, at some point, I really used to try to answer every question but now there’s just too many so I have to pick and that’s fraught with peril and my personal standard for picking questions to answer is what are the ones I think I have interesting answers to give for.

(02:24:39)
So, that both means, if it’s the same old question about special relativity that I’ve gotten a hundred times before, I’m not going to answer it because you can just Google that, it’s easier. There are some very clear attempts to ask an interesting question that, honestly, I don’t have an answer to. Like, ” I read this science fiction novel, what do you think about it?” I’m like, “Well, I haven’t read it so I can’t help you there.” “What’s your favorite color?” “I could tell you what it is but it’s not that interesting.” And so, I try to make it a mix, I try to … It’s not all physics questions, not all philosophy questions, I will talk about food or movies or politics or religion if that’s what people want to. I keep suggesting that people ask me for relationship advice but they never do.
Lex Fridman
(02:25:27)
Yeah, I don’t think I’ve heard one.
Sean Carroll
(02:25:29)
Yeah, I’m willing to do it. I’m a little reluctant because I don’t actually like giving advice but I’m happy to talk about those topics. I want to give several hours of talking and I want to try to say things that I haven’t said before and keep it interesting, keep it rolling. If you like this question, wait for the next one.
Lex Fridman
(02:25:50)
What are some of the harder questions you’ve gotten? Do you remember? What kinds of questions are difficult for you?
Sean Carroll
(02:25:57)
Rarely but occasionally people will ask me a super insightful philosophy question. I hadn’t thought of it things in exactly that way and I try to recognize that. A lot of times, it is the opposite where it’s like, “Okay, you’re clearly confused and I’m going to try to explain the question you should have asked.”
Lex Fridman
(02:26:20)
I love those. Yeah, why that’s the wrong question or that kind of stuff, that’s great.
Sean Carroll
(02:26:24)
Right.
Lex Fridman
(02:26:24)
That’s great.
Sean Carroll
(02:26:25)
But the hard questions, I don’t know. I don’t actually answer personal questions very much. The most personal I will get are questions like what do you think of Baltimore, that much I can talk about. Or how are your cats doing, happy to talk about the cats in infinite detail. But very personal questions I don’t get into.
Lex Fridman
(02:26:42)
But you even touch politics and stuff like this.
Sean Carroll
(02:26:45)
Yeah, no, very happy to talk about politics. I try to be clear on what is professional expertise, what is just me babbling, what is my level of credence in different things, where you’re allowed to disagree, whether, if you disagree, you’re just wrong and people can disagree with that also. But I do think I’m happy to go out on a limb a little bit, I’m happy to say, “Look, I don’t know but here’s my guess.” I just did a whole solo podcast which was exactly that. And it’s interesting, some people are like, “Oh, this was great,” and there’s a whole bunch of people who are like, “Why are you talking about this thing that you are not the world’s expert in?”
Lex Fridman
(02:27:23)
Well, I love the actual dance between humility and having a strong opinion on stuff, it’s a fascinating dance to pull off. And I guess the way to do that is to just expand into all kinds of topics and play with ideas and then change your mind and all that kind of stuff.
Sean Carroll
(02:27:40)
Yeah, it is interesting because, when people react against you by saying you are being arrogant about this, 99.999% of the time, all they mean is I disagree. That’s all they really mean, right?
Lex Fridman
(02:27:59)
Yeah.
Sean Carroll
(02:27:59)
At a very basic level, people will accuse atheists of being arrogant and I’m like, “You think God exists and loves you and you’re telling me that I’m arrogant?” I think that all of this is to say just advice. When you disagree with somebody, try to specify the substantive disagreement, try not to psychologize them. Try to say, “Oh, you’re saying this because of this.” Maybe it’s true, maybe you’re right. But if you had an actual response to what they were saying, that would be much more interesting.
Lex Fridman
(02:28:32)
Yeah, I wonder why it’s difficult for people to say or to imply I respect you, I like you but I disagree on this and here’s why I disagree. I wonder why they go to this place of, well, you’re an idiot or you’re egotistical or you’re confused or you’re naive or you’re all the kinds of words as opposed to I respect you as a fellow human being exploring the world of mysteries all around us and I disagree.
Sean Carroll
(02:29:09)
I will complicate the question even more because there’s some people I don’t respect or like. And I once read a blog post, I think it was called The Grid of Disputation and I had a two by two grid and it’s are you someone I agree with or disagree with, are you someone who I respect or don’t and all four quadrants are very populated. So, what that means is there are people who I like and I disagree with and there are people who agree with me and I have no respect for at all, the embarrassing allies quadrant, that was everyone’s favorite.
Lex Fridman
(02:29:44)
That’s great.
Sean Carroll
(02:29:45)
So, I just think being honest, trying to be honest about where people are. But if you actually want to move a conversation forward, forget about whether you like or don’t like somebody, explain the disagreement, explain the agreement. But you’re absolutely right, I completely agree, as a society, we are not very good at disagreeing, we instantly go to the insults.
Lex Fridman
(02:30:06)
Yeah. And even on a deeper level, I think, at some deep level, I respect and love the humanity in the other person.
Sean Carroll
(02:30:19)
Yup.

Einstein

Lex Fridman
(02:30:21)
You said that general relativity is the most beautiful theory ever.
Sean Carroll
(02:30:26)
So far.
Lex Fridman
(02:30:28)
What do you find beautiful about it?
Sean Carroll
(02:30:30)
Let’s put it this way. When I teach courses, there’s no more satisfying subject to teach than general relativity and the reason why is because it starts from very clear, precisely articulated assumptions and it goes so far. And when I give my talk, you can find it online, I’m probably not going to give it again, the book one of the Biggest Ideas talk was building up from you don’t know any math or physics, an hour later, you know Einstein’s equation for general relativity. And the punchline is the equation is much smarter than Albert Einstein because Albert Einstein did not know about the Big Bang, he didn’t know about gravitational waves, he didn’t know about black holes but his equation did. And that’s a miraculous aspect of science more generally but general relativity is where it manifests itself in the most absolutely obvious way.
Lex Fridman
(02:31:30)
A human question, what do you think of the fact that Einstein didn’t get the Nobel Prize for general relativity?
Sean Carroll
(02:31:40)
Tragedy. He should have gotten maybe four Nobel Prizes, honestly. He certainly should have got-
Lex Fridman
(02:31:48)
That and what?
Sean Carroll
(02:31:48)
The photoelectric effect was 100% worth the Nobel Prize because, and people don’t quite get this, who cares about the photoelectric effect, that’s this very minor effect. The point is his explanation for the photoelectric effect invented something called the photon, that’s worth the Nobel Prize. Max Planck gets credit for this in 1900 explaining black-body radiation by saying that, when a little electron is jiggling in a object at some temperature, it gives off radiation in discrete chunks rather than continuously. He didn’t quite say that’s because radiation is discrete chunks. It’s like having a coffee maker that makes one cup of coffee at a time, it doesn’t mean that liquid comes in one cup quanta, it’s just that you are dispensing it like that. It was Einstein in 1905 who said light is quanta and that was a radical thing. So, clearly, that was not a mistake. But also special relativity clearly deserved the Nobel Prize and general relativity clearly deserved the Nobel Prize. Not only were they brilliant but they were experimentally verified, everything you want.
Lex Fridman
(02:32:57)
So, separately you think?
Sean Carroll
(02:32:58)
Yeah. Yeah, absolutely.
Lex Fridman
(02:33:01)
Oh, humans.
Sean Carroll
(02:33:03)
Yeah.
Lex Fridman
(02:33:03)
Whatever the explanation there.
Sean Carroll
(02:33:05)
Edwin Hubble never won the Nobel Prize for finding the universe was expanding.
Lex Fridman
(02:33:10)
Yeah. And even the fact that we give prizes is almost silly and we limit the number of people that get the prize and all that.
Sean Carroll
(02:33:17)
I think that Nobel Prize has enormous problems. I think it’s probably a net good for the world because it brings attention to good science. I think it’s probably a net negative for science because it makes people want to win the Nobel Prize.
Lex Fridman
(02:33:33)
Yeah, there’s a lot of fascinating human stories underneath it all. Science is its own thing but it’s also a collection of humans and it’s a beautiful collection. There’s tension, there’s competition, there’s jealousy but there’s also great collaborations and all that kind of stuff. Daniel Kahneman, who recently passed, is one of the great stories of collaboration in science.
Sean Carroll
(02:34:00)
Yeah, [inaudible 02:34:01].
Lex Fridman
(02:34:02)
So, all of it, all of it, that’s what humans do. And Sean, thank you for being the person that makes us celebrate science and fall in love with all of these beautiful ideas in science, for writing amazing books, for being legit and still pushing forward the research science side of it and for allowing me and these pothead questions and also for educating everybody through your own podcast. Everybody should stop everything and subscribe and listen to every single episode of Mindscape. So, thank you, I’ve been a huge fan forever, I’m really honored that you would speak with me in the early days when I was still starting this podcast in Meanings of the World.
Sean Carroll
(02:34:46)
I appreciate it. Thanks very much for having me on. Now that you’re a big deal, still having me on.
Lex Fridman
(02:34:51)
Thank you, Sean. Thanks for listening to this conversation with Sean Carroll. To support this podcast, please check out our sponsors in the description. And now, let me leave you with some words from Richard Feynman. Study hard what interests you the most in the most undisciplined, irreverent and original manner possible. Thank you for listening and hope to see you next time.

Transcript for Neil Adams: Judo, Olympics, Winning, Losing, and the Champion Mindset | Lex Fridman Podcast #427

This is a transcript of Lex Fridman Podcast #427 with Neil Adams.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
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Table of Contents

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Introduction

Neil Adams
(00:00:00)
When we go to the dojos there, we all get thrown by people that never come out to be world champions. They’re just in the mix or they’re going through three years of university and then they go. We had a guy, we had a guy that came in. He was business guy, came in with his suitcase in his tie up like that. And he’s in his lunch hour. He’s in his lunch hour, right? So it’s got to be quick.
Lex Fridman
(00:00:22)
Yeah.
Neil Adams
(00:00:24)
So he comes in and he goes through, he’s working his way through the whole of the British team. We’re all lined out, right? 10 minutes later, he’s tying his tie up like that. And back to work like that. Imagine him sitting behind his desk and his computer.
Lex Fridman
(00:00:39)
Yeah, yeah.
Neil Adams
(00:00:41)
I’m glad he didn’t get out.
Lex Fridman
(00:00:44)
Who do you think wins, Yamashita?
Neil Adams
(00:00:44)
I think Yamashita. But I…
Lex Fridman
(00:00:45)
Wait, you think Yamashita beats [inaudible 00:00:46]?
Neil Adams
(00:00:46)
I think so.
Lex Fridman
(00:00:53)
Strong words.

(00:00:58)
The following is a conversation with Neil Adams, a legend in the sport of judo. He is a world champion, two-time Olympic silver medalist, five-time European champion, and often referred to as the voice of judo commentating all the major events, world championships and Olympic Games. Highlighting the drama, the triumph, the artistry of the sport of judo. Making fans like me feel the biggest wins, the biggest losses, the surprise turns of fortune, the dominance of champions coming to an end and new champions made. Always speaking from the heart. This is the Lex Friedman podcast. To support it please check out our sponsors in the description. And now, dear friends, here’s Neil Adams.

1980 Olympics


(00:01:47)
You are a five-time European champion, world champion two-time Olympic silver medalist. Let’s first go to the 1980 Olympics. Where was your mind? What was your preparation like? What was your strategy leading into that Olympics?
Neil Adams
(00:02:01)
That was my first Olympic Games. So my preparation was a little bit different to how it was the ’84 and the ’88 Olympic Games. And I’d kind of done part of the preparation as well for ’76 Olympic Games. I wasn’t quite old enough for those, but I was first reserve. So in 1980 I’d had four years build up and I was hungry and I was one of these young athletes and I see them so often now that was developing and full of, I won’t say I was full of myself, but I was certainly confident of my ability and I wanted to conquer the world. And I’d had a couple of really tight matches with the current Olympic world champion. So I knew that there was a possibility that I could get there for the ’80 Olympics.

(00:02:54)
So building up to the ’80 Olympics was quite interesting because I was kind of coming through the weights and I was halfway in between the 71 kilos weight category and the higher weight category of 78 kilograms. And I got third place at the ’79 world championships, the weight below. Fought the whole year at the higher weight category, didn’t lose a contest. So I’d beaten everybody in the world. And then I had to make the decision as to whether to drop to the weight below because I was seeding in the weight below. It was a different seeding then. And so I decided to drop into the weight below because I was seeded in the top four. And as it happens, I think it was probably the worst decision I made.

(00:03:48)
Well because…
Lex Fridman
(00:03:49)
Well…
Neil Adams
(00:03:50)
Simply because, I mean, it was the only contest that I lost was the final of the Olympic Games in that year.
Lex Fridman
(00:03:55)
So you’re a young kid, what? Like 19-20 at that time full of confidence, vigor. So the decision to cut weight, how hard was it for you to cut weight to the 71 kg division?
Neil Adams
(00:04:08)
I’ve got to say that it was the hardest because as I was going up, it was 73, then it was 74 kilos, 75. So I was moving through the weight category. It wasn’t like I was stuck in the middle and then I dropped the odd time to compete. It was literally going up in weight by a kilo every month. And then by the time I came to a month or two before the Olympics, it was really hard. Fought the European Championships at the higher weight category and won that. And so everybody that was on the Olympic rostrum at the Olympic Games was my rostrum at the European championships.

(00:04:52)
So was it a mistake? Yeah, because I didn’t have my diet sorted out. My nutrition was appalling and when I, it wasn’t as kind of readily available as it is now for the nutrition. And I would say that if anything lost me that final, other than the fact that I was fighting somebody was terrific. He was an excellent, brilliant athlete, but definitely didn’t help that my nutrition was not very good.
Lex Fridman
(00:05:22)
Okay, so you lost to Ezio Gamba. There’s probably a lot of that we could say about that particular match. Maybe let’s zoom in. What were your strengths and weaknesses, judo-wise in that Olympics? You said you haven’t really lost the match, you won the European Championship leading into it, but if you had weak spots, okay, you already said diet, but specifically on the mat in terms of judo.
Neil Adams
(00:05:46)
I think that none of the fights lasted time going into the final. So I won fairly quickly and every match by ippon way before time.
Lex Fridman
(00:05:58)
Do you remember how you won the matches?
Neil Adams
(00:06:00)
I won them by throw, a couple of throws for ippon and then an armlock for ippon. Semi-final was an armlock against the East German Kruger. And yeah, I was flying through.
Lex Fridman
(00:06:13)
What were the throws? Do you remember?
Neil Adams
(00:06:15)
Tai otoshi, uchi mata. My favorite kind of te-waza, my favorite throws. And then Juji-Gatame as well, which was a Juji-Gatame roll. Against an East German who I’d beaten before but always had a really tough match, but managed to beat him well.
Lex Fridman
(00:06:34)
So you had a beautiful exhibition of Japanese-type Judo in the first two matches. You threw people and then you also did the [inaudible 00:06:43], unbarred a person. Great. So going into the final, what are the weaknesses going into the final against the Italian?
Neil Adams
(00:06:49)
Like I say, taking nothing away from him as a great athlete and a brilliant Judo man and left, which wasn’t good for me. That was definite no, I hated fighting leftys, still do, but I’ll tell you why in a minute. I just did…
Lex Fridman
(00:07:05)
That’s great.
Neil Adams
(00:07:05)
It’s one of those. But I think as I went through the contest, we had an eight-hour break from the semi-final to the final. They took us back to the Olympic village, then we had to come back in and then we had to start a warmup again. So I kind of lost my momentum, I had to start again, and I just had a job to get going. I got halfway through, started to rescue a dying match, and I was kind of one step, half a step behind all the way through. So never really got into it.
Lex Fridman
(00:07:39)
So why do you hate fighting leftys? And leftys are, we should say, overrepresented in terms of the higher ranks of Judo. I don’t know why that is.
Neil Adams
(00:07:50)
Well, the thing is about a lefty is a lefty will have more opportunity to fight rightys, right-handers. I mean 70% of the population are right-handers, 30% left. So they get to fight more right-handers and it’s just a fact that happens. So the thing that they hate is fighting left against left. They don’t like it left against left. Whereas a right-hander will go right against right, but the opposite is awkward would for me because just simply, I like to go onto the sleeve and then I like to dominate the grips, but the actual angle of the opponent wasn’t what I wanted, so I had to work hard, really hard against it.
Lex Fridman
(00:08:41)
What happened in that match?
Neil Adams
(00:08:43)
It was a split decision in the end. And so to lose an Olympic final on a split decision is pretty, it’s something that’s still on my mind. And I think that it’s a strange one because I can still wake up, that one and four years later at the Olympics, I was silver medalist at the Olympics four years later as well. And yeah, it still haunts me.
Lex Fridman
(00:09:10)
Do you sometimes wake up and think like, “Eh, I should have eaten better” or maybe a specific grip that you’re like, “Ah, I shouldn’t have taken that grip.”?
Neil Adams
(00:09:19)
I do. I mean the diet side of it, its difficult to really admit that, isn’t it that you went to an Olympic Games and the one thing that you really sucked at, right, was one of the most important things now at world level sport. Where you’ve got the nutrition, we’ve got it, you would think that most people have got it sorted, but there’s still people making mistakes and still people that haven’t got it totally sorted.
Lex Fridman
(00:09:48)
And then there’s people like Travis Stevens who I think doesn’t care. He’ll just have atrocious nutrition and he just makes it work. I think the way he spoke about it is you can’t always control nutrition, so it’s best to get good at having crappy nutrition.
Neil Adams
(00:10:06)
That’s a good way of looking at it. I never, yeah, maybe that’s what I did.
Lex Fridman
(00:10:11)
Exactly, exactly. Do you remember what you were eating? Are we talking about candy or?
Neil Adams
(00:10:15)
Yeah, well I got a sweet tooth, but it wasn’t really, I mean, I didn’t have a lot of money at that particular time either. So the diet wasn’t steak and good nutritional salads and things like that. I did what I thought was best without proper advice. And the crazy thing is that I had such good advice as well when it came to fitness training and things like that. We’re quite ahead of our time and we really had it nailed as far as the conditioning was concerned, the judo training as well was way in advance. I was a good trainer and I trained more than most. I can honestly say that. It probably got me away with a lot.
Lex Fridman
(00:11:01)
Where was your mind? So mental preparation going into that Olympics, you said you were confident, but is there some preparation aspect behind that confidence?
Neil Adams
(00:11:11)
I think in the early days I didn’t think I was going to lose. I never thought it was possible to lose. And I think that I went into every contest expecting to win. So when it didn’t quite go my way, I didn’t lose that many contests. So the only ones I lost were in the final of the world championships or in the final of the Olympic Games. I didn’t lose that many. I never lost a European title. I had seven golds at European championships, five at seniors, two at juniors under twenties. I never lost a final. And then I only lost two on a split decision. So I didn’t lose that many. And my attitude was that I wasn’t going to lose and couldn’t lose. So I was always surprised when I did, when something happened.
Lex Fridman
(00:12:00)
In Neil Adams, A Life in Judo, written in 1986. You wrote, “Ever since I can remember I have wanted to win. It wasn’t the ordinary feeling that children have when they take part in their first primary school sack race on a grass track or even the keen determination of a young swimmer prepared to train early in the cold winter mornings in order to make it into the county side. With me, the desire to win was and still is as much a part of me as my arms and legs. In other words, it wasn’t something I learned as I grew older, but rather it was deeply rooted in me. Perhaps this competitive instinct is the greatest difference between my public image and the view from the inside.”

(00:12:47)
So people see the kindness, the warmth you have the charisma of the excitement, but there’s this big drive to win inside you. So what’s behind that? Can you just speak to that, that drive to win and how that contributed to your career?
Neil Adams
(00:13:05)
Do you know when I look back now…
Lex Fridman
(00:13:08)
This is a lot of years ago, we should say.
Neil Adams
(00:13:09)
It is a lot of years ago.
Lex Fridman
(00:13:11)
Is that true or were you just being poetic?
Neil Adams
(00:13:12)
It’s not far off. No. When I think about it now, I’d like to think that I’m a different person now. And since I’ve kind of calmed down, I see athletes now and I see them and their kind of arrogance, their walk, and it’s a strut and it’s a kind of a confidence, isn’t it? As we’re older and as I’ve become older, I’ve calmed down, but it doesn’t matter what I’m doing, it’s still that will to win. And I’m much better at masking it now if I don’t. But it still bothers me as much.
Lex Fridman
(00:13:53)
You’re talking about like… I don’t know, even just stupid, silly things. Like I don’t know, a game of pool or something like this or just anything.
Neil Adams
(00:14:00)
Yeah, I’m still trying to win. Like my son loves to… He loves to play me at bowls because I’m useless and I just can’t throw a straight bowl. So he loves playing me at that, but it bugs me that I’m not better and there are certain things that I do. It really bugs me when I’m not good at it. And I guess it’s one of the reasons that long after I’d finished competition judo, people still want to train with you. And even at an older age, even now if I do in a seminar or they’d still, “Do you still do? Do you want to still go? And can I feel it?”

(00:14:44)
And one of the things that’s in me is that I just all the way up to 40 years of age, so from 30 when I finished competition up to 40, I could still train with the best and I could still go with anybody. And then when 40 hit, kind of things started to fall off a little bit and I used to get either my hips or the legs and my knees. And I realized that I had to pick my practices and that rankled as well and I had to then just calm it down a little bit, otherwise I was going to be injured and I was going to be… It’s not a good thing when you getting older and you’ve still got the same competitive mind, but things change.
Lex Fridman
(00:15:26)
So it’s still there. You get on the mat probably even now, right? You get on the mat with a world champion, you still the current world champion, there’s still a little part of you. Could I still toss this guy?
Neil Adams
(00:15:38)
But you know…
Lex Fridman
(00:15:38)
Kids these days are soft.
Neil Adams
(00:15:41)
Well, you know what, some of these athletes, I mean I give you a prime example, right? Is Ilias Iliadis. He is a monster, right? And of course you couldn’t because just at sixty-something you couldn’t, but you like to think that you could.
Lex Fridman
(00:16:02)
You could, you never know. You got to find out.
Neil Adams
(00:16:03)
You know what you would do. What you can do is you can cause them problems and they feel it immediately. But you’d last a minute.
Lex Fridman
(00:16:11)
So you’ve trained with Ilias Iliadis, I’ve gotten a chance to train with him as well. He’s a really nice guy, really great.
Neil Adams
(00:16:16)
Great guy. He trained with me. We were training together every hotel that we used to go into, we’d end up in the gym together and we’d train. And this one time he was in there and he just wanted somebody to grab and grip hold of. And so we ended up doing this kind of grappling in the middle, the people doing weight training and the different things watching these two mad men doing… I’m glad we weren’t on a mat at that particular time. But good fun.
Lex Fridman
(00:16:43)
What do you think about that guy? He like you achieved a lot of success when he was young.
Neil Adams
(00:16:49)
17, can you imagine that? 17, 18 years of age and he’s able to compete with the men. There’s not many men can do that. And it doesn’t happen very often. It happens later with the men and often they’re not physically as developed as they… So for me, for example, I fought Nevzorov who was world Olympic champion. He was the current world Olympic champion, and they sent me to the European Championship senior at 17 and that doesn’t happen very often. And I fought, I pulled Nevzorov, I fought Nevzorov and I had him really worried because he expected without a doubt, to come out, throw this kid and junior.
Lex Fridman
(00:17:33)
And he was thick and shredded. [inaudible 00:17:36] he’s a man.
Neil Adams
(00:17:36)
He was shredded. There’s a picture of him in his judogi and his judogi is just cut and he looks the business. And there’s me in this baggy…
Lex Fridman
(00:17:46)
Skinny kid.
Neil Adams
(00:17:49)
Skinny kid inside this baggy thing. And the thing was is that the more he tried and the harder he tried, and the more he panicked, the further it went away from him. And so of course he got the decision at the end and deservedly, but I worried him. And so for me that was a massive step forward because year later I was starting to fill out and two years later I was competing for the Olympic title.
Lex Fridman
(00:18:24)
I don’t know if I remember, but Ilias Iliadis is interesting because even at 17 I feel like he was doing big throws, like literally lifting them with the hips.
Neil Adams
(00:18:34)
Just rips them out the ground. And I was saying to Nikki, my wife, and she said, “What would you do now? It was different than the way you did then.” I never had any pickups. That’s not what we did. But you have a look at the young Ukrainians or the young Russians or the young Eastern Bloc Mongolians and they’re ripping people out the ground. I mean it’s just different style of judo and it just looks different. But now they’re starting to do traditional style judo as well.

Judo explained

Lex Fridman
(00:19:09)
So can you speak to that? What are the different styles of judo? So for you, you mentioned uchi mata, tai otoshi, these… How would you describe them? They’re like these effortless, less lifting off the ground and power and strength and more timing and position, movement, momentum, all this kind of stuff. That’s more traditionally associated with Japanese judo because for Japanese judo, the traditional judo, you’re supposed to throw people in a big way without much effort.
Neil Adams
(00:19:40)
And of course, 1990 we saw the introduction of all these Eastern Bloc countries. There were so many more, I mean it was Soviet Union when I was competing. And then of course in 1990 everything changed. And then there were so many more of them out there, different countries, their wrestling styles were introduced into judo. Put a jacket on them and let’s get into judo.

(00:20:08)
So judo kind of changed shape. It changed shape from this upright standing and having to know the technicalities of how to get a body that’s weighing 14 stone, or whatever it is, up into the air and using the momentum and the balance and the direction and the skill to do that and knowing how to do it and how to use movement. And then you get the wrestlers and the leg picks and the single leg, double legs. And by 1995 judo was bent over. And so it was the IOC that went to IJF, International Judo Federation. And they said, “You’ve got to change this, or we’re just going to have one wrestling style. It looks like wrestling with judo, with judo jackets on. “So you either change it or we are going to take one of you out.”
Lex Fridman
(00:21:07)
By the way, we should sort of clarify when we say people are bent over, that’s usually how you see freestyle wrestling. Wrestlers are more bent over to defend the legs and so on. And traditional judo people are more standing up because that’s the position for which you can do the big throws and all that kind of stuff. But I think the other case to make for banding leg grabs is a lot of people are using it for stalling and not for beautiful big throws and all that kind of stuff. So it’s not just to make it different from wrestling, it is also like you want to maximize the amount of epic throws and dynamic judo and exciting stuff to watch, right?
Neil Adams
(00:21:44)
Yeah. Win by judo, not by wrestling. And I think that the ones that were shouting about it were the wrestlers, right? Because they like to compete with both. They want to do both. They want to do their wrestling matches and then come into judo. So basically, I mean, what we’ve said is they learn to do judo and there’s nothing stopping you then from doing both, but not from the other way around. All right?

(00:22:10)
So rules always dictate development. They’ll always dictate which direction it goes. So if you introduce a rule that states that you cannot dive at the legs and just pick up, then you’ll have to do it standing up. And also it increases the possibility of defense with the hips. Because actually good defense, judo wise, standing up is with the hips as opposed to sticking your arms out and then sticking your backsides out there just to defend. All right, so if you attack me and I move my body in the wrong place, so I’m in the wrong place at the right time, so you don’t hit the right target. And then also I use my hips. So again, it’s a form of judo that was being lost. So now we’ve got it back.
Lex Fridman
(00:23:02)
So let’s go there. Let’s speak about judo as if we’re talking to a group of five-year-olds. So what is judo? What are some defining characteristics of judo as a sport, as a way, as a martial arts, a way of life, all that kind of stuff?
Neil Adams
(00:23:18)
I think when you say it is a way of life, I mean I think the great advantage that we have in judo, my young grandson… So I got two little boys that are three and a half years of age, love going to our dojo. They love it. So dojo was the first word that they used. It was one of the first. So when they come see us, so seeing my wife and I, it’s like dojo. It’s not grandma granddad, it’s dojo. So dojo. They take their shoes off going into the dojo. So they have respect for where they’re at. I think it has that kind of feeling that I tried to build my dojo with a feeling of reverence. It’s kind of almost peaceful. I’m not a religious person, but I like going to old churches because when I go into an old church, it doesn’t matter what the religion within the church, but there’s a reverence in there.
Lex Fridman
(00:24:19)
Reverence is a good word. It feels like a really special place no matter which dojo you go to, it’s just you bow and there’s a calmness before the storm of battle or whatever it is.
Neil Adams
(00:24:32)
Yeah, and respect.
Lex Fridman
(00:24:32)
Yeah, respect.
Neil Adams
(00:24:33)
I mean, look at the respect. We were just talking about it just before we came on air. We were just saying that we very, very seldom do we have a situation where there is animosity other than them fighting. So I’m not saying that they don’t fight each other because sometimes it does turn into a brawl and at the end, two people bow off and show their respect. And one of the things, so a champion, I see people winning events and they’re good judokara, they’re excellent, they win world championships might even win the Olympic Games.

(00:25:13)
But a great champion for me is somebody who does the right thing when they lose. So when you see them lose, that’s when you see the true them. And actually that was one of the biggest things that I had to really cope with. So when I lost that Olympic Games in Moscow and also the one in Los Angeles, the hardest thing is when the microphone’s in there and you’ve got to be respectful and nice and the hardest thing is to smile.

(00:25:49)
But actually some of the great champions, they’ll go, “That’s just one match.” I remember, we’ve got one great champion, Agbegnenou, she’s a five-time world champion, Olympic champion. She’s favorite as well to get this Olympic gold medal. French. What a great champion she is because she lost one of the matches. I mean, she’d come back and she’d given birth, come back after giving birth and everybody was going, “Well, will she…?” And then she lost one of the matches on the way through and she said, “Well, don’t be upset. It’s just one match. It’s just one contest. Next time I’m going to put it right.” And she did put it right and now she’s back up there and she won the world title back. So these are great champions for me.
Lex Fridman
(00:26:44)
Yeah, I mean that’s the right way to see it. But it’s also tragic to lose the Olympic Games.
Neil Adams
(00:26:49)
Twice.

(00:26:52)
Yes, it is tragic. And I do have sleepless nights.
Lex Fridman
(00:26:57)
I mean that’s the magic of the Olympic Games. Anything can happen. And your 1980 Olympics were very different from 1984, but if we just linger on ’80 and just what we’re talking about, how much you wanted to win, do you love winning or hate losing more?

Winning

Neil Adams
(00:27:17)
I hate losing more, but I love winning. When I won the world title the year later, and I had no doubt when I went into that day that I was going to be world champion. No doubt.
Lex Fridman
(00:27:31)
So you won the ’81 World Championship.
Neil Adams
(00:27:34)
At the higher weight.
Lex Fridman
(00:27:36)
At the 78.
Neil Adams
(00:27:38)
Yes.
Lex Fridman
(00:27:38)
Kg. Actually, can we go there? What was going through your mind? You ended up arm barring a Japanese fighter. I talked to Jimmy Pedro, a friend of yours, somebody who said you were a mentor to him for many years, and he told me a bunch of different questions to ask you, but he said that was a really special time. That was a really special dominant run you had, and especially finishing with an arm bar against a Japanese player. So take me through that. What do you remember from that?
Neil Adams
(00:28:16)
I think that it was, so my weight was better. I didn’t have to lose weight. That was one thing. So the nutritional side wasn’t as important, but probably it still wasn’t as good as it could be. My nutrition. Although it was getting better and I was trying to eat the right things at the right time, but I still trained really well and I was so confident that going into that world championships that I could win it. I had no doubt in my mind that I was going to win. But obviously the corner of your mind, you’re thinking just don’t make mistakes.

(00:28:54)
But this is the incredible thing, is that once you start to ask you, once I see contests change direction when I’m commentating. So I can see somebody who’s in there just going forward trying to win. And that’s a difference to somebody who’s trying not to lose. And there’s two different ways there. So sometimes when you… When I was world champion then I had a period of time where every time I stepped out there I was really afraid of losing. And I think that that’s what happens later on in your competitive career.

(00:29:33)
The great champions managed to come through that. Teddy Renair is one of those, he puts it out there and he keeps beating them so they can’t take it away from them. It’s fantastic.
Lex Fridman
(00:29:44)
So stepping on the mat, every single encounter you’re trying to win, you’re looking for the grips with the intention to throw big, even when you’re ahead on points and all that kind of stuff.
Neil Adams
(00:29:56)
That’s a really good point is that if you go ahead in a match and you look at the clock, it depends when you go ahead. So I sometimes…
Neil Adams
(00:30:00)
… match. And you look at the clock, it depends when you go ahead. So sometimes you can go ahead in the first minute, and you’ve still got three minutes to go. So I see the ones then that go into, “I don’t want to lose”, because they go into defensive mode. And then sometimes they can lose it on penalties or something can go wrong, and the other one comes on strong and then they can sneak the contest. And so it’s really difficult. But when I was coaching, I was trying to always encourage that positive attitude for the full four minutes, five minutes then.
Lex Fridman
(00:30:33)
I’ve competed a lot in judo and jiu-jitsu. I’ve always hated that part of myself. When I’m up on points by a lot, you look at the clock and it’s what you do when you look at the clock, it’s a minute and a half, you’re really tired and you quit. You just defend. And I hated that part about myself. It’s like that-
Neil Adams
(00:30:52)
It’s saying don’t do it. Yeah.
Lex Fridman
(00:30:53)
Yeah. Well as opposed to, in judo for a big throw, just keep going For the throw. In jiu-jitsu, it’s go for the submission, win in the real way, versus on points. I hated that part of myself. Mostly underneath that is cowardice induced by exhaustion.
Neil Adams
(00:31:13)
Exhaustion is the one, isn’t it? But it is, isn’t it? It’s a mindset as well. So actually trying to get your mind positive all the way through. So if you listen, when I commentated now is I say I hope that they don’t change the mindset. And they are going forward all the time. And actually they’re then more difficult to catch. We had one just a couple of weeks ago, and he lost in the final second of the contest. He was the only one to score. He got penalized all the way up. Two seconds to go and stepped out of the area. But he went like that, thinking the bell was just going. And the bell went one second after he actually stepped out. So he got penalized, lost the match and lost all of the points for qualification. So that’s paying high price. That’s paying high price.
Lex Fridman
(00:32:14)
Yeah. There’s a thin line between triumph and tragedy in those competitions. But especially at the Olympic games. So let’s just stick on ’81 World Championship. What did it feel like to win that world championship. And also getting an arm bar as a Japanese player? Jamie told me your arms were exhausted.
Neil Adams
(00:32:36)
Yeah, the thing is sometimes when it’s competitive as well, hours is a different intensity to jiu-jitsu, where you can take time a little bit. Hours is, bang, it’s transitioning from standing down. You’ve got 10, 15 seconds to go in there. You go in a hundred percent. It’s a bit like running full out for 10 seconds. And then you’ve got to decide then, especially if they’re defending it, whether you let it go. Because when you get up and your forearms are blown, and you’ve got lactic acid in there, and you’ve still got to grip up, because remember ours is about gripping as well on the jacket.

(00:33:18)
So if you can’t grip up, then you can’t gain the advantage, then they can throw you. So you have to decide. So I had a massive attack on him and we changed directions four or five times, and then I wasn’t going to let him go. But still when I was turning him there, I had to decide am I going to go all out for this? There has been occasions when I’ve released it, just if I’ve got a minute to go and just block out.
Lex Fridman
(00:33:51)
Yeah. Correct. So what you’re saying on the feet, there is a change of direction of all different kinds of attempts and then you went to the ground. Do you remember that decision of like, okay, am I going to finish this?
Neil Adams
(00:34:01)
Yeah, I knew it. As soon as I climbed his back and then I thought he’s not going. I’m not going to let him up. So I was just changing-
Lex Fridman
(00:34:10)
Little voice in your head.
Neil Adams
(00:34:12)
Little something in my head was going, “Just stick on him.” And then it’s always about pressure on the arm. And of course he was like that, defending. He was almost total bridge trying to get out of it.
Lex Fridman
(00:34:28)
Did it start in turtle and did you flip?
Neil Adams
(00:34:30)
It started in turtle, because I did an attack, came back out of the attack and then he went on to his front. And then I was on his back. And then I started the whole [inaudible 00:34:41].
Lex Fridman
(00:34:41)
Saw the opening. You just went for it?
Neil Adams
(00:34:43)
It was an automatic transition. So the transitions are what we teach, because the ones that are quicker down with the transitions are the ones that catch it. That’s our newaza. Our groundwork is the transition from standing down to ground. We don’t have a situation where you can work your way in. You are in or you not in. You’re standing. So you’ve got to make sure that you’re in. And so I was just on his back like a leech and I never let him go.
Lex Fridman
(00:35:14)
So that’s where the arm bars, that’s where the attacks on the ground, which is called newaza, happens is in the transition. At that level, at that high world-class level?
Neil Adams
(00:35:23)
Yeah, he was no mug either. I think he just got third place in All Japan Championships, which is all weight categories. So he wasn’t a mug. He was strong. And I’d fought him once before and I knew he was a lefty as well, which was really awkward for me.
Lex Fridman
(00:35:42)
Did it feel good?
Neil Adams
(00:35:43)
Better for me than him. It did. It felt amazing. Because it was almost like all these things, disappointments and everything had come to this one point where I was at last champion of the world. It’s everything I said as a kid that I had no idea how difficult it was going to be. So as a kid, as a fourteen-year-old kid, I remember saying, “I’m going to be world champion. I’m going to be the best in the world.” I had no idea how difficult that was going to be.
Lex Fridman
(00:36:13)
Well there’s wisdom to that. There’s power and stupidity of youth.
Neil Adams
(00:36:18)
I like that. It is.
Lex Fridman
(00:36:19)
Yeah. Just I’m going to be a world champ. I’m going to win this without knowing how hard it is. And then once you go after it, you’re trapped. You’re going to have to do the work.
Neil Adams
(00:36:30)
Yeah, well you see it a lot with parents as well, don’t you? Parents, “Our little Johnny, he’s amazing. And he’s this, that and the other.” And they have no idea what’s out there. I remember the very first time I stepped out, 1974, into the European cadets. And I remember that we were fighting, I only ever fought in Great Britain. I was unbeaten in the juniors, kids. And went out there and there were these different fighters out there that were treating me with total disdain. And I remember thinking, “How dare they?” And I realized when I came back from that event, there’s other people out there. And there are different levels. Majority of people are just not informed as to what’s out there and the different levels that there are out there.
Lex Fridman
(00:37:27)
Do you remember a certain opponent that for the first time you felt like, “Holy shit.” Somebody just gripped you up and you’re like, “There’s another level to this game.”
Neil Adams
(00:37:41)
Ezio was one of them. And I fought him and I beat him in the European championships. I beat two times, and then lost him in the Olympic games two months after I’d beaten him in the European championship.
Lex Fridman
(00:37:54)
Oh wow.
Neil Adams
(00:37:55)
Yeah. So that made it even more difficult.
Lex Fridman
(00:37:55)
So that’s literally your nemesis there. Wow.
Neil Adams
(00:38:03)
So that made it more difficult. And so Ezio was one. And I remember getting hold of Nishida of Japan. And he had me going up and down. And I thought, “Wow, this guy is amazing.” And first time I had ever fought Japanese in a major tournament. And I felt the danger. I always talk about the danger when we go out to Japan to train. I could go probably months without getting thrown in training here in Europe. And go to Japan and everybody’s thrown you. And that’s difficult to accept. And the reason that kind of danger and that kind of feeling of danger is something that puts a real edge on. And so that was the first time. When I got hold of Nishida, “I thought, oh my god. This guy.” It didn’t matter which way he was turning, like that you’d be stretched out. And I thought, “I want to do this.” And then I ended up fighting him again in Japan.
Lex Fridman
(00:39:13)
So that feeling of danger is really interesting. I’ve did randori with a lot of world-class people from different parts of the world including Ilias Iliadis. And there’s certain parts, like Eastern European judo, you feel like you’re screwed the whole way through. The gripping. You really feel it in the gripping.
Neil Adams
(00:39:35)
It’s the gripping that does it.
Lex Fridman
(00:39:36)
But with really good Japanese style, judoka, it’s a terrifying calmness, or at least the experiences that I’ve had. You don’t really feel it in the gripping, you just feel like anywhere you step you’re getting thrown. It’s a different-
Neil Adams
(00:39:53)
It’s a different thing, isn’t it?
Lex Fridman
(00:39:54)
It’s a different thing.
Neil Adams
(00:39:55)
So I mean mine was a mixture. I liked it to be a mixture because the gripping is definitely the key point. So if you get a high level guys that are gripping up, and I always used to put this to the referees when we were doing referee seminars when we first started them. And I’d say, “How many?” Because they would referee to their understanding of the match. So they were penalizing for certain grips that were… So as an ex-athlete, high level I would say, have you ever gripped up with high level? All right, because if you haven’t, you need to do it. Because then you’ll understand why they do certain things with the grips. Because these guys, when somebody grips you and you know you’re going to go. When Iliadis puts his arm over your back, all right. And you know you’re going to go up and over. You know you’re going to go over. That’s it.
Lex Fridman
(00:39:55)
It’s a cool feeling. It’s like whenever-
Neil Adams
(00:39:55)
Not for me.
Lex Fridman
(00:41:02)
I understand. Because it feels way more powerful than it should. It’s weird. I don’t know. You want to attribute it to strength and all that kind of stuff. People say you have immense upper body strength, but it’s probably something else. It’s technique. It’s some kind of weird-
Neil Adams
(00:41:16)
It’s mix of everything.
Lex Fridman
(00:41:17)
Just something hardened through lots of battles and randori and that kind of stuff. But it’s cool that humans are able to generate that kind of power. It’s cool.
Neil Adams
(00:41:27)
When I was ’84 Olympics, but I’m just going to go there now just quickly, but we had a freestyle wrestler. He’s American actually, but he had the English nationality. Noel Loban, his name is. And he competed for Great Britain. He got third place at the Olympics in ’84. We were training at Budokai and he was training. He came to do some judo, and put jacket on. And of course he was training with some of the lower levels and he was really handling himself well. When we did randori, so he did some randori with me, and I immediately thought, “I got to catch you. I got to stop single leg and double leg.” Because he was really quick. So strong as well, 90 something kilos. He’s a big guy.

(00:42:26)
I caught his sleeve, immediately caught, and controlled him. And then he couldn’t start. So he said, “I needed to feel the difference.” So then I thought, “I better reciprocate this.” So we did the randori and I throw them a couple of times. He said, “I’m really glad we did that.” So then I said, “I need to feel the difference as well.” So we take the jackets off. So we took the jackets off and he was a nightmare. This guy was a nightmare. And like a monster. He was single legging me. And it was just totally different. So the jacket makes a massive difference. Huge difference to something. And people think it’s just the jacket that we’re wearing, but it isn’t. It’s our only tool actually.
Lex Fridman
(00:43:16)
Yeah, and it’s a way of establishing control over another body. And it’s a whole art form and a science. And I don’t even know if you understand it really. You understand it subconsciously through time, because there’s so much involved. Because pulling on one part of the jacket pulls other parts of the jacket and the physics of that is probably insane to understand.
Neil Adams
(00:43:40)
It’s absolutely insane. And then they change the rules for a little while and they changed the rules so that certain grips were not allowed. They only allowed certain amount of time. And there were a lot of penalties from it. And then they had some of the ex-fighters into the referee commission. And so we were pushing for just let them grip. Because that’s our game. That’s what makes us different. So they were on about Teddy Riner. Teddy Riner comes out, takes his sleeve, big arm over the top and then he throws people. So they were saying, “Yeah, but stop…” You can’t stop him doing it. This guy is six foot nine and he is built like Garth. And not only that, he’s skillful as well. And he’s got that mentality of a winner. He has got that mentality of a winner there. He just wins important matches.
Lex Fridman
(00:44:41)
And he goes over the top of the grip. Where’s that land now in terms of rules over the top? Because those are some of the most epic awesome types of grips. Just over the top, just big grab.
Neil Adams
(00:44:53)
Yeah, well as long as they throw from it. So they can take any grip as long as you move them and then catch them, action-reaction really. As long as you catch them on the move, then you can do it.
Lex Fridman
(00:45:05)
So as long as you’re not using it to stall or that kind of stuff.
Neil Adams
(00:45:08)
Yeah, you can’t block out. So for example, if I’ve got a dominant grip on you, and I just block out and I just stop you attacking me. So then what? I get you three penalties, get you off and you haven’t done an attack. So you’ve got to stop that. You can’t have that.

1984 Olympics

Lex Fridman
(00:45:26)
Yeah, definitely. You were the favorite to win the 1984 Olympics, but you got silver. I watched that match several times. You probably have it playing in your head. So there is a nice change of direction by your opponent, German Frank Wieneke.
Neil Adams
(00:45:44)
Yeah.
Lex Fridman
(00:45:45)
It was a fake right uchi mata? And then to a left drops seoi-nage. How did that loss feel?
Neil Adams
(00:45:56)
Devastating is not enough really. Because the strange thing is coming into that Olympics, I was tired. Really tired. So my mental state wasn’t the best. Wasn’t certainly the same as it was coming into the previous. And I remember thinking, “I just need to get this over with, and then I’m going to have a break .and just have a rest.” And that’s totally the wrong attitude. It’s just not good for going into an Olympic games. And so I was coming in there with a different mindset. And I remember every match that I had, I was winning well, but I was winning with a struggle. I’d fought Nowak, of France, who was one of the strongest physically. That was in the quarterfinals.

(00:46:57)
I beat Brett Barron by an ippon. I armlocked him. I won my first match by ippon as well. And then Michel Nowak, I was fighting, of France. And I was lucky to win it. I was up, I scored on him. But I was starting to defend and just everything that I talked to you about, and then just about held on. And then I won. So him and I were talking some years afterwards and he said, “I was close, wasn’t I?” “Yeah, but not close enough.” I didn’t mean it, but I had to say it.
Lex Fridman
(00:47:37)
Of course. Of course.
Neil Adams
(00:47:39)
And no, he was right. And it was one of those. So it’s through to the semi-final. I fought Lescak, and I fought him in the semi-final of the Worlds as well. I’d never gone time with him. I’d always beaten him fairly easily by ippon. And that went time. So I was just glad to get it done. And I was in the final then against Frank Wieneke of Germany. And I’d beaten Wieneke before, but he was just a young German coming through. And when I started the final, and I started all my techniques just that little bit off. Nothing was coordinated. I can’t really explain why it was just a little bit off. I see it so often now with a lot of the guys that are going for second, third Olympic games. And I see their technique just not quite there and they’re struggling. And I know what they’re going through and I empathize with them.
Lex Fridman
(00:48:48)
Well it felt like you were dominating that final.
Neil Adams
(00:48:50)
I dominated it, yeah. I was winning. And actually if it’d gone another minute and a half, it would’ve been all over and I would’ve been Olympic champion. And it would’ve been done. He wouldn’t have batted an eyelid. Because he would’ve fought me really, really well. And we talked about it afterwards. And he said, “It was just a good day for me.” And he knows. He was very respectful. This guy is very respectful.
Lex Fridman
(00:49:13)
He was surprised almost. Not almost. He was very surprised and celebrating like a surprise [inaudible 00:49:19].
Neil Adams
(00:49:19)
Jumping up and down. And you can look at that, can’t you go, well it wasn’t ippon. But would I have got it back? I don’t know. I think that actually taking the pressure off, because that was another thing as well. Pressure of being favorite. And I see that with a lot of them. And the great champions, the ones that keep coming through, Krpalek. There’s a guy. He can look very ordinary and then comes to the big tournament and he’ll win it.
Lex Fridman
(00:49:52)
The tragedy of the Olympic games. You were the favorite. And just like that split moment, you lost it.
Neil Adams
(00:49:59)
Split moment. Devastating. And lived it, probably not every day, but Niki, my wife will tell you that woken up in sweats. And I think they contributed as well, because I had a period of my life after where I was drinking too much. And I think when I look back, led into that dark period in my life. And I never ever, ever did it go through my mind anything else. But it definitely affected me. And I was on a downward spiral in a lot of different ways.

(00:50:43)
And we have an amazing marriage and we have an amazing family, and everything’s great. But I still wake up sometimes and I’ll say, “I’ve just dreamt it.” And it’s the same reoccurring dream where I’m trying to get somewhere and I’m trying to put it right. And I’ve got this chance of putting this Olympic final right. In this dream I’ve got a chance of doing it, but I can’t get there. And the traffic’s stopping me or something stops me. And then I wake up and I’m sweating. And you think, well after all this time that’s not possible. But it is. And it happens.
Lex Fridman
(00:51:22)
Yeah, in the match itself, there’s that feeling, for me just watching it. You’re going for throws, you’re almost getting there with the throws and it’s almost like he’s going for a crappy uchi mata. And then you’re blocking it. And all of a sudden… That’s the beauty of the Olympics, he finds it in himself to switch, against a favorite, against the great British judoka, just finds the perfect drop seoi-nage.
Neil Adams
(00:51:55)
Well his team doctor and coach, he came up to me afterwards and said, “I’m just really sorry.” And that’s all they said is, “I’m just really sorry.” They were sorry because the obvious sadness about that. And I went actually, was it three weeks later? The German open? So he had to compete in the German open three weeks later. So I went over to fight him and beat him in the final of the German open. And it didn’t do anything for me. Because it was a much tighter match. He was a lot closer, he had a lot more confidence coming in. So he fought me a lot differently. And then it was me pulling it back and just managing to win in the final. And I thought, “Well it appeased nothing.” Didn’t do anything.
Lex Fridman
(00:52:51)
When you give your whole life to judo and your love of winning, it’s crazy how much the Olympic games mean.
Neil Adams
(00:52:59)
It means so much. And I’ve got to say this, and this is honestly, that if I’d have won that Olympic games and it had to change my life into a different direction, which I probably would’ve not competed in the ’88 Olympic games then, all right, so if it had changed my life and then I didn’t meet my wife, and I didn’t have my family that I’ve got now, I wouldn’t swap what I’ve got now for anything.
Lex Fridman
(00:53:29)
Well, part of the demons that you’ve gotten to know, because of those losses as part of probably the central reason that made you the man you are, a legend of the sport. You could have been not that. Because an gold is just an Olympic gold.
Neil Adams
(00:53:47)
Yeah. And it is, isn’t it? And I think that there’s a lot of Olympic champions and world champions that win and then are forgotten. And I said to Niki, my wife, I said, “I don’t want to be forgotten and I want to be remembered. So if I’m going to do anything, anything I do, if I’m going to do commentary or whatever it is, coaching, I want to do coaching to a high level. And I want to commentate at a high level.” I remember the first commentary I ever did. It was terrible. And I just thought, “I’ve got to do better than this.” And I thought I need to do it well, and I’ve got to do it professionally.

Lessons from losing

Lex Fridman
(00:54:30)
In the book A Game of Throws, you have a chapter titled Lessons in Losing. What are some of the lessons here? What are some of the deeper lessons you’ve pulled out of losing?
Neil Adams
(00:54:42)
I think great champions are made up of the people that handle it in the right way. And you could say, “Well, I don’t like losing.” And you could throw your dummy out the pram and you can be a bad loser in front of everybody. And actually people pick up on that very, very quickly. You know what it’s like in broadcasting, right?
Lex Fridman
(00:55:04)
Mm-hmm.
Neil Adams
(00:55:04)
Somebody Has a bad word to say about somebody, but actually the ones that endear themselves to you are the ones that handle it in the right way, the correct way. It doesn’t mean that you’ve got to like it. I didn’t like it. And I thought that I handled it, certainly in later years, in the right way. And I like to see athletes do it in the right way. And I think it is a make or break situation. It’s not all the contests they win, it’s the one that they lose .and then how they pick themselves up and handle themselves after. So I think that is a big one for me.

(00:55:42)
And also I went through obviously a later divorce. And that was difficult on my son, really difficult on Ashley. And then I think that some of that was the fact that I wasn’t drinking all the time, but I was drinking in excess at the wrong times. And I think that that’s what a lot of people do sometimes is that they use it for the wrong reasons. And I used to hear it, I hear it now all the time, and it’s that I need to knock the edge off, and I need to just forget, and you need to be in a fuzzy place for a while. And I had a lot of time in fuzzy place, and I needed to get rid of that. And I needed to clear my head.
Lex Fridman
(00:56:32)
Where was that place? Some of the lower points in your life that you’ve reached mentally?
Neil Adams
(00:56:41)
I think definitely the fact that my first marriage didn’t work. And it’s a mix of things between us. So that’s not where I wanted to be at the time. And the effects that it had on my son, and it took a long time for him then to come round and to trust me again, and to have belief. He always had belief in me, but to trust me again. I think that that was low. And I think that when I look back is that a lot of my bad decisions were when I was in that fuzzy haze. And that it got progressively worse.

(00:57:33)
That got progressively worse to the degree where it was trying to hide it, and trying to hide how much. And I was a functioning drunk. I think you could probably say that. And I was functioning, I was still training most days, crazily enough. I was training to mask it and cover it. And that was probably my savior, because I remember I said to my wife, I said to Niki, “If I’m a drunk then I’m the fittest drunk in the world.” She said, “Yeah, you probably are, actually.” I was in great condition for a drunk.
Lex Fridman
(00:58:16)
So the fuzzy haze, where was your mind? Did you have periods of depression?
Neil Adams
(00:58:24)
I had periods of depression. I can honestly say that my depression wasn’t that bad, although it’s like anything that gives you an up, it gives you an even bigger down, doesn’t it? And so I hated that feeling. And also hated myself for letting it happen. Because I have got this really, it’s a bizarre, I don’t know whether you can call it a power, but I have the ability to be able to say, “Stop.” And that’s what I did in the end. In the end, there was an incident when I was working for Belgium Judo. And there was an incident, it was Christmas, I tell you exactly the day, it was 20th of December. And me and a Belgian coach, we got absolutely hammered. But we were at the wrong place and he got noticed.

(00:59:23)
And so I remember they pulled me up in front of this board. And I looked down at these guys and half of them were people I didn’t want to be in that situation with. They’re not people that I respected and they’re not people that I trusted. So I said, “If you’re going to sack me, sack me. But I’ll promise you now that this is it. I’ll stop. I’m just going to stop. I’ve decided.” On the way back in the car I rang Niki up, my wife, and I said, “Whatever you hear…
Neil Adams
(01:00:00)
I rang Nikki up, my wife, and I said, “Whatever you hear now, whatever, I’m just going to stop.” That was it, stopped.
Lex Fridman
(01:00:10)
You just saw the moment and said, “Stop.”
Neil Adams
(01:00:14)
Stop.
Lex Fridman
(01:00:15)
So that fuzzy place, what advice could you give to people about how to overcome that dark place, the depression, whether it has to do with drinking or not.
Neil Adams
(01:00:26)
I think if it’s to do with drinking, all I can say is that the two days or a week into not drinking, you’ll feel different. It’ll make a physical difference and you’ll like that physical difference. And then from a mental perspective as well, because I think that you have a massive downer. And I think that that must be because of drugs as well because I had a situation with my brother, he was professional wrestling and the drugs was an element there. So I’d never touched a drug or even seen one in my life. But I’d let the alcohol side go too far and then decided never to do that. So then I guess I had people ringing me up saying, “How can we stop?” When they say, “Can I have a word? Can I discuss something with you?” And I know then what they want to discuss with me. And the thing is that I would say, if you stop, then feel the effects of it and it will make a difference to your everyday life. And that will make a massive difference.

(01:01:49)
And I think about anybody who is down all the time is to find the cause of what’s pushing you down. You know what I mean? And try and attack that. Somebody once said to me, they said, “Whatever you got, we’ve got something special.” We have a great life and I’ve had a great competition record. It could have been better, but it was great. But I’ve had success with my business and we’re still out there and we have great life. We travel all the world. There’s people out there that would live in your house at the drop of a hat, wherever you are. They drive your car no matter what car it is. Some people haven’t got a car. And whatever food you’re having and you’re moaning about food, somebody out there that would take that and gladly eat that. All right? So there’s always somebody worse off than you. And I think that we tend to sometimes look at the things that we haven’t got rather than the things we have got.
Lex Fridman
(01:02:59)
Yeah, it’s a skill probably just to be grateful for the things you have. Exactly as you said. Sometimes the little things like food and cars and all that kind of stuff, just to have gratitude for. And family, all this kind of stuff. But it’s still, having talked to a bunch of Olympic athletes, when you give so much of your life to winning and then you lose, sometimes even when you win. But when you lose, at the very top, it’s a tough, tough, tough thing to go through.
Neil Adams
(01:03:37)
The most difficult thing I think for anybody is when they have to decide when to stop.
Lex Fridman
(01:03:42)
Yeah, yeah.
Neil Adams
(01:03:46)
All of a sudden, and I see the ones that are going second Olympic games and then third Olympic and the ones that are there and they’re holding on and they’re in their 30s now, different to when they were 19 years of age, thirty-something is different to 19. What are you going to do afterwards? And then how do you become just a normal person? You’re never going to be a normal person, as such. But I think you’ve got to do normal things. I remember the first time that when I finished competition, I had good sponsors. This was 40 years ago, but I had two really good sponsorships, vitamin company and also a judogi company. And I had a car. Do you know, I had money. And I was going all over the world. I was successful. And then I stopped. And they took everything back. They took my car and they did it within two weeks as well. They stopped my funding. And the vitamin company said, “Thank you very much. It’s been a great. We’ve done well by you. Bye-bye.”
Lex Fridman
(01:04:55)
This was after your last Olympics?
Neil Adams
(01:04:57)
’88 Olympics.
Lex Fridman
(01:04:58)
Yeah, in ’88.
Neil Adams
(01:04:59)
When that finished and then that was it. And then it’s right, okay. First time I had to go in there and buy a tracksuit and a pair of training shoes. Wow.
Lex Fridman
(01:05:09)
Yeah, those are difficult, sitting there in the evening by yourself.
Neil Adams
(01:05:13)
So you go from seven days a week or six days a week going into the gym and you’re working out the dojo and then you don’t have to do it. And that’s why you get a lot of, when they finish competition, they finish that 30 to 40. Ilias is still doing it now. He’s still in there and he still, because he can, right? And it’s natural. And I did exactly the same. And then, like I say, you just get to an age and you just think, well, I just going to take a step back,
Lex Fridman
(01:05:47)
Which is why there’s certain athletes like Ryoko Tani never stops. It just dominates for 14 years, probably one of the winning-est athletes in Judo. Seven-time world champ, two-time Olympic champ, medaled at five Olympics. So it’s always impressive when you…
Neil Adams
(01:06:06)
Never stopped.
Lex Fridman
(01:06:07)
Never stopped. So that’s an option if you’re the greatest ever.
Neil Adams
(01:06:12)
It’d be interesting, wouldn’t it, just to see what they’re doing now. Because at some stage you have to get a normal…
Lex Fridman
(01:06:17)
You do have to stop.
Neil Adams
(01:06:18)
You have to stop at some stage. You have to decide what you’re going to do. It’s either into coaching, the Judo is either to coaching or if you’re not in coaching, then it’s into something to do with the media. And I was lucky that it was just by accident really with the commentary. Somebody said, “Would you do a voiceover?” So I did this voiceover and that was back in 1982, I did that.
Lex Fridman
(01:06:49)
So you’ve been commentating since 1982.
Neil Adams
(01:06:52)
I did some voiceovers, I wouldn’t call it commentating, but I did some voiceovers. We did some different European championships, world championship events. And I did the voiceovers for it. The way that it was done that it was more narration. And so it turned into, then somebody asked me to do an event and when you listen to the intonation of the voice and stuff like that, it wasn’t like it is now. I guess that’s just something that developed, because then it was coming from the heart. I started to get excited and just do my thing. And it was just me really. It’s just my style.
Lex Fridman
(01:07:34)
Well, I’ve listened to your commentary from a while back. I don’t know if it’s the ’80s, but it’s still there.
Neil Adams
(01:07:40)
I think it’s timing as well, isn’t it? It’s like you get your timing a bit better and know when to go in, when to come out, when to say something, when not. I think that in the early days I tended to want to talk all the time and you don’t have to do that.
Lex Fridman
(01:07:59)
So knowing when to shut up.
Neil Adams
(01:08:01)
That’s the key, isn’t it?
Lex Fridman
(01:08:02)
Yeah, part of the drama is in the silence, building up to the setup and the throw and all that kind of stuff. But also you’re very good at, while radiating passion, being very precise and specific about the details of the throw and the setup and why something worked and didn’t.
Neil Adams
(01:08:22)
I think there’s two kinds of commentating. You can commentate what you see and then you commentate what people can’t see. And so if you’ve got somebody that is not really understanding of what’s happening in the inner part of the game, so it might be a technical thing or it might be the tactical part of the play here that’s going on. And if you can introduce that, as well, then you’ve got an advantage.
Lex Fridman
(01:08:50)
Quick pause. I need a bathroom break.=
Neil Adams
(01:08:52)
Okay. Good stuff.
Lex Fridman
(01:08:54)
So we just took a little break and went to Judotv.com, which is, I guess, an IGF website. IGF is the organization behind a lot of the big judo events in the world. And I just signed up, you should sign up, too. It’s great.
Neil Adams
(01:09:09)
Absolutely, sign up. Cheaper the price, cheaper the price.
Lex Fridman
(01:09:14)
And you can watch basically any match from the Grand Slams and going back through history, I guess.
Neil Adams
(01:09:20)
Yeah, I’ve got to say Lex, I mean everybody. Still people saying to me, “We need more judo on television.” They’ve got judo on television every other week that they can access. All of the top people in all the top events and it costs $100 a year to access everything. And they can play all the videos. I mean we’ve just accessed this here, the Paris tournament, and we’re going to have a look at Teddy Riner. It’s cheap at the price.
Lex Fridman
(01:09:51)
We’re now in Paris Grand Slam 2024. Teddy Riner final. By the way, super cool. You click on the draw. You can just look at any of the matches. You can go at the bottom of the finals, you can go…
Neil Adams
(01:10:05)
To anyone.

Teddy Riner

Lex Fridman
(01:10:06)
Any one of them. That’s so cool. That’s really well done. Really well done interface. Anyway, let me first ask the ridiculous big question. Who do you think is the greatest of all time? Is Teddy Riner in the running?
Neil Adams
(01:10:17)
He’s the greatest judo winner of all time. Of that, there’s no doubt. I think if you asked him whether he was the greatest judo man in the world of all time, he would say, “No, I’m not.” And he’s not the greatest judo man. There are people with more beautiful judo in some ways, although he’s got great technique. But he is the ultimate winner.
Lex Fridman
(01:10:47)
10-time world champ, two-time gold medalist in the Olympics. I guess two-time bronze medalist. He’s going to Paris?
Neil Adams
(01:10:57)
Yeah.
Lex Fridman
(01:10:57)
He’s going after it again. So he’s right here.
Neil Adams
(01:11:00)
He’s right there. This is just a couple of months ago. And then last week, last week he was out again and he won again.
Lex Fridman
(01:11:07)
You think he gets gold medal this time?
Neil Adams
(01:11:09)
There’s people getting closer to him, right? He’s, obviously, age-wise and the amount of time that he’s been there, he’s obviously somebody that he’s starting not quite at his best as he was when he was younger. But like I say, he still puts it on the line. He lays it on the line every single time. And then not only does he lay it on the line, but he beats them all. And last week he just beat Saito who was a young up-and-coming Japanese fighter and he beat him in the final. It was close and he did well. There are certain people, the smaller ones, actually, not the taller ones because, like we were saying about the big arm over the top that he likes and the dominant grip that he likes, there are people that can give him a hard time. Now if at the Olympic Games he has two or three of those on the trot, it might work against him.

(01:12:05)
It’s by no means an absolute certainty that he’s going to win the Olympic gold medal. But he’s got to be one of the favorites, top favorite. No matter what happens now, Teddy Riner is the greatest winner, and if you asked the great Yamashita, he would say the same. There’s nobody that’s, and Yamashita was unbeaten in international competition. I trained with Yamashita a lot over a two-year period and got to know him quite well. And he was one of the greatest of all times. For me, he was one of the greatest Judo men. I’m talking about from a technical point of view, from a spectacular judo point of view, understanding the fundamental principles of how techniques work. Sometimes having different techniques that work for you. So if one doesn’t work and one particular direction doesn’t work, you can change the direction completely.
Lex Fridman
(01:13:04)
In case people don’t know, Yamashita has this legendary judoka heavyweight. Teddy Riner heavyweight, that’s plus 100 kg.
Neil Adams
(01:13:13)
He would’ve caused him all sorts of problems.
Lex Fridman
(01:13:15)
Oh yeah, that’s cool. Who do you think wins? Yamashita?
Neil Adams
(01:13:18)
Yes, I think Yamashita.
Lex Fridman
(01:13:21)
Whoa, whoa, whoa. You think Yamashita beats Teddy Riner?
Neil Adams
(01:13:24)
I think so.
Lex Fridman
(01:13:26)
Strong words. You think so. You think so. Yamashita is on the shorter side, right?
Neil Adams
(01:13:32)
Yeah, and he finds it more difficult with shorter people. It would’ve been a very interesting confrontation. And I think if you asked Yamashita, he would probably say that Teddy Riner, he’s very gracious. He’s really gracious. It would be really good. It would’ve been an unbelievable matchup. And I’ve got to say this, that Teddy Riner is the greatest winner of all time.
Lex Fridman
(01:14:03)
Competition wise. It’s interesting. Both of them, maybe you can correct me, but have this Osoto Gari, which is kind of trip that I never understood.
Neil Adams
(01:14:14)
Yeah.
Lex Fridman
(01:14:16)
It is a very tricky thing to do, right? It’s very easy to do maybe as a white belt. You roll in. You can understand. But to do it at the high, high, high level?
Neil Adams
(01:14:27)
You see any of the top guys now, especially if they’re second time out. So they might catch somebody by surprise. They come out and they go, bang. And you go, “That was amazing.” But if they fought again 10 minutes later, you go, “You’re not going to catch me with that.” You’ve got a different situation here. And so it’s slightly different. But the best fighters adapt like that. And they’re able to see a situation, feel the situation, and they attack once and then go again and attack second, third time. And in the third time they make it work>
Lex Fridman
(01:15:06)
Both Yamashita and Teddy Riner with the Osoto Gari, they’ll just hit it over and over in the match.
Neil Adams
(01:15:11)
Yeah, sometimes it’ll hit first time and it won’t go. And then you make a readjustment of the way in. It’s a little bit like, I mean, if you take a really easy way of understanding it is that if we’re shooting at a target and all of a sudden you start moving that target, it’s different hitting a moving target. But it’s also different hitting a moving target that’s trying to hit you as well. And that’s our game. So we are not only trying to throw a moving target, we’re trying to throw a moving target that’s trying to throw us. So it makes it even more difficult.
Lex Fridman
(01:15:45)
Yeah, there’s a few folks who, you know what’s coming. It’s over and over and over it’s the same attack. Anyway, with this uchi mata it’s different. It’s different. There’s not many people like that where it’s the same attack. I mean there’s other attacks also, but they’ll just go after the same thing over and over and over.
Neil Adams
(01:16:05)
When I watch great athletes, most of them can throw over both flanks, not always going left and right, though our sport always, the cat are always demonstrated left and right. If you demonstrate, if you do something on one side, then can you demonstrate it on the other side? Right? Okay. So can you do it equally? No, but you’ll do it differently on the other side. So when I’m teaching, I don’t teach left and right. If I was teaching you to do a technique, first thing I’d do is say, “I need you to take the sleeve under lapel.” All right?

(01:16:46)
So I’d let you decide what was left and right. Okay? Because often what happens is we impart on people whether they’re going to be left or right when we start teaching. You get a lot of teachers do that all. And they’ll say, immediately, “What do you write with? Left or right hand?” And it’s no indicator actually as to how we do judo because I’m left-handed and I do more predominantly right-handed because I lead off my strongest hand. And actually most people do. So actually left and right is a bit of a trap sometimes when we’re teaching. Better to get, because we can go… My point was, is that a lot of people can go both flanks, so they’ll do something over this side and something over this side.
Lex Fridman
(01:17:32)
But anyway, he was one-sided?
Neil Adams
(01:17:36)
He was one-sided, but he could switch it. So he had a seoi nage as well on the other side so he could switch it if he had to.
Lex Fridman
(01:17:42)
Interesting. And by the way, your opponent in ’84, was he righty or lefty?
Neil Adams
(01:17:50)
He was a righty.
Lex Fridman
(01:17:51)
So that drop left seoi, where did that come from?
Neil Adams
(01:17:55)
Well, I mean again, he could have probably in other contests, he’d hit me with it several times and I’ve just stopped it. Just at the wrong place at the right time for him. Right place in the wrong time for me. Right?
Lex Fridman
(01:18:10)
That’s life. Yeah.
Neil Adams
(01:18:10)
Yeah.
Lex Fridman
(01:18:12)
All right, let’s watch some Teddy Riner.
Neil Adams
(01:18:17)
This is final of Paris tournament. And this is against the Korean. The Korean had had a great day, actually.
Lex Fridman
(01:18:29)
Again, shorter.
Neil Adams
(01:18:31)
Again, shorter. So he does find that difficult. Have a look at Teddy Riner. Teddy Riner will try and catch the sleeve. He’s after the sleeve and then the right arm over the top. That’s the key point for Teddy Riner. And of course, what he has done, if he can’t always catch the big Osoto Gari over, his right-hand side, he’s been doing something to the opposite side.
Lex Fridman
(01:19:01)
The Korean just went for a drop sail and Teddy Riner blocked with the hips.
Neil Adams
(01:19:12)
A big boy has difficulty always against somebody smaller dropping with the seoi nages.
Lex Fridman
(01:19:19)
Has Teddy Riner ever been thrown for ippon?
Neil Adams
(01:19:22)
I’ve never seen his thrown ippon, but he was thrown last week for a nice technique and he’s being caught more and more.
Lex Fridman
(01:19:29)
So it’s getting close.
Neil Adams
(01:19:30)
And Tasoev, in the final of the world championships, they had a strange situation there where Tasoev was a technique down and then pulled off a counter. And they didn’t count it, but then they overruled it. Unfortunately, I was commentating at the time and I went for a score for Tasoev. Anyway, they overruled it and then they awarded a second gold medal to Tasoev.
Lex Fridman
(01:20:01)
What can you say about Tamerlan Bashaev who also gave him trouble?
Neil Adams
(01:20:06)
Yeah, Bashaev and Tasoev are the two that could possibly go to the Olympics. That was a close one there from Riner, that was closest that he’d actually been there.
Lex Fridman
(01:20:16)
Oh, wow.
Neil Adams
(01:20:18)
Didn’t have the sleeve and he relies on the sleeve, greatly. Big support there in the French, in the crowd.
Lex Fridman
(01:20:26)
And also maybe can you explain the penalties for stalling?
Neil Adams
(01:20:31)
Yeah, so if they don’t attack, if they’ve got a grip and they’ve got sleeve, lapel, or they’ve got two hands on. If they’re too passive and they don’t attack. If they’ve got dominant sleeve grip, they don’t attack. That was quite close as well from the Koreans. So the Korean here, you can see, is having a real go. The penalties will come if they don’t attack at the right time. Step outside the yellow area, they’ll get penalized as well.
Lex Fridman
(01:20:56)
That’s dedication for…
Neil Adams
(01:20:59)
Absolutely. I mean it was really close, wasn’t it? They nice little kouchi gari there from the Korean. And if they touch below the belt line with the arms, they’re not allowed to grab the legs. They’ve stopped grabbing the legs.
Lex Fridman
(01:21:16)
Wow. The Koreans really going.
Neil Adams
(01:21:17)
The Koreans having a real good go at it.
Lex Fridman
(01:21:20)
I guess every single person in that division is probably training for Teddy Riner, right?
Neil Adams
(01:21:24)
You think that Teddy Riner has been there a long time and he’s got another guy here in the final of the Paris tournament. He’s got 18,000 people watching him. They’re all on Teddy Riner’s side. They want him to win. And the Korean’s out there on his own with his coach.
Lex Fridman
(01:21:39)
But also the pressure on Teddy Riner.
Neil Adams
(01:21:43)
Amazing pressure. We interviewed him after this and he said, “I’ve got pressure. People go, well, is he going to do it at the Olympic Games? Can I do it in Paris?” He wanted to go to Paris. I mean really, the last Olympic Games should have been it, shouldn’t it? The last should have been the final one. But he’s gone, “No, I’ve got to do another four years.” Two penalties are on the board already for the Korean. That Korean is really having a great go on Teddy Riner.
Lex Fridman
(01:22:11)
He’s got a bit of a lift on him. He’s going after it.
Neil Adams
(01:22:14)
He’s really going after it. It’s an amazing effort there from the Korean. And he’s getting some last minute information. I don’t know if you’ve ever seen his coach, stood next to him like that. But it’s amazing. He’s six foot six and he’s about four foot six. He’s a real pitch.
Lex Fridman
(01:22:34)
Full of passion. I love it. He’s screaming.
Neil Adams
(01:22:37)
Golden score.
Lex Fridman
(01:22:38)
How does golden score work? Can you say?
Neil Adams
(01:22:40)
So the golden score, if it goes without any point on the board from a throw or a hold down or arm lock strangle, then it goes into golden score. So two shidos on the board a piece, one more mistake now and it’s going to be all over. And that’s it.

(01:22:57)
Teddy Riner just manages to turn it on the Korean. And that went really against the run of play, didn’t it? The Korean did better. But Teddy Riner is a winner. And he says, “Right, okay, let’s have more cheering.”
Lex Fridman
(01:23:15)
Finds a way to score in the…
Neil Adams
(01:23:18)
And I have to say, that even when he loses, he’s always graceful. He doesn’t like it, but he’s graceful.
Lex Fridman
(01:23:25)
Yeah, there was so much love there. Celebration. It’s great. It’s great to see. It’s great that he’s doing it again, going after it. Chasing the gold medal again.
Neil Adams
(01:23:33)
Well, he’s chasing the gold medal. It’s going to be in Paris, which is going to be even more fantastic. He’s already the greatest. You said, “What has he got to do to be the greatest?” He’s already the greatest competitor Judo’s ever known. And that was even with the great Tani. Tani was amazing, as well.
Lex Fridman
(01:23:56)
Are you part of the commentating team for Paris?
Neil Adams
(01:23:58)
I’m part of the commentating team, but it won’t be for IJF because it’s independent broadcast.
Lex Fridman
(01:24:03)
Have you ever had an athlete come up to you and ask, “Why’d you say that?” Or disagree with your commentary?
Neil Adams
(01:24:12)
I’ve got to say that 99.9% of everybody is so grateful that I’ve commentated their fights all the way through. They know if they’ve messed up. So if I say something and I’m never disparaging, really disparaging, but what I will say is, “It was a great throw by the other guy. Or it was a great match.” And if they made a mistake, so if they walk out, they know that I will say something that will mean something. Nobody really moans about it. I try and talk the truth, if I can.
Lex Fridman
(01:24:49)
So who else would you consider as some of the greats? So I personally, just because I love the seoi nage, Koga. So there’s the number of times you won the world championships and the Olympic Games, but there’s also how you won and how you wanted to fight and what you did. It’s not necessarily about getting gold medals, it’s about how you fought and how you represent the sport. There’s certain athletes, like Inoue and Iliadis, that are going after the big throws.
Neil Adams
(01:25:21)
Only after they want to win by ippon. And I think that that’s the difference is they’re the ones that come out there and it’s a bit like when Tyson stepped out there, you knew what you were going to get. And if they went toe-to-toe, if Tyson had somebody going toe-to-toe, somebody was going to get knocked out. We got the same in Judo, when people go head-to-head and it’s an open match and I often talk about an open match, I say, “It’s an open match. They’re both trying to score. Somebody is going to get scored on. Somebody’s going to go.” And that makes it exciting. When they come out and they close up, then that’s not an exciting match.
Lex Fridman
(01:26:02)
Is there a case for Ono? Shohei Ono, three-time world champ, two-time gold medalist?
Neil Adams
(01:26:09)
I think that judo-wise, he’s got to be one of the greatest because he had such versatility. He could go right and he could go left. He could pick up. He could go to the ground as well. He won a lot of his earlier matches on the ground. I think his empathy and how he presents himself, sometimes he falls down. I think that hopefully that should come with tutoring and how to be a great champion after. It’s not just about what you do on the mat, but what you do off the mat as well.
Lex Fridman
(01:26:47)
To you a great champion is the whole package of how you present yourself when you lose? How you represent yourself just off the mat?
Neil Adams
(01:26:55)
Yeah, I think it’s how you present yourself afterwards, how you are with people, how much you can help people. I mean, people, kids, and they look up to these great champions because they want to be like them. So the worst thing is when you get somebody that’s a bit of an ass and they’re not presenting themselves in the right way. So I like to see somebody presenting themselves in the right way. And I think that it’s something that can be taught. It’s something that normally comes with a little bit of experience and a little bit of age. I like to think that I’m a little bit different now than I was when I was 19. Not that I was bad, I just think I was just, I see it often now, just full of beans.
Lex Fridman
(01:27:40)
You’re a beautiful work in progress. What about Nomura, Tadahro Nomura, three-time gold medalist?
Neil Adams
(01:27:50)
Never lost an Olympic fight.
Lex Fridman
(01:27:52)
There’s something there.
Neil Adams
(01:27:54)
Yeah, nobody ever done that. You know what I mean? So that’s got to be, it has to stand. He took two years off in between every Olympic Games and came back, did the right amount of events to qualify for not only did he having to qualify, he had to qualify through Japan. Now Japan, remember, have got the greatest depth. So they got people coming through all the time. And then he had to win the Japanese trials. I mean we had a four-time world champion from Japan.

(01:28:25)
This is when World Championships was every other year. And this is Shozo Fujii and he was the greatest middleweight of all time and never got to participate in the Olympics because he lost the Japanese trials twice, in two Olympic possibilities. He had to qualify for Japan and then go to the Olympic Games and then do it there. Sometimes some of the best people in Japan can’t get outside of Japan. Look at the situation they had with Abe and then they had Maruyama. Maruyama and Abe were both the best. By far. In the under-66 kilos category. This is for the last Olympic Games. And they sent one to the world Championships one to the Olympic Games and they both won gold medals.
Lex Fridman
(01:29:21)
Yeah, that’s why the all Japan Championships is legendary, that there’s these battles with Dimash and all of them.
Neil Adams
(01:29:32)
Abe and Maruyama, they had trials in the Kodokan. It was 26 minutes, I think it was 26 minutes, it went. They were battling it out for 26 minutes.

Training in Japan

Lex Fridman
(01:29:45)
That’s great. If we can just go to, you’ve trained in Japan. What are those randoris like? What’s that training like?
Neil Adams
(01:29:54)
I touched on the danger. That danger of being thrown, when you get hold of somebody or somebody gets hold of you. And I often reflect-
Neil Adams
(01:30:00)
Hold of somebody or somebody gets hold of you. I often reflect, and I often talk about it when I’m commentating because I can see immediately… It’s easy, isn’t it? In the commentary chair, or if you’re in the coach’s chair and you don’t really understand totally, absolutely what’s going on when somebody’s being out-gripped. When they’re in danger of being thrown, if you are in danger of being thrown, the first thing you do is stick your backside out and defend by not being in the position they want you to be in. All right? So that’s danger. You feel the danger. So in Japan, that was the place I used to go to train because I felt the danger, and so my defenses would be heightened. One Olympic cycle, I went two years, two months without having a score on me in any competition.

(01:31:03)
Then I went to one competition in the European Championships, which I won, and I was struggling all the way through it and got scored on three times in my first pool of fights, and I was devastated. I actually nearly lost the whole competition because I was more mortified about being scored on three times when I hadn’t been scored on for 2 1/2 years. I had this thing in my head about 2 1/2 years, and then all of a sudden I’m not unbeatable and you go… I almost lost it, completely lost it. Just so fortunate, couple of things went my way and just came out, and I scraped and scratched my way to the final and won the final well, all right? But that was my best match, but I almost lost it.
Lex Fridman
(01:31:57)
Well, what do you do with the fact that if you go to Japan and you’re getting, you’re saying danger, you’re probably getting-
Neil Adams
(01:32:02)
Getting thrown.
Lex Fridman
(01:32:03)
Getting thrown in Japan. What does that do to your ego?
Neil Adams
(01:32:06)
Well, again, that was a winning ego that had to adapt. I remember we went to the kasejo, which police dojo one time, and they created this groundwork competition because they wanted to see me do the jiu-ji, how I went in and-
Lex Fridman
(01:32:06)
The arm bar.
Neil Adams
(01:32:28)
Yeah, the arm bar, right? They wanted to see how I did it from underneath or over the top, and they just created this event.
Lex Fridman
(01:32:35)
Studied the creature.
Neil Adams
(01:32:36)
Yeah, they started it and then winner stays on competition was happening at the kasejo. So I did about seven, I think it was seven in, and then my coach came in and said, “No, it’s finished. That’s it now, it’s finished.” Suddenly we realized what was going on and I was going, “No, no, no, no, don’t stop it like that.” And it was one of those moments where the boot was on my foot, you could say, rather than the other side, the other way.

(01:33:09)
Because I had been to Japan in situation… I remember as a sixteen-year-old, I got such such a drumming from one of the Japanese guys, older students. And he had a gold tooth. And so he was Gold Tooth to me and he was my nightmare. And I remember kept coming out to fight him because he kept throwing me and I was crying and I was upset and I was like… And then that was another occasion where I got dragged away and I said, “No.” So I wanted to go back and fight him. And I went back to the same dojo every year to fight him. He was on my mind morning, noon, night. He was on my mind.
Lex Fridman
(01:33:57)
Gold Tooth was on your mind.
Neil Adams
(01:33:58)
Gold tooth was on my mind.
Lex Fridman
(01:33:59)
Did you ever get him?
Neil Adams
(01:34:01)
Two years later. Two years to me from 16 to 18 was totally different. 18 years of age I was pretty competitive with him. And it was like I was standing up with him. 19, he was in the groundwork competition.
Lex Fridman
(01:34:20)
And that’s when the switch happened.
Neil Adams
(01:34:22)
Switch happened. Because I just, well, because I remember getting the arm lock and didn’t put it on immediately. I needed it to last. It had to last.
Lex Fridman
(01:34:34)
Sure. It had to last.
Neil Adams
(01:34:35)
So I spread, the whole thing lasted as long as I could possibly get it. And it was a long memory as I was looking down at him.
Lex Fridman
(01:34:45)
And now he has nightmares about you.
Neil Adams
(01:34:47)
Now he has-
Lex Fridman
(01:34:47)
I wonder what nickname he has for you.
Neil Adams
(01:34:49)
I don’t know, I’m hoping that he remembers me.
Lex Fridman
(01:34:53)
He has a photo of you.
Neil Adams
(01:34:54)
Do you know what? He probably doesn’t say, just bat an eyelid, doesn’t say a thing about it.
Lex Fridman
(01:35:01)
I mean, can you just speak to that training with those folks? You said crying, just the frustration of being thrown. It’s such a beautiful part of the process of becoming great.
Neil Adams
(01:35:16)
Yeah, I think it is just something that doesn’t happen at this level. We were talking about levels and then at this level it never happened. And then I went out in my first European cadet and all of a sudden I wasn’t this top guy. I was in the mix. And then I had to work myself to the top of that mix and then to the top of the next one because I went to the European Senior Championships.

(01:35:45)
And again, you’re not the top and you’ve worked your way to the top of that. I think it is a frustration, but I think it’s that kind of hatred of losing and also being out of control. I think that the first Senior European Championships I fought Nevzorov, but he was only one of my contests. Then I had to fight a Frenchman for third place. But he totally out-gripped me. And I remember I was more upset though I won the contest, I was more upset that he totally out… He did out-grip me and I was more upset. And then I fought him a year later and out-gripped him. All right. So it was one of those, it was a learning process all the way through.
Lex Fridman
(01:36:36)
That frustration is like, whatever that does to your soul, the building up afterwards is what actually makes you better. It’s fascinating. And do you think there’s, in Japan, just killers there that the world doesn’t know about, that just-
Neil Adams
(01:36:56)
Yeah, there’s world champions in the dojo. There’s people that never make it out. I remember we were training and everybody that goes to Japan, all my friends that have been world Olympic champions, they all know what I’m talking about. They know exactly what I’m saying, is that when we go to the dojos there, we all get thrown by people that never come out to be world champions. They’re just in the mix or they’re going through three years of university and then they go. We had a guy that came in, he was a business guy. He came in with his suitcase and his briefcase like that. He’s got his tie up like that. So he decides he’s going to come in and he gets changed and he’s in his lunch hour, he’s in his lunch hour, so it’s got to be quick. So he comes in and he goes through, he’s working his way through the whole of the British team. We’re all lined up. So he’s just working his way through the whole of the British team. And I knew it was my turn next.
Lex Fridman
(01:38:01)
In his lunch hour.
Neil Adams
(01:38:01)
So I get hold of him and I throw him immediately. And then it was what we were talking about when it happens in the first few seconds of the practice. So then I had four minutes of him coming at me and I’m going up into the air and I’m twisting off. And then everybody’s laughing at the side of the mat or the whole British team. He’s gone through the whole British team and then 10 minutes later he’s tying his tie up like that. And back to work like that. Imagine him sitting behind his desk at his computer.
Lex Fridman
(01:38:37)
Yeah. Yeah.
Neil Adams
(01:38:40)
I’m glad he didn’t get out.
Lex Fridman
(01:38:44)
Hopefully he listens to this.
Neil Adams
(01:38:46)
Hopefully.
Lex Fridman
(01:38:48)
Anybody else I didn’t mention as part of the greats that just kind of jumped-
Neil Adams
(01:38:51)
Kashiwazaki Sensei is my favorite of all favorites. He is what I would call a judo genius. I don’t know if you can get him up here. Can we get him up?
Lex Fridman
(01:38:52)
Yeah.
Neil Adams
(01:39:06)
So go into 1981 World Championships and I’ll talk you through the great Kashiwazaki. He was one year in Great Britain and he was a guy that was so much a genius… So you want the final of the under 60, 65 kilograms. There. The one at the top. This is him. He’s two weight categories below my weight category that I won the World championships. Same year I won it. So I’m not sure if this is going to show his final of-
Lex Fridman
(01:39:45)
This is a highlight.
Neil Adams
(01:39:46)
Oh, watch this. This he did in the-
Lex Fridman
(01:39:46)
What?
Neil Adams
(01:39:50)
Final of the World-
Lex Fridman
(01:39:52)
For people just listening, he did an incredible sacrifice throw.
Neil Adams
(01:39:56)
And then he was on top for the newaza, and renowned for his groundwork and he was on top of… Against a really strong Romanian guy, so his transition was just phenomenal.
Lex Fridman
(01:40:11)
Yeah, let me go back and look at that, what just happened?
Neil Adams
(01:40:14)
So he’s just showing you… So he does this koji thing just to create space and it’s his follow through into groundwork that is best of all. And then the Romanian, really strong, like I say, he’d gone all the way through to the final of the world championships, winning most by ippon I think, the Romanian. And he’s defending really, really well here. And you can see how persistent, he knows exactly what he wants. He’s just got to get his leg out. Now watch, he tied the arm up and then he’ll pull the top leg towards him and then he’ll push the bottom one off-
Lex Fridman
(01:40:56)
Always working.
Neil Adams
(01:40:56)
With both feet. Always working, always working. Readjust the balance. Still one leg trapped. Final of the World Championships. Good referee because he’s refereeing something here that’s happening that’s going to decide as to whether, so he doesn’t call it to stand it up at all. Watch him pull the top one now and he’ll push the bottom one.
Lex Fridman
(01:41:19)
There’s a calmness on his face, which is great to see.
Neil Adams
(01:41:22)
Calm. Pushes the bottom leg, leg out, job done. All finished. This is him again, watch this. This is another technique that he does.
Lex Fridman
(01:41:33)
The sacrifice.
Neil Adams
(01:41:34)
And then just again, sacrifice directly in, directly into the newaza.
Lex Fridman
(01:41:40)
Transition is everything, isn’t it?
Neil Adams
(01:41:42)
In judo.
Lex Fridman
(01:41:43)
Yeah. Well, in anything really, but judo it especially pays off.
Neil Adams
(01:41:49)
Yeah, I mean because we haven’t got that long. I mean we had more time here, they’ve just brought more time back. So we’ve got more time to transition in and to get the situation that we want and to get the attacking situation that we want. Because I remember I was teaching in America to some jiu-jitsu guys, and they were saying, “Oh, we’d never give you our back.” And I said, “With judo rules, certain situations it happens that when we try and do throws where we’re facing away from our opponent.” So for example, seonages, if they fail, then the back is there and that’s how we get the back. And it’s a different situation than going on your back in the guard situation. Totally different.
Lex Fridman
(01:42:38)
Well, Travis Stevens, I don’t know how familiar you are with his judo, but he’s a really interesting example. He competed at the highest level in Jiu-Jitsu as well. And his idea, he’s a big seonage guy, and he basically threw all of that away.
Neil Adams
(01:42:38)
In the jiu-jitsu ?
Lex Fridman
(01:42:55)
In the jiu-jitsu . He took the sport from scratch for what it is. So he almost never did a standing seonages at all in jiu-jitsu.
Neil Adams
(01:43:07)
No, because it would leave his back all the time if it failed. But he wouldn’t have the same kind of grip on the Judo gi or the jiu-jitsu gi. A little bit different.
Lex Fridman
(01:43:20)
And so you have to kind of consider the sport, the art of it, and also the competitors, the styles and the culture of the sport. If you want to win, if winning is the most important thing, then like, “All right, well, let’s-“
Neil Adams
(01:43:31)
But you learn the game, don’t you? And that’s what he did. He learned the game. And I think that is credit to him. And that’s why I was saying about wrestling, the wrestlers, I mean, good to learn the judo and for what it is and the mechanics and how it works. And then learn the wrestling. I mean, I do the commentary as well for the freestyle, and I will be at the Olympics for the freestyle and the Greco-Roman. And I love the freestyle, absolutely love it. But freestyle is freestyle. Judo is judo. I like to see people doing judo.
Lex Fridman
(01:44:05)
Yeah, but there’s a rhyme to the whole combat thing. They’re all, I mean, the body mechanics, it’s all fascinating echoes of each other in interesting ways. The details are different, but there’s still two humans clashing.
Neil Adams
(01:44:24)
Yeah, we’ve got some amazing crossovers with people like the Mongolians that have come in, with the Georgians. The Georgians do massive pickups and different techniques. And if you ask the fighters whether grabbing the legs, a lot of them would say some of the wrestling styles, the Georgians and the Mongolians might say, “Yeah, I’d like to be able to take the legs.” But a lot of them just adapted. You get Iliadis, for example, he just adapted. So he thought, “Well, I’ll take my arm over the top and I’ll just rip them out the floor that way.” You know what I mean?
Lex Fridman
(01:45:05)
They’re still doing the big lifts, they’re still doing the big gripping, but they just don’t grab below the legs. It’s weird. They figured it out.
Neil Adams
(01:45:14)
And they figured it out like that.
Lex Fridman
(01:45:16)
Yeah, you would think it’d take a long time. No, it was like a month.
Neil Adams
(01:45:20)
Yeah. No, exactly.

Jiu jitsu

Lex Fridman
(01:45:23)
The highest level, which is crazy. So you mentioned jiu-jitsu a little bit. What to you is an interesting difference between jiu-jitsu and judo that you’ve observed? Because you’re one of the greatest ever on the ground in judo. And so jiu-jitsu is primarily focused on similar type of stuff on the ground. So what to you is an interesting difference there?
Neil Adams
(01:45:49)
They’re a different approach, different timescale to them, and they have a different way in. So [inaudible 01:45:57] ours comes from a standing position directly in, we’ve got a timescale on it so we have to, like the catch, I always talk about the catch. Because in judo terms, if you don’t get the catch immediately, then the referee won’t see the transition in. And also the continuation from plan A, B, C, D if something builds. So we have to build it and we have to build it quickly. And I think in jiu-jitsu terms, you have more time to build.
Lex Fridman
(01:46:32)
Yeah, there’s a kind of patience like, “Oh, if this doesn’t work out, I can try a different thing.” With Judo, there’s an urgency.
Neil Adams
(01:46:39)
There’s an urgency.
Lex Fridman
(01:46:41)
And there’s a ref watching skeptically. So you better show that you’re making progress.
Neil Adams
(01:46:47)
You’ve got to show the progression. And that’s why I always had a plan A, B, C. You see there with… That was 1981 there, the great Kashiwazaki had a progression. Everything was, he knew exactly where he had to be. It was feel. That wasn’t by accident, it was trained. And I think that that transition there and taking control of somebody’s mistake, so somebody might have made a mistake or not hit properly, or your defense has caused them to make a mistake and then you take advantage of it. And that is the difference.
Lex Fridman
(01:47:25)
So one of the side effects of that, I don’t know with the chicken or the egg, but judo people on the ground are much more aggressive. So probably because of the urgency, but there’s an intention behind the progress you’re making. I think jiu-jitsu is more relaxed. There’s more a culture of just finding places to relax and think of different control and positions and take your time. And as a result, it’s much, much less exhausting. So you can go for much longer. It feels like judo is exhausting.
Neil Adams
(01:48:02)
It’s that ten second blast, isn’t it? It’s like doing sprints all the time. And that is really hard. And that’s a special kind of condition you need and you need to be able to catch it and know when to go and when not to go. And I think also, I was going to ask you, you think it’d make a difference, I mean, certain jiu-jitsu, you can’t just throw yourself on your back into the guard. You have to throw into the situation. You have got, I mean, I know Roger Gracie, he decided that he was going to learn judo. He saw the importance of being able to throw for the transition in, and so he came to the budokai and he was learning off Ray Stevens, and they were doing really a lot-
Lex Fridman
(01:48:50)
Well, he’s a fascinating study because he does the most basic stuff and he does-
Neil Adams
(01:48:55)
Does it well.
Lex Fridman
(01:48:56)
He did another level of wow, it’s like Yamashita, everyone knows what’s coming with Roger Gracie, but he just does it anyway. I guess the best people in the world. It’s crazy. He’s like, everybody in jiu-jitsu at White Belt learns the techniques he’s using, and he just does it.
Neil Adams
(01:49:14)
Amazing, isn’t it? But he has about a thousand ways in.
Lex Fridman
(01:49:17)
Yeah, yeah. I mean, and the thousand ways there’s in the details, so it kind of might even look the same to people. But he finds a way to choke people. So he’s on top of them, mounted in a sort of judo pin position, and everyone knows what’s coming next against the best people in the world, and you should be able to defend it, but nobody can, it’s crazy.
Neil Adams
(01:49:40)
I think there’s the power element as well, that you don’t realize how when somebody’s directed in a particular way, then you have that kind of element of absolute power that you can only feel, like when Roger’s doing a technique, I think that you would only feel it if he did it on you, then you can feel it. It’s not something that happens… So tricks is one thing, but actually being able to do something really well from a power point of view. Like you say, he only does those few things, but he does them really, really, really well.
Lex Fridman
(01:50:20)
Yeah, I don’t know what that is about. Actually, judo pins is a very interesting case study as well, because people are able to feel so heavy. One of the things judoka are able to do is pin extremely well, and it makes you realize that it’s not about the weight, it’s about some kind of technique that makes people feel like they weigh a thousand pounds.
Neil Adams
(01:50:43)
It’s about weight distribution and change of balance. A lot of people don’t realize that there’s huge changes of balance on the ground. Massive. You know what it’s like. I mean, you’re a jiu-jitsu man. And the detail of the techniques is what really interests me. I mean, I’m always looking, small ideas. I’m always looking at the jiu-jitsu and it fascinates me. I would’ve done jiu-jitsu for sure, but I wouldn’t have forgotten the judo way in to the techniques. I mean, I think you’ve got to differentiate the two, but I would’ve loved the jiu-jitsu. I would’ve absolutely loved it, but it wasn’t as prominent then. Where the newaza came from, it came from a mistake, me getting beaten in a particular contest and I went, “I’m not going to be beaten again on the ground.” That’s how it happened.
Lex Fridman
(01:51:44)
Yeah. Well, yeah, the story of your life is like a loss creates, the phoenix rises.
Neil Adams
(01:51:52)
It was 1978, and it wasn’t a mistake. It was a particular movement. And I was fighting weight up from my normal weight, but I stayed in the same position for one second too long, got caught and-
Lex Fridman
(01:52:10)
Choked?
Neil Adams
(01:52:11)
Sangaku, yeah. Triangle. Triangle, triangle.
Lex Fridman
(01:52:13)
Wow.
Neil Adams
(01:52:14)
And I said, I literally just the same as I said to you, when I said, “I’m not going to drink anymore,” I came off and I said, “I’m never going to get caught on the ground again.”
Lex Fridman
(01:52:27)
Never lose on the ground ever.
Neil Adams
(01:52:27)
And I never lost in my whole competitive career again.
Lex Fridman
(01:52:32)
But yeah, I shouldn’t mention that there’s nothing like a pin from a judo person. And I don’t actually know if people in jiu-jitsu have made sense of that, loaded that in.
Neil Adams
(01:52:44)
But it’s not part of the game, is it? The pin? It’s submission.
Lex Fridman
(01:52:50)
Yeah, but control is part of the game, and nobody controls a human body the way judo people do on the ground. They have understood the science of control. And I think that control is extremely useful in jiu-jitsu as well, it’s just that people don’t… There’s so many other domains of exploration.
Neil Adams
(01:53:13)
That’s interesting.
Lex Fridman
(01:53:14)
I mean, just especially when you apply jiu-jitsu to the fighting setting of mixed martial arts, that control, that side control, that pin control, is really, really, really important. But then you add punching to the thing and it becomes-
Neil Adams
(01:53:30)
Puts a whole different thing on it, doesn’t it?
Lex Fridman
(01:53:32)
I mean, there’s an alternate history where you would’ve been part of the early UFCs if time was a little different maybe a few years later, because your style of judo and jiu-jitsu and the transitions and the aggression, all of that would’ve worked really well in the early UFCs.
Neil Adams
(01:53:53)
I’m sure I was being set up at one stage by one of the Graces, and that was when he was winning all the matches. But he came in with a couple of the cousins to one of my seminars, and he was one of the first ones, wasn’t he, that… That’s how I love to see the kind of UFC, because it was different martial arts, different skills. And he’d get close and he’d just choke them out or arm lock them or arm bar them. And that was brilliant for me. That was a revelation. That was how I saw it.
Lex Fridman
(01:54:34)
It’s a fascinating science experiment, which aspects of different martial arts work well and not, when they clash together. And it did turn out that Newaza worked-
Neil Adams
(01:54:45)
Was the key. Yeah, it was the key, wasn’t it?
Lex Fridman
(01:54:46)
Yeah, it was a big missing link in our conception of fighting. It’s the neutralizer of size, and a lot of other components. It just blew people’s mind. “Oh, okay. It’s not just about size. It’s not just about big guys swinging hands. It’s a lot of other components, and the groundwork is really, really important.” And of course, there’s a few judoka that succeeded in the UFC since then, which is always interesting how they adapt. When you take off the gi, how can you still throw people? How can you still do control? How can you still take advantage of the transition on the ground? Ronda Rousey is a good example of somebody that took advantage of that.
Neil Adams
(01:55:29)
Yeah, I think one of the biggest things for the judoka is we’ve never… There’s no strikes, and I think that’s the biggest shock, if you wish, when you get one-
Lex Fridman
(01:55:29)
Yeah, punched in the face.
Neil Adams
(01:55:44)
You get punched in the face and you’re not used to that. That’s not what we’re used to.
Lex Fridman
(01:55:52)
Some people are able to get punched in the face better than others, for sure. Then again, there’s Ronda Rousey who doesn’t need to get punched in the face. She just gets in close, throws a person, arm bar right there.
Neil Adams
(01:56:03)
And Kayla-
Lex Fridman
(01:56:06)
Kayla Harrison, that’s another incredible person. She could have probably been just winning Olympic gold medal after Olympic gold medal, but chose to-
Neil Adams
(01:56:13)
Whatever she decides. I mean, Ronda as well, whatever they decided to do they’re great athletes. They hate losing. I don’t know anybody that hates losing more than those two. They don’t like it.

Training

Lex Fridman
(01:56:27)
And Kayla Harrison, I don’t know anybody that works as hard as her. That’s a crazy, crazy, crazy work ethic. Well, let me ask you about training again, Jimmy Pedro said he learned a lot from you. He learned how to do a tight ocean, the arm bar Jujigatame, but he also learned from you training methodology. So what’s he talking about? He told me about this. What’s your approach to training throughout your career and as it developed?
Neil Adams
(01:56:57)
I always wanted to train harder than anybody else. I still train now every day. If I don’t train, do something, I do an hour of my physical work, and I still go on the mat a little bit. I’m 65 now. And so I’m not doing really heavy stuff on the mat, but I still like to train. And when I was 21, 20 up to 30, I was one of the best trainers. But Jimmy Pedro was one of the best trainers as well. He’s one of your dream athletes. When Jimmy Pedro steps through your door, and he was just a kid. He was just young when he stepped through my door, and I had a lot of full-time trainers, so I had up to 20 really good athletes that were training hard. And I only wanted hard trainers. Give me 10 that train hard rather than your one pre-Madonna that you’re skillful, the one that could do it. I wanted 10 or 20 really hard trainers because you can do so much with them. You can make champions, you can make them world champions. If you’ve got somebody that was a special talent and they wanted to work hard, then you had a special athlete.
Lex Fridman
(01:58:14)
When you say hard trainers, what do you mean? Are these people that just every single day are able to just grind it out, do [inaudible 01:58:21], do the training, do the boring things, just keep coming back-
Neil Adams
(01:58:24)
Yeah, when the going gets tough. And I think that was him. He had a special mentality. And the thing is, you see when you’ve got him in your dojo, even when you’re tired, when somebody’s tired, what an example to the others. So he’d pull the other ones in as well. So I had somebody that when everybody was tired and everybody was sick of it, and everybody just wanted… And he’d still be there, so they had to do it. So that was for me, a win-win. So I had all the Americans, actually, I had Bobby Berland, and I had Michael Swain, and I had Ed Liddie, and I had them all coming to visit me at different times. Jimmy was there, they wanted to be the best. In the end we had such a great club atmosphere. They wanted to come for the hard work, and they knew that if they came, they were going to be dragged out and we were going to do physical training. And it was physical training like they hadn’t done before. But it wasn’t just the physical training, it was the judo and the skill side of it as well. And so I always had a great empathy with the U.S. team. Olympic team. So a lot of your Olympic medalists have been through with me. And so I’m proud of that because we had some great times and they’re still great mates now. And so in New York, in a couple of weeks time, I’m going to have, everybody is going to be there. They’re all coming in.
Lex Fridman
(02:00:00)
All old friends.
Neil Adams
(02:00:01)
All old friends.
Lex Fridman
(02:00:01)
And new friends. So what’s.
Lex Fridman
(02:00:00)
Old friends.
Neil Adams
(02:00:01)
All old friends.
Lex Fridman
(02:00:01)
And new friends. So what’s a tough week look like at your peak physical training, Randori? Is there days off? Are you training twice a day?
Neil Adams
(02:00:14)
Twice a day. So we do the preparation training, we do the running, we do the weight training, we do the skills in the morning as well. The skills is, for me, one of the biggest advantages that any full-time trainers can have, because what happens is that with most clubs, you’re trying to fit everything into that hour and a half or two hours. You fit your skills, you fit your physical training and your sparring and everything’s in there, all grouped in. So the biggest advantages of having a full-time group is that you can split your skills and your skills lay your foundation. So the biggest advantage is being able to work specifically on things without having to worry about getting to do your Randori or your sparring, then you’ve got to go out for… You just do the skills.
Lex Fridman
(02:01:11)
Well, when you talk about skills, say your specialty is a Tai otoshi, are we talking about Uchikomi, working with bands? Are you doing throws? Are you actually just having conversations about specific tiny details of throws? What does skills mean?
Neil Adams
(02:01:27)
All those things about doing your repetition practice, making sure the repetition is correct, there’s good repetition.
Lex Fridman
(02:01:34)
So when we say good repetition, Uchikomi when you’re just fitting the throw versus doing the throw? Where do you land on the value of both?
Neil Adams
(02:01:41)
I’m getting it moving. So one of the biggest, most important things is getting it moving. If we do something static, again, it’s that static target. You need to get it moving. So you need to do a repetition and also you need to do a correct repetition because if you’re doing 100 repetitions that are not correct and repetitions under pressure, too much pressure, without somebody overseeing those skills to make sure that you correct the skills. Because if you’re doing a skill, if you’re doing it 99 times incorrectly, then repetition doesn’t make perfect. Repetition makes permanent, so you’re going to make it as perfect as you possibly can. So actually that skills group there is the most important thing. And what I used to do is oversee it. So I’d oversee it to make sure that it was done properly.
Lex Fridman
(02:02:33)
So you’re watching the footwork, you’re watching the gripping-
Neil Adams
(02:02:37)
Everything.
Lex Fridman
(02:02:37)
…and then just constantly adjusting the people.
Neil Adams
(02:02:40)
I’ll give you an example, Jimmy Pedro. Jimmy was one of the hardest when he was 19 years of age, he’s always asking me to practice always. So he’s always on me all the time. So I do groundwork with him could I put him on his back? No, I was all on him and he’ll tell you, but he just wouldn’t go. He was going to be great, without a doubt. So I wanted everybody on with him, everybody. So everybody went on with him. And so it only improved their game and it improved him. And then small technical things that have stayed with him that we were doing with the Juji Gatame that was passed on to Kayla and then gone on to Ronda and it’s all small things that I can see sometimes that it’s passed on.
Lex Fridman
(02:03:30)
What about the Tai Otoshi? He said he learned a lot from you from that.
Neil Adams
(02:03:34)
And he does it differently.
Lex Fridman
(02:03:35)
And so I should mention that’s one of the trickier throw… I mean, I still don’t understand.
Neil Adams
(02:03:42)
It is a tricky throw.
Lex Fridman
(02:03:43)
I don’t understand. So for people who don’t know, boy, how would you even explain it? It doesn’t make any sense. When you just look solo, the movement you make is quite simple, but how you get a person to be off balance, how you actually get them to be thrown. And when you do throw it successfully, it looks like a whipping motion that’s effortless. It makes no sense.
Neil Adams
(02:04:11)
It makes no sense other than every technique starts with the hands. So it’s what we call Kazushi and you’re pulling somebody off balance, getting them moving, pulling them off balance. Tai otoshi means body drop. So it’s basically two legs across your partner’s body. I’ve got my back to you and I’ve already pulled you off balance with my hands, and then I’m going to just flex my legs up just as you are coming onto my back. And then you’re going to go over if I coordinated all right. If it doesn’t get coordinated right, then you’re going to come right on my back and try to rip my arm off. So got get it right.
Lex Fridman
(02:04:51)
If you can convert it into words, some secret ingredients that allowed you to pull it off at the highest levels, the Tai otoshi?
Neil Adams
(02:05:01)
The hands start every technique. So getting the repetition right, first of all. So to get the repetition right, you need a good partner. Actually training your partner to react in the right way is just as important as learning the throw. Actually what happens is we could get a lesson of beginners, we teach the throw and then go, “Right, off you go.” And 90% of them will get it wrong because their partner’s not reacting in the right way. So half of it is to get the person to react as they should. So if I was doing it with you, you and I, first thing I’d teach you to do is to react the way I want you to react. And then I’d react the way that you want me to react. So then we’d have success with it rather than you leaning back in the wrong way or resisting or frightened going over. So actually, that’s why nine times out of 10, people get the technique wrong.
Lex Fridman
(02:06:02)
It’s actually fascinating to me because in the United States where I came up, I mean, the level of judo is not comparable to the level of judo in the rest of the world. Of course the Pedro Center is an exception to that.
Neil Adams
(02:06:16)
Certain athletes, yeah.
Lex Fridman
(02:06:17)
It’s just certain athletes. When I trained recently with Jimmy Pedro, even the 16 year old kids are just all deadly, so it was terrifying. But I remember the Russian national team came through Philadelphia and one of the things that really impressed me is just how much easier judo was, training judo with them. They moved correctly. As the people getting thrown, every aspect of their body movement was correct in terms of it felt right to be throwing them, to be training with them. Everything about the gripping, about the position of their hips, about the shoulder, everything. It was fun. It was easy. And I always felt like I was learning. So I think all of that is loaded in, I guess, into proper training. So you’re developing through the throws, you’re developing the right technique.
Neil Adams
(02:07:11)
You got to develop. You have to develop between… I always had training partners that I trained with up to each Olympic games, we did the skills together and then we worked together in order to make techniques work. And we got it moving as quickly as we could. And one of the worst things that I see is, and I see a lot of YouTube stuff with them, coaches-
Lex Fridman
(02:07:37)
Here we go, got Neil Adams upset.
Neil Adams
(02:07:40)
Don’t even start me on that. Don’t even start me on that.
Lex Fridman
(02:07:45)
What you-
Neil Adams
(02:07:46)
You’re laughing because you know what I’m talking about, right?
Lex Fridman
(02:07:47)
Yeah, yeah, yeah, yeah. No, I’m actually laughing because I’m enjoying you talking trash. But you’re talking about technique.
Neil Adams
(02:07:57)
Yeah, well then the coaches and their clipboard guys with the clipboards and the stopwatches and they’ve got these kids running up and down the mat and then doing Uchikomi of something that’s technically incorrect 10 times and then running up and doing another 10 at the other side and actually mixing everything together. And it’s just a mess.
Lex Fridman
(02:08:22)
Technique is important.
Neil Adams
(02:08:23)
Technical mess.
Lex Fridman
(02:08:24)
That said, some of it is conditioning type stuff that you were doing. So what is the hardest type of physical conditioning you were doing?
Neil Adams
(02:08:32)
Probably ran too much when I was a kid. If I could go back now, I wouldn’t run as much. And I ran hard and I ran strong. And I remember doing London Marathon one time and I said, “I’m never going to do it again.” I said, “Never.” But I ran and the problem was when I did the London Marathon is I was trying to beat three hours.
Lex Fridman
(02:08:57)
It’s that desire to win again.
Neil Adams
(02:08:58)
It’s totally insane. It was insane. And I went out through half marathon in what I thought was a good time. Anyway, I got to 16-17 miles and totally blew it.
Lex Fridman
(02:09:10)
So you went out too fast.
Neil Adams
(02:09:11)
Yeah, I went out too fast.
Lex Fridman
(02:09:12)
And then you just-
Neil Adams
(02:09:13)
I died.
Lex Fridman
(02:09:14)
…wanted to keep going.
Neil Adams
(02:09:16)
Absolutely. I died. I crossed the line. I remember seeing this bridge over there and the bridge, it was the finishing line over the bridge and I had to get there. It was the longest bridge I’ve ever, ever walked over and I walk, run. So I got over the bridge and I took one step over the line like that, and there was a guy over there and he was trying to rush everybody through. And he was going, “Come on, come on, come on. There’s people behind you?” “Get your hands off of me.” I said, “Get your hands off me now,” like that because we’re going to fall out. And I couldn’t move. I couldn’t move. I was white.
Lex Fridman
(02:09:58)
It’s amazing that you made it to the finish line though.
Neil Adams
(02:10:01)
I did. I got over there and Donald Duck passing me was a tell.
Lex Fridman
(02:10:08)
Oh, there’s a person dressed as Donald Duck?
Neil Adams
(02:10:10)
Donald Duck, yeah. But the thing was, I still crossed over 338. I crossed over 338, but I lost 38 minutes in the last four miles.
Lex Fridman
(02:10:21)
So that bridge, longest bridge ever.
Neil Adams
(02:10:23)
The longest.
Lex Fridman
(02:10:23)
So you regret the running, huh?
Neil Adams
(02:10:24)
So anyway, I would do the running a little bit differently, but we ran hard. We did the weight training, we did good weight training. It was all conditioned. So I mean, it was never the same training all the time. So it was always, we’d have certain phases building up. It was scientifically done. It wasn’t just out there, run, weight training, judo, same judo all the time. It was always pretty scientific.
Lex Fridman
(02:10:50)
Good variety.
Neil Adams
(02:10:51)
It was a good variety. And it had build up and it had a speed phase and it had a power phase and it had a base condition.
Lex Fridman
(02:10:58)
What about the Randori? Was there a method to the madness there? How much Randori did you do?
Neil Adams
(02:11:05)
A lot. So the most important thing for me, I mean, I see now that there’s a lot of people out there that are not getting enough Randori. They’re not Randori-ing enough. And there’s a lot of sports science people and they’re running and they’re weight training and they’re doing it all to death. And there’s not enough judo. You have a look at some of the eastern block countries that are getting together, they’re having these mass camps and the Japanese, they have just massive people that they can do there. They’re doing probably 50-60 Randori’s a week.
Lex Fridman
(02:11:44)
Wait, what?
Neil Adams
(02:11:45)
50 or 60 a week.
Lex Fridman
(02:11:47)
Wow.
Neil Adams
(02:11:48)
The average person is getting together… I mean, when I was doing Randori’s, when I went to Japan, it was just purely for 60 Randori’s a week.
Lex Fridman
(02:11:59)
How much is each one? How long is it?
Neil Adams
(02:12:00)
So they were five minutes then, they’re four minutes now.
Lex Fridman
(02:12:04)
That’s a lot, especially given the level of the competition there.
Neil Adams
(02:12:07)
But you can do it in Japan because it’s fairly light. If they throw you, they throw you, you throw them.
Lex Fridman
(02:12:12)
So there’s a level of you’re moving at a close to 100%, but the actual power in the force is not quite there.
Neil Adams
(02:12:20)
Different in Korea. Korea was harder, it was more physical. So you couldn’t do 50 Randori’s in Korea. You’d die. So you’d do 30.
Lex Fridman
(02:12:31)
50 Randori’s, wow.
Neil Adams
(02:12:32)
But you need the Randori. And so I chased the Randorers, so I chased them into training camps, I chased them all over my country. So I was getting 40 to 50 a week in my club. And then I would go to training camps and add more. And I honestly don’t think that they do enough now, a lot of countries.
Lex Fridman
(02:12:55)
Somebody who doesn’t know Randori’s live training.
Neil Adams
(02:12:57)
Yeah, sparring.
Lex Fridman
(02:12:59)
Was there a few people you remember that were just really tough to go against? You mentioned Goldtooth, is there others like it?
Neil Adams
(02:13:06)
Goldtooth was pretty horrific.
Lex Fridman
(02:13:10)
Well, you got him in the end.
Neil Adams
(02:13:12)
I got him in the end.
Lex Fridman
(02:13:18)
I suppose I should say not just tough, but just good training partners that you like.
Neil Adams
(02:13:21)
Great training partners. I remember Nishida and Nishida, I mentioned him earlier, said he was one of the best, I mean, he was just such a great technician. So I would go there to his dojo and he’d ask me to practice and he’d finish the practice and you know that he would always say, “Another one, we’ll do another one.” So you’d go, “Oh yeah,” because you had to make out that you weren’t that bothered that you had to do another one, so you’d do another one back to back. And then he’d go sometimes, “Let’s do another one.” So we’d end up doing 15 minutes with the same guy who could possibly throw you at any time. And that was hard. But I remember those particular guys and there were plenty of those.
Lex Fridman
(02:14:06)
What do you do with the exhaustion that you’re feeling in those? How deep did you go in terms of-
Neil Adams
(02:14:11)
You have to dig deep. And I think that that was the great thing about having certain European training camps were more physical. So I remember that we would have European training camps where you’d fight Germans and then the Dutch and then the French and then the Russian. You’d have all sorts different styles and people to fight and that was something then you’d have to dig in at a different place, come out of there.
Lex Fridman
(02:14:43)
Where do you go mentally? How many times have you gone there where you’re really in deep waters exhaustion wise in competition, actually?
Neil Adams
(02:14:53)
Competition, it’s happened. So sometimes you go past where your forearms are absolutely blown. I remember the final of Czech tournament that we had and fought a Frenchman in the final. And my forearms were so blown I couldn’t shake his hand. And then I remember they were solid, absolutely solid and they had lactic acid in them. And I remember I stood on the rostrum and they were giving me things and I couldn’t grip them properly. So I was saying, “Put it under my armpit or chin,” like that, trying to hold this and I couldn’t hold anything. So there are times when I really had to go really deep. I remember fighting two East Germans the same day, one of the competitions and the number one and the number two East Germans, and that was another day where I had to really dig deep.
Lex Fridman
(02:15:53)
That’s the fascinating thing about some of these tournaments is if you go full distance on several matches in a row, what you’re seeing in the finals are two people that have fought a lot that day.
Neil Adams
(02:16:08)
And we have golden score now. So we see a lot of guys that are going into golden score and they’ve done one contest in four minutes and then they go another four minutes. And then we’ve had some go into a third four minutes, this is all back to back. It might be in the first round, it might be in the final. And we’ve got some now that are coming out and you can see the stats and the ones that win in golden score. So we got Japanese, Hashimoto, he’s the Japanese representative now instead of Ono, because Ono’s finished. So Hashimoto’s coming out. He was in a tournament last week.
Lex Fridman
(02:16:42)
Is he a good one to look up?
Neil Adams
(02:16:44)
Yeah, just have a look at him. So Hashimoto’s in white here and there’s a great example there. Well, I’m glad we got onto that. So I mean, he has got great technique, Hashimoto.
Lex Fridman
(02:16:57)
Effortless, effortless. Pay attention as we’re talking. Wow.
Neil Adams
(02:16:58)
Right, so you can see exactly what we’re talking about there, great timing. And again, sometimes he backs them up to the edge and then he’ll wait for them to come back in towards, they don’t want to step out to get a penalty.
Lex Fridman
(02:17:14)
I guess that’s a cross grip Tai otoshi or did I see that wrong?
Neil Adams
(02:17:17)
Yeah, cross grip, different grips. Oh, great examples there. Just what we were talking about.
Lex Fridman
(02:17:23)
Making it look so easy. Wow.
Neil Adams
(02:17:26)
So he’s going to be their representative at 73 kilograms. Look at him, back him up again and again, just catching him as he pushes back.
Lex Fridman
(02:17:35)
So push, push, push, and then-
Neil Adams
(02:17:37)
Yeah, action, reaction at it’s best there. And slight change of direction. He sometimes goes down onto his knee there, which is seoi otoshi. It turns from Tai otoshi, which is springing up, to seoi otoshi that’s going down.
Lex Fridman
(02:17:52)
Oh, the title of the video is, Tai Otoshi is a Work of Art.
Neil Adams
(02:17:57)
This is him at his best, showing him doing what he does best. But he had to go three times into golden score last week and dig deep and lost one of them, I think.
Lex Fridman
(02:18:09)
But you’re still going at it. You’re talking about all those training sessions. Niki, your wonderful wife, told me that you were going all over from Target to Target looking for workout clothes because your luggage got lost because you had to get a workout in.
Neil Adams
(02:18:24)
You know what? I realized that if I’m a miserable git, then she’ll get me into the gym. And the thing is that I’m better if I get in there for an hour and I just do something, at least 35-40 minutes cardio. And then I do some weights and more high repetitions. It’s not so much heavy weights now, but more functional stuff.
Lex Fridman
(02:18:48)
I mean, you travel all over the world for the commentary of these competitions. So is it sometimes a challenge to figure out how-
Neil Adams
(02:18:56)
Well during Covid then they closed all the gyms, but we were still going out. We were one of the first ones out. The judo were some of the first out, the competitions were behind closed doors, so we were in the hotel, the gym was closed, so we couldn’t use the gyms, so we had to look for other ways that we could work out. So most of the hotels that we were in were high-rise hotels. So we were in the steps, we were doing the steps right the way up. So I started it, and so I started off with me going up and then one or two of the others and the referees started to go up with me. So in the end, we’d have this trail of people going up the steps and down. And every place we went to, we had the steps. So that was an interesting situation. So we were sick of steps in the end.

Advice for beginners

Lex Fridman
(02:19:52)
What advice would you give to beginners, people starting out in judo, how to develop their game, how to find the beauty in the sport and the art of judo?
Neil Adams
(02:20:08)
If you put 10 people in a room and said, “Right, get on with it,” you’d have mayhem. And I think that whatever sport you’re doing, you need good instruction, good teaching, and a good club atmosphere, somewhere that’s not so intense that winning is the only thing. And I think that if you look at 90% of the people that practice martial arts are doing it for pleasure. So they want to get pleasure. So you need a club that’s got a bit of a mixture. They’ve got a direction to go into competition if they want, and then the rest, it’s for fun and to enjoy it, but with really good instruction because with really good instruction and a good foundation and a good base, you get more enjoyment because you have more success. Let’s be honest, the more success we have with something, the more we like it.
Lex Fridman
(02:21:07)
Yeah, and great technique is a way to really discover the beauty of the art. And so great teaching is really important there.
Neil Adams
(02:21:14)
Great teaching is so important.
Lex Fridman
(02:21:18)
What does it take to get from the early days when you started judo to world-class level?
Neil Adams
(02:21:26)
I think that with most, I mean, you do hear, don’t you? If somebody’s been doing judo for eight years and then they’re in… And I think it happened, one of the French, she went to the Olympic games in 2012 and she’d been doing judo for eight years, but then she started to lose. So she had a relative success early on. The Olympics was one of them. She got a silver medal, but then she went off the boil and then she came back and now she’s still competing and she’s been there for well over 13 years at the very top. So I think that any foundation, it’s like anything, if you lay a really solid foundation, it generally lasts longer.
Lex Fridman
(02:22:12)
Yeah, but that foundation again, is that technique or what does it take to build that foundation?
Neil Adams
(02:22:19)
I think technique, you get away with murder. With technique, you can get away with having bad condition, but I mean, you get found out in the end. But you can go out and you can win certain things by doing really nice technique. But I think if you’ve got the mixture, if you’ve got the whole package, then you can go the whole way.
Lex Fridman
(02:22:42)
So for people who somehow don’t know some of the greatest judo matches ever. You’ve done Grand Prix’s, you’ve done all of these events, Olympics, championship, everything. Just looking at the history of judo, what stands out to you? What events stand out to you? What are some good memories that pop to your head?
Neil Adams
(02:23:03)
I think some of the Paris tournaments are amazing because the crowd, they’re there, they’re on the mat, they’re all judoka, they’re well-educated to the sport. Every time somebody twitches, they’re very biased towards their own, which you expect, but sometimes I haven’t been able to hear myself speak, and that’s very unusual. You’ve got the headphones on and you’re blocked out. Sometimes Teddy Riner’s been walking out there and the crowd are going crazy and they’re on their feet when somebody twitches and then you get the crowd silences. We had one of those last week. Everybody’s cheering their man and then bang, their man goes over.
Lex Fridman
(02:23:47)
And then it’s silence.
Neil Adams
(02:23:48)
Silence, nothing like that. And then of course, we were commentating, we would go, “That was a bit of a crowd silencer.” But that happens.
Lex Fridman
(02:23:57)
Yeah, that is a surprising thing, at least it was to me, that Paris and France is really big on judo.
Neil Adams
(02:24:04)
Massive. And there’s always surprises. Paris is great. In Japan for the Olympic games, the biggest surprise was Ono getting beaten in the team event. Now Ono is the greatest Judo man. Pound for pound, probably one of the best. And he won the Olympic title and then they went into the team event against France and Ono lost to a, He’s not run of the mill German, but the German, he wasn’t certainly Olympic title-esque and beat Ono, managed to throw him.
Lex Fridman
(02:24:41)
Yeah. Well, the team stuff is fascinating, right?
Neil Adams
(02:24:43)
Yeah, it’s fascinating.
Lex Fridman
(02:24:44)
It changes the dynamics of the whole thing. And I mean, it’s funny you say Paris, it really makes it really big deal that this Olympics is being held in Paris.
Neil Adams
(02:24:55)
And they’ll be the team to beat, French team because they have the best balance of the weight categories. They have the best balance with their people that are world and Olympic champions and qualified men and women. So it’s three men, three women. They have the best balance out of anybody.
Lex Fridman
(02:25:13)
And an educated audience.
Neil Adams
(02:25:15)
Educated audience, home grounds.
Lex Fridman
(02:25:16)
It’s going to be awesome.
Neil Adams
(02:25:16)
It’s going to be mad.
Lex Fridman
(02:25:18)
It’s going to be super fun.
Neil Adams
(02:25:20)
It will be super fun.
Lex Fridman
(02:25:21)
Are you nervous?
Neil Adams
(02:25:22)
Yeah.
Lex Fridman
(02:25:23)
All right.
Neil Adams
(02:25:23)
Do you get nervous?
Lex Fridman
(02:25:25)
I get nervous. I get nervous.
Neil Adams
(02:25:26)
I do as well. I get really nervous.
Lex Fridman
(02:25:28)
I’m nervous right now. But given, especially because it’s the Olympics and you want to celebrate people properly and it’s everything for them. And a lot of people, especially the finals matches, it’ll be watched millions of times, the highest of stakes, all of this.
Neil Adams
(02:25:51)
Played over and over. And I find that with mine, I’m now a little bit more careful, so I’ll celebrate a massive throw and then have empathy to the one that’s been thrown because it’s not the best feeling in the world, especially in Olympic finals. Can you imagine that?
Lex Fridman
(02:26:10)
Yeah.
Neil Adams
(02:26:11)
Must be terrible.
Lex Fridman
(02:26:12)
Must be terrible.
Neil Adams
(02:26:15)
Just reflecting. So no, I have a bit of empathy there, and I try and say the right things because they always do come up to me and say, “You commentated my fights.”
Lex Fridman
(02:26:27)
Yeah, you’re the voice of the biggest triumphs and the biggest tragedies for these athletes, for the world that watches and admires these athletes.
Neil Adams
(02:26:35)
No pressure.
Lex Fridman
(02:26:35)
You’re the voice. Don’t screw it up.
Neil Adams
(02:26:37)
Don’t screw it up.
Lex Fridman
(02:26:39)
Your voice is in my head when I watch these. It’s just fascinating, it’s fascinating, but you’re a master of it. It’s a huge honor that you would talk with me. Thank you for everything you’ve done for the sport of judo, for the Olympics, for just sports in general, just celebrating greatness in all of its forms. Thank you for talking today. Keep going. I can’t wait to listen to you in Paris.
Neil Adams
(02:27:07)
Thank you for having me, and it’s just been an honor to be here with you.
Lex Fridman
(02:27:13)
Thanks for listening to this conversation with Neil Adams. To support this podcast, please check out our sponsors in the description. And now let me leave you with some words from Miyamoto Musashi. There’s nothing outside of yourself that can ever enable you to get better, stronger, richer, quicker, or smarter. Everything is within, everything exists. Seek nothing outside of yourself. Thank you for listening and hope to see you next time.

Transcript for Edward Gibson: Human Language, Psycholinguistics, Syntax, Grammar & LLMs | Lex Fridman Podcast #426

This is a transcript of Lex Fridman Podcast #426 with Edward Gibson.
The timestamps in the transcript are clickable links that take you directly to that point in
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Table of Contents

Here are the loose “chapters” in the conversation.
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Introduction

Edward Gibson
(00:00:00)
Naively I certainly thought that all humans would have words for exact counting, and the Piraha don’t. Okay, so they don’t have any words for even one. There’s not a word for one in their language. And so there’s certainly not a word for two, three or four. And so that blows people’s minds often.
Lex Fridman
(00:00:18)
Yeah, that’s blowing my mind.
Edward Gibson
(00:00:20)
That’s pretty weird, isn’t it?
Lex Fridman
(00:00:21)
How are you going to ask, “I want two of those.”
Edward Gibson
(00:00:25)
You just don’t. And so that’s just not a thing you can possibly ask in Piraha. It’s not possible, there’s no words for that.
Lex Fridman
(00:00:32)
The following is a conversation with Edward Gibson, or Ted, as everybody calls him. He’s a psycholinguistics professor at MIT. He heads the MIT language lab that investigates why human languages look the way they do, the relationship between cultural language and how people represent, process and learn language. Also, you should have a book titled Syntax: A Cognitive Approach, published by MIT Press coming out this fall so look out for that. This is the Lex Fridman podcast. To support it, please check out our sponsors in the description. And now, dear friends, here’s Edward Gibson. When did you first become fascinated with human language?

Human language

Edward Gibson
(00:01:17)
As a kid in school, when we had to structure sentences and English grammar, I found that process interesting. I found it confusing as to what it was I was told to do. I didn’t understand what the theory was behind it, but I found it very interesting.
Lex Fridman
(00:01:34)
When you look at grammar, you’re almost thinking about it like a puzzle, almost a mathematical puzzle.
Edward Gibson
(00:01:39)
Yeah, I think that’s right. I didn’t know I was going to work on this at all at that point. I was a math geek person, computer scientist, I really liked computer science. And then I found language as a neat puzzle to work on from an engineering perspective actually, that’s what I … After I finished my undergraduate degree, which was computer science and math in Canada in Queen’s University, I decided to go to grad school, as that’s what I always thought I would do. And I went to Cambridge where they had a master’s program in computational linguistics. And I hadn’t taken a single language class before. All I’d taken was CS, computer science, math classes pretty much mostly as an undergrad. And I just thought this was an interesting thing to do for a year, because it was a single year program. And then I ended up spending my whole life doing it.
Lex Fridman
(00:02:36)
Fundamentally, your journey through life was one of a mathematician and a computer scientist. And then you discovered the puzzle, the problem of language, and approached it from that angle to try to understand it from that angle, almost like a mathematician or maybe even an engineer.
Edward Gibson
(00:02:53)
As an engineer, I’d say … To be frank, I had taken an AI class, I guess it was ’83 or ’84, ’85, somewhere in there a long time ago. And there was a natural language section in there. And it didn’t impress me. I thought, “There must be more interesting things we can do.”

(00:03:09)
It seemed just a bunch of hacks to me, it didn’t seem like a real theory of things in any way. And so I just thought this seemed like an interesting area where there wasn’t enough good work.
Lex Fridman
(00:03:23)
Did you ever come across the philosophy angle of logic? If you think about the 80s with AI, the expert systems where you try to maybe sidestep the poetry of language and some of the syntax and the grammar and all that stuff and go to the underlying meaning that language is trying to communicate and try to somehow compress that in a computer representable way? Did you ever come across that in your studies?
Edward Gibson
(00:03:50)
I probably did but I wasn’t as interested in it. I was trying to do the easier problems first, the ones I thought maybe were handleable, which seems like the syntax is easier, which is just the forms as opposed to the meaning. When you’re starting talking about the meaning, that’s a very hard problem and it still is a really, really hard problem. But the forms is easier. And so I thought at least figuring out the forms of human language, which sounds really hard but is actually maybe more attractable.
Lex Fridman
(00:04:19)
It’s interesting. You think there is a big divide, there’s a gap, there’s a distance between form and meaning, because that’s a question you have discussed a lot with LLMs because they’re damn good at form.
Edward Gibson
(00:04:33)
Yeah, I think that’s what they’re good at, is form. And that’s why they’re good, because they can do form, meanings are …
Lex Fridman
(00:04:39)
Do you think there’s … Oh, wow. It’s an open question.
Edward Gibson
(00:04:42)
Yeah.
Lex Fridman
(00:04:43)
How close form and meaning are. We’ll discuss it but to me studying form, maybe it’s a romantic notion it gives you. Form is the shadow of the bigger meaning thing underlying language. Language is how we communicate ideas. We communicate with each other using language. In understanding the structure of that communication, I think you start to understand the structure of thought and the structure of meaning behind those thoughts and communication, to me. But to you, big gap.

Generalizations in language

Edward Gibson
(00:05:19)
Yeah.
Lex Fridman
(00:05:20)
What do you find most beautiful about human language? Maybe the form of human language, the expression of human language.
Edward Gibson
(00:05:27)
What I find beautiful about human language is some of the generalizations that happen across the human languages, within and across a language. Let me give you an example of something which I find remarkable, that is if a language, if it has a word order such that the verbs tend to come before their objects … English does that. The subject comes first in a simple sentence. I say the dog chased the cat, or Mary kicked the ball, the subject’s first and then after the subject there’s the verb and then we have objects. All these things come after in English. It’s generally a verb. And most of the stuff that we want to say comes after the subject, it’s the objects. There’s a lot of things we want to say they come after. And there’s a lot of languages like that. About 40% of the languages of the world look like that, they’re subject-verb-object languages. And then these languages tend to have prepositions, these little markers on the nouns that connect nouns to other nouns or nouns to verb. When I see a preposition like in or on or of or about, I say I talk about something, the something is the object of that preposition that we have. These little markers come also, just like verbs, they come before their nouns.

(00:06:52)
Now, we look at other languages like Japanese or Hindi, these are so-called verb final languages. Maybe a little more than 40%, maybe 45% of the world’s languages or more, 50% of the world’s languages are verb final. Those tend to be post positions. They have the same kinds of markers as we do in English but they put them after. Sorry, they put them first, the markers come first. You say instead of talk about a book, you say a book about, the opposite order there in Japanese or in Hindi. You do the opposite and the talk comes at the end. The verb will come at the end as well. Instead of Mary kicked the ball, it’s Mary ball kicked. And then if it’s Mary kicked the ball to John, it’s John to, the to, the marker there, the preposition, it’s a post position in these languages.

(00:07:52)
And so a fascinating thing to me is that within a language, this order aligns, it’s harmonic. And so it’s one or the other, it’s either verb initial or verb final. But then you’ll have prepositions, prepositions or post positions. And that’s across the languages that we can look at. We’ve got around a thousand languages for … There’s around 7,000 languages around on the earth right now. But we have information about say, word order on around a thousand of those pretty. Decent amount of information. And for those thousand which we know about, about 95% fit that pattern. It’s about half and half, half are verb initial like English and half are verb final like Japanese.
Lex Fridman
(00:08:41)
Just to clarify, verb initial is subject-verb-object.
Edward Gibson
(00:08:45)
That’s correct.
Lex Fridman
(00:08:46)
Verb final is still subject-object-verb.
Edward Gibson
(00:08:50)
That’s correct. Yeah, the subject is generally first
Lex Fridman
(00:08:52)
That’s so fascinating. I ate an apple, or I apple ate.
Edward Gibson
(00:08:57)
Yes.
Lex Fridman
(00:08:57)
Okay. And it’s fascinating that there’s a pretty even division in the world amongst those, 45%.
Edward Gibson
(00:09:03)
Yeah, it’s pretty even. And those two are the most common by far. Those two word orders, the subject tends to be first. There’s so many interesting things but the thing I find so fascinating is there are these generalizations within and across a language. And there’s actually a simple explanation I think, for a lot of that. And that is you’re trying to minimize dependencies between words. That’s basically the story I think, behind a lot of why word order looks the way it is, is we’re always connecting … What is a thing I’m telling you? I’m talking to you in sentences, you’re talking to me in sentences. These are sequences of words which are connected and the connections are dependencies between the words.

(00:09:47)
And it turns out that what we’re trying to do in a language is actually minimize those dependency links. It’s easier for me to say things if the words that are connecting for their meaning are close together. It’s easier for you in understanding if that’s also true. If they’re far away, it’s hard to produce that and it’s hard for you to understand. And the languages of the world, within a language and across languages fit that generalization. It turns out that having verbs initial and then having prepositions ends up making dependencies shorter. And having verbs final and having post positions ends up making dependencies shorter than if you cross them. If you cross them, you just end up … It’s possible, you can do it.
Lex Fridman
(00:10:33)
You mean within a language?
Edward Gibson
(00:10:34)
Within a language you can do it. It just ends up with longer dependencies than if you didn’t. And so languages tend to go that way, they call it harmonic. It was observed a long time ago without the explanation, by a guy called Joseph Greenberg, who’s a famous typologist from Stanford. He observed a lot of generalizations about how word order works, and these are some of the harmonic generalizations that he observed.
Lex Fridman
(00:10:59)
Harmonic generalizations about word order. There’s so many things I want to ask you. Okay, let me just some basics. You mentioned dependencies a few times. What do you mean by dependencies?

Dependency grammar

Edward Gibson
(00:11:12)
Well, what I mean is in language, there’s three components to the structure of language. One is the sounds. Cat is C, A and T in English. I’m not talking about that part. Then there’s two meaning parts, and those are the words. And you were talking about meaning earlier. Words have a form and they have a meaning associated with them. And so cat is a full form in English and it has a meaning associated with whatever a cat is. And then the combinations of words, that’s what I’ll call grammar or syntax, that’s when I have a combination like the cat or two cats, okay, where I take two different words there and put together and I get a compositional meaning from putting those two different words together. And so that’s the syntax. And in any sentence or utterance, whatever, I’m talking to you, you’re talking to me, we have a bunch of words and we’re putting them together in a sequence, it turns out they are connected, so that every word is connected to just one other word in that sentence. And so you end up with what’s called technically a tree, it’s a tree structure, where there’s a root of that utterance, of that sentence. And then there’s a bunch of dependents, like branches from that root that go down to the words. The words are the leaves in this metaphor for a tree.
Lex Fridman
(00:12:34)
A tree is also a mathematical construct.
Edward Gibson
(00:12:37)
Yeah. It’s graph theoretical thing, exactly.
Lex Fridman
(00:12:38)
A graph theory thing. It’s fascinating that you can break down a sentence into a tree and then every word is hanging onto another, is depending on it.
Edward Gibson
(00:12:47)
That’s right. All linguists will agree with that, no one …
Lex Fridman
(00:12:51)
This is not a controversial …
Edward Gibson
(00:12:52)
That is not controversial.
Lex Fridman
(00:12:53)
There’s nobody sitting here listening mad at you.
Edward Gibson
(00:12:55)
I do not think so, I don’t think so.
Lex Fridman
(00:12:56)
Okay. There’s no linguist sitting there mad at this.
Edward Gibson
(00:12:58)
No. In every language, I think everyone agrees that all sentences are trees at some level.
Lex Fridman
(00:13:05)
Can I pause on that?
Edward Gibson
(00:13:06)
Sure.
Lex Fridman
(00:13:06)
Because to me just as a layman, it is surprising that you can break down sentences in mostly all languages.
Edward Gibson
(00:13:15)
All languages, I think.
Lex Fridman
(00:13:17)
… into a tree.
Edward Gibson
(00:13:17)
I think so. I’ve never heard of anyone disagreeing with that.
Lex Fridman
(00:13:21)
That’s weird.
Edward Gibson
(00:13:21)
The details of the trees are what people disagree about.
Lex Fridman
(00:13:25)
Well, okay. What’s at the root of a tree? How do you construct … How hard is it? What is the process of constructing a tree from a sentence?
Edward Gibson
(00:13:34)
Well, this is where depending on what you’re … There’s different theoretical notions. I’m going to say the simplest thing, dependency grammar, a bunch of people invented this. Tesniere was the first French guy back in … The paper was published in 1959 but he was working on it in the 30s and stuff. And it goes back to philologist Panini was doing this in ancient India, okay. The simplest thing we can think of is that there’s just connections between the words to make the utterance. And so let’s just say two dogs entered a room okay, here’s a sentence. And so we’re connecting two and dogs together. There’s some dependency between those words to make some bigger meaning. And then we’re connecting dogs now to entered, and we connect a room somehow to entered. And so I’m going to connect to room and then room back to entered. That’s the tree. The root is entered, the thing is an entering event. That’s what we’re saying here. And the subject, which is whatever that dog is, two dogs it was, and the connection goes back to dogs, and that goes back to two. That’s my tree. It starts at entered, goes to dogs, down to two. And on the other side, after the verb, the object, it goes to room and then that goes back to the determiner or article, whatever you want to call that word. There’s a bunch of categories of words here we’re noticing. There are verbs. Those are these things that typically mark … They refer to events and states in the world. An d they’re nouns, which typically refer to people, places and things is what people say. But they can refer to events themselves as well. They’re marked by the category, the part of speech of a word is how it gets used in language. That’s how you decide what the category of a word is, not by the meaning but how it gets used.
Lex Fridman
(00:15:30)
How it’s used. What’s usually the root? Is it going to be the verb that defines the event?
Edward Gibson
(00:15:36)
Usually, usually. Yes, yes. Yeah.
Lex Fridman
(00:15:38)
Okay.
Edward Gibson
(00:15:38)
If I don’t say a verb, then there won’t be a verb. And so it’ll be something else.
Lex Fridman
(00:15:43)
Are we talking about language that’s correct language? What if you’re doing poetry and messing with stuff, then rules go out the window.
Edward Gibson
(00:15:51)
No. No, no, no, no. You’re constrained by whatever language you’re dealing with. Probably you have other constraints in poetry, such that you’re … Usually in poetry there’s multiple constraints that you want to … You want to usually convey multiple meanings is the idea. And maybe you have a rhythm or a rhyming structure as well. But you usually are constrained by the rules of your language for the most part. And so you don’t violate those too much. You can violate them somewhat but not too much. It has to be recognizable as your language. In English, I can’t say dogs two entered room a. I meant two dogs entered a room, and I can’t mess with the order of the articles and the nouns. You just can’t do that. In some languages, you can mess around with the order of words much more. You speak Russian, Russian has a much freer word order than English. And so in fact, you can move around words in … I told you that English has this subject-verb-object word order, so does Russian but Russian is much freer than English. And so you can actually mess around with a word order. Probably Russian poetry is going to be quite different from English poetry because the word order is much less constrained.
Lex Fridman
(00:17:05)
Yeah. There’s a much more extensive culture of poetry throughout the history of the last hundred years in Russia. And I always wondered why that is but it seems that there’s more flexibility in the way the language is used. You’re morphing the language easier by altering the words, altering the order of the words and messing with it.
Edward Gibson
(00:17:26)
Well, you can just mess with different things in each language. And so in Russian you have case markers, which are these endings on the nouns, which tell you how each noun connects to the verb. We don’t have that in English. And so when I say Mary kissed John, I don’t know who the agent or the patient is, except by the order of the words. In Russian, you actually have a marker on the end. If you’re using a Russian name in each of those names, you’ll also say … It’ll be the nominative, which is marking the subject, or an accusative will mark the object. And you could put them in the reverse order. You could put accusative first. You could put the patient first and then the verb and then the subject. And that would be a perfectly good Russian sentence. And it would still … I could say John kissed Mary, meaning Mary kissed John, as long as I use the case markers in the right way, you can’t do that in English. And so
Lex Fridman
(00:18:22)
I love the terminology of agent and patient and the other ones you used. Those are linguistic terms, correct?
Edward Gibson
(00:18:29)
Those are for meaning, those are meaning. And subject and object are generally used for position. Subject is just the thing that comes before the verb and the object is the one that comes after the verb. The agent is the thing doing, that’s what that means. The subject is often the person doing the action, the thing.
Lex Fridman
(00:18:48)
Okay, this is fascinating. How hard is it to form a tree in general? Is there a procedure to it? If you look at different languages, is it supposed to be a very natural … Is it automatable or is there some human genius involved in construction …
Edward Gibson
(00:19:01)
I think it’s pretty automatable at this point. People can figure out the words are. They can figure out the morphemes, technically morphemes are the minimal meaning units within a language, okay. And so when you say eats or drinks, it actually has two morphemes in English. There’s the root, which is the verb. And then there’s some ending on it which tells you that’s the third person singular.
Lex Fridman
(00:19:25)
Can you say what morphemes are?
Edward Gibson
(00:19:25)
Morphemes are just the minimal meaning units within a language. And then a word is just the things we put spaces between in English and they have a little bit more, they have the morphology as well. They have the endings, this inflectional morphology on the endings on the roots.
Lex Fridman
(00:19:37)
It modifies something about the word that adds additional meaning.
Edward Gibson
(00:19:40)
Yeah, yeah. And so we have a little bit of that in English, very little. You have much more in Russian, for instance. But we have a little bit in English, and so we have a little on the nouns, you can say it’s either singular or plural. And you can say same thing for verbs. Simple past tense for example, notice in English we say drinks. He drinks, but everyone else is, “I drink, you drink, we drink.”

(00:20:02)
It’s unmarked in a way. But in the past tense, it’s just drank for everyone. There’s no morphology at all for past tense. There is morphology that’s marking past tense but it’s an irregular now. Drink to drank, it’s not even a regular word. In many verbs there’s an ED we add. Walk to walked, we add that to say it’s the past tense. I just happen to choose an irregular because the high frequency words tend to have irregulars in English for …
Lex Fridman
(00:20:30)
What’s an irregular?
Edward Gibson
(00:20:31)
Irregular is just there isn’t a rule. Drink to drank is an irregular.
Lex Fridman
(00:20:35)
Drink, drank. Okay, okay. Versus walked.
Edward Gibson
(00:20:37)
As opposed to walk, walked, talk, talked.
Lex Fridman
(00:20:39)
Yeah. And there’s a lot of irregulars in English.
Edward Gibson
(00:20:42)
There’s a lot of irregulars in English. The frequent ones, the common words tend to be irregular. There’s many, many more low frequency words and those are regular ones.
Lex Fridman
(00:20:53)
The evolution of the irregulars are fascinating because it’s essentially slang that’s sticky because breaking the rules. And then everybody uses it and doesn’t follow the rules and they say screw it to the rules. It’s fascinating. You said morphemes, lots of questions. Morphology is what, the study of morphemes?

Morphology

Edward Gibson
(00:21:10)
Morphology is the connections between the morphemes onto the roots. In English, we mostly have suffixes. We have endings on the words, not very much but a little bit, as opposed to prefixes. Some words depending on your language can have mostly prefixes, mostly suffixes or both. And then several languages have things called infixes, where you have some general form for the root and you put stuff in the middle, you change the vowels, stuff like that.
Lex Fridman
(00:21:45)
That’s fascinating, that’s fascinating. In general, there’s what, two morphemes per word? One or two, or three.
Edward Gibson
(00:21:51)
Well, in English it’s one or two. In English, it tends to be one or two. There can be more. In other languages, a language like Finnish which has a very elaborate morphology, there may be 10 morphemes on the end of a root, okay. And so there may be millions of forms of a given word.
Lex Fridman
(00:22:09)
Okay, okay. I’ll ask the same question over and over, just sometimes to understand things like morphemes, it’s nice to just ask the question, how do these kinds of things evolve? You have a great book studying how the cognitive processing, how language used for communication, so the mathematical notion of how effective language is for communication, what role that plays in the evolution of language. But just high level, how does a language evolve where English is two morphemes or one or two morphemes per word, and then Finnish has infinity per word. How does that happen? Is it just people …
Edward Gibson
(00:22:58)
That’s a really good question.
Lex Fridman
(00:22:59)
Yeah.
Edward Gibson
(00:23:00)
That’s a very good question, is why do languages have more morphology versus less morphology? And I don’t think we know the answer to this. I think there’s just a lot of good solutions to the problem of communication. I believe as you hinted, that language is an invented system by humans for communicating their ideas. And I think it comes down to we label things we want to talk about. Those are the morphemes and words, those are the things we want to talk about in the world. And we invent those things and then we put them together in ways that are easy for us to convey, to process. But that’s a naive view, and I don’t … I think it’s probably right, it’s naive and probably right.
Lex Fridman
(00:23:43)
Well, I don’t know if it’s naive. I think it’s simple.
Edward Gibson
(00:23:46)
Simple, yeah. [inaudible 00:23:47].
Lex Fridman
(00:23:47)
I think naive is an indication that’s incorrect somehow. It’s trivial, too simple. I think it could very well be correct. But it’s interesting how sticky … It feels like two people got together. It just feels like once you figure out certain aspects of a language that just becomes sticky and the tribe forms around that language, maybe the tribe forms first and then the language evolves. And then you just agree and you stick to whatever that is.
Edward Gibson
(00:24:16)
These are very interesting questions. We don’t know really about how even words get invented very much. Assuming they get invented, we don’t really know how that process works and how these things evolve. What we have is a current picture of few thousand languages, a few thousand instances. We don’t have any pictures of really how these things are evolving really. And then the evolution is massively confused by contact. As soon as one group runs into another … We are smart, humans are smart and they take on whatever’s useful in the other group. And so any contrast which you’re talking about which I find useful, I’m going to start using as well. I worked a little bit in specific areas of words, in number words and in color words. And in color words, in English we have around 11 words that everyone knows for colors. And many more if you happen to be interested in color for some reason or other, if you’re a fashion designer or an artist or something, you may have many, many more words. But we can see millions. If you have normal color vision, normal trichromatic color vision, you can see millions of distinctions in colors. We don’t have millions of words.

(00:25:43)
The most efficient … No, the most detailed color vocabulary would have over a million terms to distinguish all the different colors that we can see. But of course, we don’t have that. Somehow, it’s useful for English to have evolved in some way such that there’s 11 terms that people find useful to talk about, black, white, red, blue, green, yellow, purple, gray, pink. And I probably missed something there. There’s 11 that everyone knows and depending on your … But if you go to different cultures, especially the non-industrialized cultures, there’ll be many fewer. Some cultures will have only two, believe it or not. The Dani in Papua New Guinea have only two labels that the group uses for color, and those are roughly black and white. They are very, very dark and very, very light, which are roughly black and white. And you might think, “Oh, they’re dividing the whole color space into light and dark.”

(00:26:41)
Or something. And that’s not really true. They mostly only label the black and the white things. They just don’t talk about the colors for the other ones. And then there’s other groups … I’ve worked with a group called the Tsimane down in Bolivia in South America, and they have three words that everyone knows but there’s a few others that many people know. It’s depending on how you count, between three and seven words that the group knows, okay. And again, they’re black and white, everyone knows those. And red, that tends to be the third word that cultures bring in, if there’s a word. It’s always red, the third one. And then after that, it’s all bets are off about what they bring in. And so after that, they bring in a big blue-green group. They have one for that. And then different people have different words that they’ll use for other parts of the space.

(00:27:39)
Anyway, it’s probably related to what they want to talk … Not what they see because they see the same colors as we see. It’s not like they have a low color palette in the things they’re looking at. They’re looking at a lot of beautiful scenery okay, a lot of different colored flowers and berries and things. And so there’s lots of things of very bright colors but they just don’t label the color in those cases. We don’t know this but we think probably what’s going on here is why you label something is you need to talk to someone else about it. And why do I need to talk about a color? Well, if I have two things which are identical and I want you to give me the one that’s different, and the only way it varies is color, then I invent a word which tells you, “This is the one I want. I want the red sweater off the rack, not the green sweater.”

(00:28:35)
There’s two. And so those things will be identical because these are things we made and they’re dyed and there’s nothing different about them. And so in industrialized society, everything we’ve got is pretty much arbitrarily colored. But you go to a non-industrialized group, that’s not true. And so it’s not like they’re not interested in color. If you bring bright colored things to them, they like them just like we like them. Bright colors are great, they’re beautiful, but they just don’t need to talk about them, they don’t have to.
Lex Fridman
(00:29:07)
Probably color words is a good example of how language evolves from function, when you need to communicate the use of something, then you invent different variations. And basically you can imagine that the evolution of a language has to do with what the early tribe’s doing, what problems are facing them and they’re quickly figuring out how to efficiently communicate the solution to those problems, whether it’s aesthetic or functional, all that stuff, running away from a mammoth or whatever. But I think what you’re pointing to is that we don’t have data on the evolution of language because many languages have formed a long time ago, so you don’t get the chatter.

Evolution of languages

Edward Gibson
(00:29:50)
We have a little bit of old English to modern English because there was a writing system and we can see how old English looked. The word order changed for instance, in old English to middle English to modern English. And so we could see things like that. But most languages don’t even have a writing system. Of the 7,000, only a small subset of those have a writing system. And even if they have a writing system, it’s not a very modern writing system and so they don’t have it … For Mandarin, for Chinese, we have a lot of evidence for a long time, and for English, and not for much else. German a little bit but not for a whole lot of … Long-term language evolution, we don’t have a lot. We have snapshots, is what we’ve got of current languages.
Lex Fridman
(00:30:35)
You get an inkling of that from the rapid communication on certain platforms. On Reddit, there’s different communities and they’ll come up with different slang, usually from my perspective, driven by a little bit of humor or maybe mockery or whatever, just talking shit in different kinds of ways. And you could see the evolution of language there because I think a lot of things on the internet, you don’t want to be the boring mainstream. You want to deviate from the proper way of talking. And so you get a lot of deviation, rapid deviation. Then when communities collide, you get … Just like you said, humans adapt to it. And you could see it through the lines of humor. It’s very difficult to study but you can imagine a hundred years from now, well, if there’s a new language born for example, we’ll get really high resolution data.
Edward Gibson
(00:31:30)
English is changing, English changes all the time. All languages change all the time. It was a famous result about the Queen’s English. If you look at the Queen’s vowels, the Queen’s English is supposed to be … Originally the proper way to talk was defined by whoever the queen talked or the king, whoever was in charge. And so if you look at how her vowels changed from when she first became queen in 1952 or ’53 when she was coronated, that’s Queen Elizabeth who died recently of course, until 50 years later, her vowels changed, her vowels shifted a lot. And so even in the sounds of British English, the way she was talking was changing. The vowels were changing slightly. That’s just in the sounds there was change. We’re all interested in what’s driving any of these changes. The word order of English changed a lot over a thousand years. It used to look like German. It used to be a verb final language with case marking. And it shifted to a vermedial language, a lot of contact, a lot of contact with French. And it became a vermedial language with no case marking. And so it became this verb initially thing.
Lex Fridman
(00:32:47)
It’s evolving.
Edward Gibson
(00:32:47)
It totally evolved. It doesn’t evolve maybe very much in 20 years, is maybe what you’re talking about but over 50 and 100 years, things change a lot, I think.
Lex Fridman
(00:32:57)
We’ll now have good data on it, which is great.

Noam Chomsky

Edward Gibson
(00:33:00)
That’s for sure. Yeah.
Lex Fridman
(00:33:01)
Can you talk to what is syntax and what is grammar? You wrote a book on syntax.
Edward Gibson
(00:33:06)
I did. You were asking me before about how do I figure out what a dependency structure is? I’d say the dependency structures aren’t that hard generally, I think there’s a lot of agreement of what they are for almost any sentence in most languages. I think people will agree on a lot of that. There are other parameters in the mix, such that some people think there’s a more complicated grammar than just a dependency structure. Noam Chomsky, he’s the most famous linguist ever, and he is famous for proposing a slightly more complicated syntax. And so he invented phrase structure grammar. He’s well known for many, many things but in the 50s and early 60s but late 50s, he was basically figuring out what’s called formal language theory. And he figured out a framework for figuring out how complicated a certain type of language might be, so-called phrase structured grammars of language might be.

(00:34:06)
And so his idea was that maybe we can think about the complexity of a language by how complicated the rules are. And the rules will look like this. They will have a left-hand side and it’ll have a right-hand side. Something on the left-hand side will expand to the thing on the right-hand side. Say, we’ll start with an S, which is the root, which is a sentence, and then we’re going to expand to things like a noun phrase and a verb phrase is what he would say, for instance, okay. An S goes to an NP and a VP, is a phrase structure rule. And then we figure out what an NP is. An NP is a determiner and a noun, for instance. And a verb phrase is something else, is a verb and another noun phrase and another NP, for instance. Those are the rules of a very simple phrase, structure. And so he proposed phrase structure grammar as a way to cover human languages. And then he actually figured out that, “Well, depending on the formals, that- “
Edward Gibson
(00:35:00)
… for human languages. And then he actually figured out that, well, depending on the formalization of those grammars, you might get more complicated or less complicated languages. He said, “Well, these are things called context-free languages that rule.” He thought human languages tend to be what he calls context-free languages. But there are simpler languages, which are so-called regular languages. And they have a more constrained form to the rules of the phrase structure of these particular rules. So he basically discovered and invented ways to describe the language. And those are phrase structure, a human language. And he was mostly interested in English initially in his work in the ’50s.
Lex Fridman
(00:35:43)
So quick questions around all of this. So formal language theory is the big field of just studying language formally?
Edward Gibson
(00:35:49)
Yes. And it doesn’t have to be human language there. We can have a computer languages, any kind of system which is generating some set of expressions in a language. And those could be the statements in a computer language, for example. It could be that, or it could be human language.
Lex Fridman
(00:36:10)
So technically you can study programming languages?
Edward Gibson
(00:36:12)
Yes. And heavily studied using this formalism. There’s a big field of programming language within the formal language.
Lex Fridman
(00:36:21)
And then phrase structure, grammar is this idea that you can break down language into this S NP VP type of thing?
Edward Gibson
(00:36:28)
Yeah. It’s a particular formalism for describing language. And Chomsky was the first one. He’s the one who figured that stuff out back in the ’50s. And that’s equivalent actually, the context-free grammar is actually, is equivalent in the sense that it generates the same sentences as a dependency grammar would. The dependency grammar is a little simpler in some way. You just have a root and it goes… We don’t have any of these, the rules are implicit, I guess. And we just have connections between words. The free structure grammar is a different way to think about the dependency grammar. It’s slightly more complicated, but it’s kind of the same in some ways.
Lex Fridman
(00:37:07)
To clarify, dependency grammar is the framework under which you see language and you make a case that this is a good way to describe language.
Edward Gibson
(00:37:17)
That’s correct.
Lex Fridman
(00:37:18)
And Noam Chomsky is watching this, is very upset right now, so let’s… Just kidding. Where’s the place of disagreement between phrase structure grammar and dependency grammar?
Edward Gibson
(00:37:33)
They’re very close. So phrase structure grammar and dependency grammar aren’t that far apart. I like dependency grammar because it’s more perspicuous, it’s more transparent about representing the connections between the words. It’s just a little harder to see in phrase structure grammar.

(00:37:48)
The place where Chomsky sort of devolved or went off from this is he also thought there was something called movement. And that’s where we disagree. That’s the place where I would say we disagree. I mean maybe we’ll get into that later. But the idea is… Do you want me to explain that now?
Lex Fridman
(00:38:08)
I would love, can you explain movement?
Edward Gibson
(00:38:10)
Movement. Okay.
Lex Fridman
(00:38:10)
You’re saying so many interesting things.
Edward Gibson
(00:38:13)
Movement is, Chomsky basically sees English, and he says, “Okay.” I said, we had that sentence earlier. It was like, “Two dogs entered the room.” It’s changed it a little bit. Say, “Two dogs will enter the room.” And he notices that, hey, English, if I want to make a question, a yes/no question from that same sentence, I say, instead of, “Two dogs will enter the room.” I say, “Will two dogs enter the room?” Okay, there’s a different way to say the same idea. And it’s like, well, the auxiliary verb, that will thing, it’s at the front as opposed to in the middle.

(00:38:46)
And he looked, if you look at English, you see that that’s true for all those modal verbs and for other kinds of auxiliary verbs. In English, you always do that. You always put an auxiliary verb at the front. And when he saw that, so if I say, “I can win this bet. Can I win this bet?” So I move a can to the front. So actually that’s a theory. I just gave you a theory there. He talks about it as movement. That word in the declarative is the root, is the default way to think about the sentence. And you move the auxiliary verb to the front. That’s a movement theory.

(00:39:19)
And he just thought that was just so obvious that it must be true, that there’s nothing more to say about that. This is how auxiliary verbs work in English. There’s a movement rule such that, to get from the declarative to the interrogative, you’re moving the auxiliary to the front. And it’s a little more complicated as soon as you go to simple present and simple past. Because if I say, “John slept,” you have to say, “Did John sleep?” Not. “Slept, John,” right? And so you have to somehow get an auxiliary verb. And I guess underlyingly, it’s like slept is… It’s a little more complicated than that, but that’s his idea. There’s a movement.

(00:39:56)
And so a different way to think about that, I mean, then he ended up showing later. So he proposed this theory of grammar, which has movement. There’s other places where he thought there’s movement, not just auxiliary verbs, but things like the passive in English and things like questions, WH questions, a bunch of places where he thought there’s also movement going on. And each one of those, he thinks there’s words, well, phrases and words are moving around from one structure to another, which he called deep structure to surface structure. I mean, there’s two different structures in his theory.

(00:40:29)
There’s a different way to think about this, which is there’s no movement at all. There’s a lexical copying rule such that the word will, or the word can, these auxiliary verbs, they just have two forms. And one of them is the declarative and one of them is interrogative. And you basically have the declarative one and oh, I form the interrogative, or I can form one from the other. It doesn’t matter which direction you go. And I just have a new entry which has the same meaning, which has a slightly different argument structure. Argument structure is just a fancy word for the ordering of the words.

(00:41:03)
And so if I say, it was, “The two dogs can or will enter the room,” there’s two forms of will. One is, will, declarative. And then, okay, I’ve got my subject to the left, it comes before me, and the verb comes after me in that one. And then the will, interrogative, it’s like, oh, I go first. Interrogative will is first, and then I have the subject immediately after and then the verb after that. And so you can just generate from one of those words another word with a slightly different argument structure with different ordering.
Lex Fridman
(00:41:37)
And these are just lexical copies. They’re not necessarily moving from one to another?
Edward Gibson
(00:41:42)
There’s no movement.
Lex Fridman
(00:41:42)
There’s a romantic notion that you have one main way to use a word and then you could move it around, which is essentially what movement is implying?
Edward Gibson
(00:41:53)
But that’s the lexical copying is similar. So then we do lexical copying for that same idea that maybe the declarative is the source and then we can copy it. And so an advantage, there’s multiple advantages of the lexical copying story. It’s not my story. This is like Ivan Sag, linguist, a bunch of linguists have been proposing these stories as well, in tandem with the movement story. Ivan Sag died a while ago, but he was one of the proponents of the non-movement of the lexical copying story.

(00:42:24)
And so that is that a great advantage is, well Chomsky really famously, in 1971 showed that the movement story leads to learnability problems. It leads to problems for how language is learned. It’s really, really hard to figure out what the underlying structure of a language is if you have both phrase structure and movement. It’s really hard to figure out what came from what. There’s a lot of possibilities there. If you don’t have that problem, the learning problem gets a lot easier.
Lex Fridman
(00:42:57)
Just say there’s lexical copies. When we say the learning problem, do you mean humans learning a new language?
Edward Gibson
(00:43:03)
Yeah, just learning English. So baby is lying around listening in the crib, listening to me talk. And how are they learning English? Or maybe it’s a two-year-old who’s learning interrogatives and stuff. How are they doing that? Are they doing it from… Are they figuring out? So Chomsky said it’s impossible to figure it out actually. He said it’s actually impossible, not hard, but impossible. And therefore that’s where universal grammar comes from, is that it has to be built in. And so what they’re learning is that there’s some built-in, movement is built in his story, is absolutely part of your language module. And then you’re just setting parameters. English is just a variant of the universal grammar. And you’re figuring out, oh, which orders does English do these things?

(00:43:53)
The non-movement story, it doesn’t have this. It’s much more bottom-up, you’re learning rules. You’re learning rules one by one, and oh, this word is connected to that word. Another advantage, it’s learnable. Another advantage of it is that it predicts that not all auxiliaries might move. It might depend on the word, and that turns out to be true. So there’s words that don’t really work as auxiliary. They work in declarative and not in interrogative. So I can say, I’ll give you the opposite first. I can say, ” Aren’t I invited to the party?” And that’s an interrogative form. But it’s not from, “I aren’t invited to the party.” There is no, “I aren’t.” So that’s interrogative only.

(00:44:42)
And then we also have forms like, ought. “I ought to do this.” And I guess some old British people can say…
Lex Fridman
(00:44:51)
“Ought I?”
Edward Gibson
(00:44:51)
Exactly. It doesn’t sound right, does it? For me it sounds ridiculous. I don’t even think ought is great. But I mean, I totally recognize, “I ought to do it.” Ought is not too bad actually. I can say, “Ought to do this.” That sounds pretty good.
Lex Fridman
(00:45:02)
If I’m trying to sound sophisticated, maybe?
Edward Gibson
(00:45:04)
I don’t know. It just sounds completely odd to me.
Lex Fridman
(00:45:06)
Ought I?
Edward Gibson
(00:45:08)
Anyway. So there are variants here. And a lot of these words just work in one versus the other. And that’s fine under the lexical copying story. It’s like, well, you just learn the usage, whatever the usage is, is what you do with this word. But it’s a little bit harder in the movement story. The movement story, that’s an advantage I think, of lexical copying. In all of these different places, there’s all these usage variants which make the movement story a little bit harder to work.
Lex Fridman
(00:45:40)
One of the main divisions here is the movement story versus the lexical copy story, that has to do about the auxiliary words and so on. But if you just rewind to the phrase structure grammar versus dependency grammar…
Edward Gibson
(00:45:52)
Those are equivalent in some sense in that for any dependency grammar, I can generate a phrase structure grammar, which generates exactly the same sentences. I just like the dependency grammar formalism because it makes something really salient. Which is the lengths of dependencies between words, which isn’t so obvious in the phrase structure. In the phrase structure, it’s just hard to see. It’s in there, it’s just very, very, it’s opaque.
Lex Fridman
(00:46:21)
Technically, I think phrase structure grammar is mappable to dependency grammar.
Edward Gibson
(00:46:25)
And vice versa.
Lex Fridman
(00:46:25)
And vice versa. But there’s these little labels, S, NP, VP.
Edward Gibson
(00:46:30)
For a particular dependency grammar you can make a phrase structure grammar, which generates exactly those same sentences and vice versa. But there are many phrase structure grammars, which you can’t really make a dependency grammar. I mean, you can do a lot more in a phrase structure grammar. But you get many more of these extra nodes, basically. You can have more structure in there. And some people like that. And maybe there’s value to that. I don’t like it.
Lex Fridman
(00:46:55)
Well, for you, so would you clarify. So dependency grammar is just, well, one word depends on only one other word. And you form these trees, and that makes, it really puts priority on those dependencies, just like as a tree that you can then measure the distance of the dependency from one word to the other. They can then map to the cognitive processing of the sentences, how easy it is to understand and all that kind of stuff. So it just puts the focus on just the mathematical distance of dependence between words. So it’s just a different focus.
Edward Gibson
(00:47:34)
Absolutely.
Lex Fridman
(00:47:35)
Just to continue on the thread of Chomsky because it’s really interesting. As you’re discussing disagreement to the degree there’s disagreement, you’re also telling the history of the study of language, which is really awesome. So you mentioned context-free versus regular. Does that distinction come into play for dependency grammars?
Edward Gibson
(00:47:54)
No, not at all. I mean, regular languages are too simple for human languages. It’s a part of the hierarchy. But human languages are, in the phrase structure world are definite. They’re at least context-free, maybe a little bit more, a little bit harder than that.

(00:48:14)
So there’s something called context-sensitive as well, where you can have, this is just the formal language description. In a context-free grammar, you have one… This is a bunch of formal language theory we’re doing here.
Lex Fridman
(00:48:29)
I love it.
Edward Gibson
(00:48:29)
Okay, so you have a left-hand side category, and you’re expanding to anything on the right. That’s a context-free. So the idea is that that category on the left expands independent of context to those things, whatever they are on the right. It doesn’t matter what. And a context-sensitive says, okay, I actually have more than one thing on the left. I can tell you only in this context, maybe you have a left and a right context or just a left context or a right context. I have two or more stuff on the left tells you how to expand those things in that way. So it’s context-sensitive.

(00:49:02)
A regular language is just more constrained, and so it doesn’t allow anything on the right. Basically it’s one very complicated rule is what a regular language is. And so it doesn’t have any… I just say the long distance dependencies, it doesn’t allow recursion, for instance. There’s no recursion. Yeah, recursion is where, which human languages have recursion, they have embedding. Well, it doesn’t allow center-embedded recursion, which human languages have, which is what…
Lex Fridman
(00:49:34)
Center-embedded recursion, so within a sentence? Within a sentence?
Edward Gibson
(00:49:37)
Yeah, within a sentence. So here we’re going to get to that, but the formal language stuff is a little aside. Chomsky wasn’t proposing it for human languages even. He was just pointing out that human languages are context-free. Because that was stuff we did for formal languages. And what he was most interested in was human language. And that’s the movement is where he set off on, I would say, a very interesting but wrong foot. I agree, it’s a very interesting history.

(00:50:08)
So he proposed this multiple theories in ’57 and then ’65. They all have this framework though. It was phrase structure plus movement, different versions of the phrase structure and the movement in the ’57. These are the most famous original bits of Chomsky’s work. And then in ’71 is when he figured out that those lead to learning problems. That there’s cases where a kid could never figure out which set of rules was intended. And then he said, “Well, that means it’s innate.” It’s kind of interesting. He just really thought the movement was just so obviously true that he didn’t even entertain giving it up. It’s just, that’s obviously right.

(00:50:47)
And it was later where people figured out that there’s all these subtle ways in which things which look like generalizations aren’t generalizations across the category. They’re word specific and they kind of work, but they don’t work across various other words in the category. And so it’s easier to just think of these things as lexical copies. And I think he was very obsessed. I don’t know, I’m guessing. But he really wanted this story to be simple in some sense. And language is a little more complicated in some sense. He didn’t like words. He never talks about words. He likes to talk about combinations of words. And words are, you look up a dictionary, there’s 50 senses for a common word. The word take, will have 30 or 40 senses in it.

(00:51:32)
So there will be many different senses for common words. And he just doesn’t think about that, or he doesn’t think that’s language. I think he doesn’t think that’s language. He thinks that words are distinct from combinations of words. I think they’re the same. If you look at my brain in the scanner while I’m listening to a language I understand, and you compare, I can localize my language network in a few minutes, in like 15 minutes. And what you do is I listen to a language I know. I listen to maybe some language I don’t know, or I listen to muffled speech or I read sentences and I read non-words. I can do anything like this, anything that’s really like English and anything that’s not very like English. So I’ve got something like it, and not, that I control.

(00:52:16)
And the voxels, which is just the 3D pixels in my brain that are responding most is a language area. And that’s this left-lateralized area in my head. And wherever I look in that network, if you look for the combinations versus the words it’s everywhere.
Lex Fridman
(00:52:38)
It’s the same.
Edward Gibson
(00:52:39)
It’s the same.
Lex Fridman
(00:52:39)
That’s fascinating.
Edward Gibson
(00:52:39)
And so it’s hard to find. There are no areas that we know. I mean, it’s a little overstated right now. At this point, the technology isn’t great, it’s not bad. But we have the best way to figure out what’s going on in my brain when I’m listening or reading language is to use fMRI, functional magnetic resonance imaging. And that’s a very good localization method. So I can figure out where exactly these signals are coming from, pretty down to millimeters, cubic millimeters or smaller, very small. We can figure those out very well.

(00:53:11)
The problem is the when. It’s measuring oxygen. And oxygen takes a little while to get to those cells, so it takes on the order of seconds. So I talk fast, I probably listen fast. And I can probably understand things really fast. So a lot of stuff happens in two seconds. And so to say that we know what’s going on, that the words right now in that network, our best guess is that whole network is doing something similar. But maybe different parts of that network are doing different things. And that’s probably the case. We just don’t have very good methods to figure that out at this moment.
Lex Fridman
(00:53:49)
Since we’re kind of talking about the history of the study of language, what other interesting disagreements, and you’re both at MIT or were for a long time. What interesting disagreements there, tension of ideas are there, between you and Noam Chomsky? And we should say that Noam was in the linguistics department, and you’re, I guess for a time were affiliated there, but primarily brain and cognitive science department. Which is another way of studying language. You’ve been talking about fMRI. Is there something else interesting to bring to the surface about the disagreement between the two of you, or other people at this point?
Edward Gibson
(00:54:29)
I mean, I’ve been at MIT for 31 years since 1993 and Chomsky’s been there much longer. So I met him, I knew him. I met him when I first got there, I guess. And we would interact every now and then. I’d say our biggest difference is our methods. And so that’s the biggest difference between me and Noam, is that I gather data from people. I do experiments with people and I gather corpus data, whatever corpus data is available, and we do quantitative methods to evaluate any kind of hypothesis we have. He just doesn’t do that. And so he has never once been associated with any experiment or corpus work ever.

(00:55:16)
And so it’s all thought experiments. It’s his own intuitions. So I just don’t think that’s the way to do things. That’s across the street, they’re across the street from us, difference between brain and cog-sci and linguistics. I mean, not all linguists, some of the linguists, depending on what you do, more speech-oriented, they do more quantitative stuff. But in the meaning words and well, it’s combinations of words, syntax, semantics, they tend not to do experiments and corpus analyses.
Lex Fridman
(00:55:49)
On the linguistic side probably, well, but the method is a symptom of a bigger approach. Which is a psychology philosophy side on Noam. For you it’s more data-driven, almost like mathematical approach.
Edward Gibson
(00:56:03)
Yeah, I mean, I’m a psychologist, so I would say we’re in psychology. Brain cognitive sciences is MIT’s old psychology department. It was a psychology department up until 1985, and it became the Brain and Cognitive Science Department. My training is math and computer science, but I’m a psychologist. I mean, I don’t know what I am.
Lex Fridman
(00:56:24)
So, data-driven psychologist, you are.
Edward Gibson
(00:56:27)
I am what I am. But I’m happy to be called a linguist. I’m happy to be called a computer scientist. I’m happy to be called a psychologist, any of those things.
Lex Fridman
(00:56:33)
But in the actual, like how that manifests itself outside of the methodology is these differences, these subtle differences about the movement story versus the lexical copy story.
Edward Gibson
(00:56:43)
Yeah. Those are theories.
Lex Fridman
(00:56:45)
Those are theories.
Edward Gibson
(00:56:46)
So the theories are… But I think the reason we differ in part is because of how we evaluate the theories. And so I evaluate theories quantitatively and Noam doesn’t.
Lex Fridman
(00:56:58)
Got it. Okay. Well, let’s explore the theories that you explore in your book. Let’s return to this dependency grammar framework of looking at language. What’s a good justification why the dependency grammar framework is a good way to explain language? What’s your intuition?
Edward Gibson
(00:57:17)
The reason I like dependency grammar, as I’ve said before, is that it’s very transparent about its representation of distance between words. All it is is you’ve got a bunch of words you’re connecting together to make a sentence. And a really neat insight, which turns out to be true, is that the further apart the pair of words are that you’re connecting, the harder it is to do the production. The harder it is to do the comprehension. If it’s harder to produce, it’s harder to understand when the words are far apart. When they’re close together, it’s easy to produce and it’s easy to comprehend.

(00:57:51)
Let me give you an example. We have in any language, we have mostly local connections between words, but they’re abstract. The connections are abstracted between categories of words. And so you can always make things further apart if you add modification, for example, after a noun. So a noun in English comes before a verb, the subject noun comes before a verb, and then there’s an object after, for example.

(00:58:22)
So I can say, what I said before, “The dog entered the room,” or something like that. So I can modify dog. If I say something more about dog after it, then what I’m doing is indirectly I’m lengthening the dependence between dog and entered, by adding more stuff to it. So just make it explicit here, if I say, “The boy who the cat scratched, cried.” We’re going to have a mean cat here. And so what I’ve got here is, the boy cried, would be a very short, simple sentence. And I just told you something about the boy, and I told you it was the boy who the cat scratched.
Lex Fridman
(00:59:00)
So the cry is connected to the boy. The cry at the end, it’s connected to the boy in the beginning.
Edward Gibson
(00:59:05)
Right. And so I can do that. I can say that, that’s a perfectly fine English sentence. And I can say, “The cat, which the dog chased, ran away,” or something. I can do that. But it’s really hard now, I’ve got, whatever I have here, I have the boy who the cat. Now let’s say I try to modify cat. “The boy, who the cat, which the dog chased, scratched, ran away.” Oh my God, that’s hard, right? I’m just working that through in my head, how to produce, and it’s really very just horrendous to understand. It’s not so bad, at least I’ve got intonation there to mark the boundaries and stuff. But that’s really complicated. That’s sort of English in a way. I mean that follows the rules of English.

(00:59:52)
So what’s interesting about that is that what I’m doing is nesting dependencies there. I’m putting one, I’ve got a subject connected to a verb there. And then I’m modifying that with a clause, another clause, which happens to have a subject and a verb relation. I’m trying to do that again on the second one. And what that does is it lengthens out the dependence, multiple dependence actually get lengthened out there. The dependencies get longer, on the outside ones get long, and even the ones in between get kind of long.

(01:00:20)
What’s fascinating is that that’s bad. That’s really horrendous in English. But that’s horrendous in any language. No matter what language you look at, if you do, just figure out some structure where I’m going to have some modification following some head, which is connected to some later head, and I do it again, it won’t be good. Guaranteed. 100% that will be uninterpretable in that language in the same way that was uninterpretable in English.
Lex Fridman
(01:00:46)
Just to clarify, the distance of the dependencies is whenever the boy cried, there’s a dependence between two words and then you’re counting the number of what morphemes between them?
Edward Gibson
(01:01:01)
That’s a good question. I just say words. Your words are morphemes between, we don’t know that. Actually that’s a very good question. What is the distance metric? But let’s just say it’s words. Sure.
Lex Fridman
(01:01:09)
Okay. And you’re saying the longer the distance of that dependence, no matter the language, except legalese.
Edward Gibson
(01:01:19)
Even legalese.
Lex Fridman
(01:01:19)
Even legalese, okay we’ll talk about it. But that the people will be very upset that speak that language. Not upset, but they’ll either not understand it, or they’d be like, their brain will be working in overtime.
Edward Gibson
(01:01:34)
They’ll have a hard time either producing or comprehending it. They might tell you that’s not their language. It’s sort of their language. They’ll agree with each of those pieces is part of their language, but somehow that combination will be very, very difficult to produce and understand.
Lex Fridman
(01:01:48)
Is that a chicken or the egg issue here?
Edward Gibson
(01:01:52)
Well, I’m giving you an explanation. Well, I mean I’m giving you two kinds of explanations. I’m telling you that center embedding, that’s nesting, those are the same. Those are synonyms for the same concept here. And the explanation for… Those are always hard, center embedding and nesting are always hard. And I gave you an explanation for why they might be hard, which is long distance connections. When you do center embedding, when you do nesting, you always have long distance connections between the dependents.

(01:02:17)
So that’s not necessarily the right explanation. I can go through reasons why that’s probably a good explanation. And it’s not really just about one of them. So probably it’s a pair of them or something of these dependents that you get along that drives you to be really confused in that case. And so what the behavioral consequence there, I mean, this is kind of methods, like how do we get at this? You could try to do experiments to get people to produce these things. They’re going to have a hard time producing them. You can try to do experiments to get them to understand them, and see how well they understand them. Can they understand them? Another method you can do is give people partial materials and ask them to complete them, those center embedded materials. And they’ll fail. So I’ve done that. I’ve done all these kinds of things.
Lex Fridman
(01:03:04)
What do you mean? So center embedding, meaning you can take a normal sentence like, “The boy cried,” and inject a bunch of crap in the middle.
Edward Gibson
(01:03:11)
Yes.
Lex Fridman
(01:03:12)
That separates the boy and the cried. Okay. That’s center embedding. And nesting is on top of that?
Edward Gibson
(01:03:18)
Same thing. No, no, nesting is the same thing. Center embedding, those are totally equivalent terms. I’m sorry, I sometimes use one and sometimes…
Lex Fridman
(01:03:25)
Got it, got it. Totally equivalent.
Edward Gibson
(01:03:26)
They don’t mean anything different.
Lex Fridman
(01:03:26)
Got it. And then what you’re saying is there’s a bunch of different kinds of experiments you can do. I mean, I’d like the understanding one is like have more embedding, more center embedding, is it easier or harder to understand? But then you have to measure the level of understanding, I guess?
Edward Gibson
(01:03:39)
Yeah, you could. I mean there’s multiple ways to do that. I mean there’s the simplest way is just ask people how good does it sound? How natural does it sound? That’s a very blunt, but very good measure. It’s very reliable. People will do the same thing. And so it’s like, “I don’t know what it means exactly, but it’s doing something.” Such that we’re measuring something about the confusion, the difficulty associated with those.
Lex Fridman
(01:03:59)
And those are giving you a signal. That’s why you can say they’re… Okay. What about the completion with the center embedding?
Edward Gibson
(01:04:05)
If you give them a partial sentence, say I say, “The book, which the author who,” and I ask you to now finish that off for me.
Lex Fridman
(01:04:15)
That breaks people’s brain.
Edward Gibson
(01:04:18)
Yeah, yeah. But say it’s written in front of you and you can just have as much time as you want. Even though that one’s not too hard, right? So if I say, “It’s like the book, it’s like, oh, the book, which the author who I met wrote was good.” That’s a very simple completion for that.

(01:04:33)
If I give that to completion online somewhere, to a crowdsourcing platform and ask people to complete that, they will miss off a verb very regularly. Like half the time, maybe two-thirds of the time, they’ll just leave off one of those verb phrases. Even with that simple… So say, “The book, which the author who…” And they’ll say, “Was…” You need three verbs, I need three verbs. “Who I met, wrote, was good.” And they’ll give me two. They’ll say, “Who was famous was good.” Or something like that. They’ll just give me two. And that’ll happen about 60% of the time. So 40%, maybe 30%, they’ll do it correctly. Correctly, meaning they’ll do a three-verb phrase. I don’t know what’s correct or not. This is hard. It’s a hard task.
Lex Fridman
(01:05:20)
Yeah, actually I’m struggling with it in my head.
Edward Gibson
(01:05:22)
Well, it’s easier written.
Lex Fridman
(01:05:24)
When you stare at it, it’s easier?
Edward Gibson
(01:05:25)
If you look, it’s a little easier than listening is pretty tough. Because there’s no trace of it. You have to remember the words that I’m saying, which is very hard auditorily. We wouldn’t do it this way. You’d do it written, you can look at it and figure it out. It’s easier in many dimensions, in some ways, depending on the person. It’s easier to gather written data for… I mean most, I work in psycholinguistics, psychology of language and stuff. And so a lot of our work is based on written stuff because it’s so easy to gather data from people doing written kinds of tasks.

(01:05:56)
Spoken tasks are just more complicated to administer and analyze because people do weird things when they speak. And it’s harder to analyze what they do, but they generally point to the same kinds of things.
Lex Fridman
(01:06:10)
So the universal theory of language by Ted Gibson is that you can form dependency, you can form trees for many sentences.
Edward Gibson
(01:06:21)
That’s right.
Lex Fridman
(01:06:21)
You can measure the distance in some way of those dependencies. And then you can say that most languages have very short dependencies.
Edward Gibson
(01:06:30)
All languages.
Lex Fridman
(01:06:31)
All languages.
Edward Gibson
(01:06:32)
All languages have short dependencies. You can actually measure that. So an ex-student of mine, this guy’s at University of California Irvine. Richard Futrell did a thing a bunch of years ago now, where he looked at all the languages we could look at, which was about 40 initially. And now I think there’s about 64, which there are dependency structures. Meaning it’s got to be a big text, a bunch of texts which have been parsed for their dependency structures. And there’s about 60 of those which have been parsed that way. And for all of those, what he did was take any sentence in one of those languages and you can do the dependency structure and then start at the root. We’re talking about dependency structures. That’s pretty easy now. And he’s trying to figure out what a control way you might say the same sentence is in that language.

(01:07:21)
And so we just like, all right, there’s a root. And let’s say a sentence is, let’s go back to, “Two dogs entered the room.” So entered is the root. And entered has two dependents. It’s got dogs and it has room. And what he did is let’s scramble that order, that’s three things, the root and the head, and the two dependents, and into some random order, just random. And then just do that for all the dependents down the tree. So now look, do it for the, and whatever, there’s two in dogs and room. And it’s a very short sentence. When sentences get longer and you have more dependents, there’s more scrambling that’s possible. So, you could figure out one scrambling for that sentence.

(01:08:02)
He did this a hundred times for every sentence in every one of these texts, every corpus. And then he just compared the dependency lengths in those random scramblings to what actually happened, what the English or the French or the German was in original language or Chinese or what all these like 60 languages. And the dependency lengths are always shorter in the real language compared to this kind of a control.

(01:08:28)
And there’s another, it’s a little more rigid, his control. So the way I described it, you could have crossed dependencies. By scrambling that way, you could scramble in any way at all, languages don’t do that. They tend not to cross dependencies very much. So the dependency structure, they tend to keep things non-crossed. There’s a technical term they call that projective, but it’s just non-crossed is all that is, projective. And so if you just constrain the scrambling so that it only gives you projective, non-crossed, the same thing holds.

(01:09:03)
So still human languages are much shorter than this kind of a control. So what it means is that in every language, we’re trying to put things close, relative to this kind of a control. It doesn’t matter about the word order. Some of these are verb final. Some of them these are verb medial like English. And some are even verb initial, there are a few languages in the world which have VSO, word order verb, subject, object, languages. Haven’t talked about those. It’s like 10% of them.
Lex Fridman
(01:09:33)
And even in those languages…
Edward Gibson
(01:09:34)
It doesn’t matter.
Lex Fridman
(01:09:36)
It’s still short dependencies?
Edward Gibson
(01:09:37)
Short dependencies is rules.
Lex Fridman
(01:09:39)
Okay, so what are some possible explanations for that? For why languages have evolved that way? So that’s one of the, I suppose, disagreements you might have with Chomsky. So you consider the evolution of language in terms of information theory. And for you, the purpose of language is ease of communication.
Lex Fridman
(01:10:00)
For you, the purpose of language is ease of communication, right, and processing?
Edward Gibson
(01:10:04)
That’s right. That’s right. The story here is just about communication. It is just about production, really. It’s about ease of production, is the story.
Lex Fridman
(01:10:13)
When you say production, can you-
Edward Gibson
(01:10:15)
Oh, I just mean ease of language production. What I’m doing whenever I’m talking to you is somehow I’m formulating some idea in my head and I’m putting these words together, and it’s easier for me to do that, to say something where the words are closely connected in a dependency as opposed to separated by putting something in between and over and over again. It’s just hard for me to keep that in my head. That’s the whole story. The story is basically the dependency grammar sort of gives that to you, just like long is bad, short is good. It’s easier to keep in mind because you have to keep it in mind probably for production, probably matters in comprehension as well. Also matters in comprehension.
Lex Fridman
(01:10:58)
It’s on both sides of it, the production and the-
Edward Gibson
(01:11:00)
But I would guess it’s probably evolved for production. It’s about producing. It’s what’s easier for me to say that ends up being easier for you also. That’s very hard to disentangle, this idea of who is it for? Is it for me the speaker, or is it for you, the listener? Part of my language is for you. The way I talk to you is going to be different from how I talk to different people, so I’m definitely angling what I’m saying to who I’m saying. It’s not like I’m just talking the same way to every single person. And so I am sensitive to my audience, but does that work itself out in the dependency length differences? I don’t know. Maybe that’s about just the words, that part, which words I select.
Lex Fridman
(01:11:41)
My initial intuition is that you optimize language for the audience.
Edward Gibson
(01:11:47)
But it’s both.
Lex Fridman
(01:11:48)
It’s just kind of messing with my head a little bit to say that some of the optimization may be the primary objective. The optimization might be the ease of production.
Edward Gibson
(01:11:57)
We have different senses, I guess. I’m very selfish and I think it’s all about me. I’m like, “I’m just doing what’s easiest for me at all times.”
Lex Fridman
(01:12:06)
What’s easiest for me.
Edward Gibson
(01:12:09)
But I have to, of course, choose the words that I think you’re going to know. I’m not going to choose words you don’t know. In fact, I’m going to fix that. But maybe for the syntax, for the combinations, it’s just about me. I don’t know though. It’s very hard to-
Lex Fridman
(01:12:24)
Wait, wait, wait. But the purpose of communication is to be understood-
Edward Gibson
(01:12:24)
Absolutely.
Lex Fridman
(01:12:28)
… is to convince others and so on. So the selfish thing is to be understood. It’s about the listener.
Edward Gibson
(01:12:32)
Okay. It’s a little circular there too then. Okay.
Lex Fridman
(01:12:34)
Right. The ease of production-
Edward Gibson
(01:12:37)
Helps me be understood then. I don’t think it’s circular.
Lex Fridman
(01:12:43)
No, I think the primary objective is about the listener because otherwise, if you’re optimizing for the ease of production, then you’re not going to have any of the interesting complexity of language. You’re trying to explain-
Edward Gibson
(01:12:55)
Well, let’s control for what it is I want to say. I’m saying let’s control for the thing, the message. Control for the message I want to tell you-
Lex Fridman
(01:13:02)
But that means the message needs to be understood. That’s the goal.
Edward Gibson
(01:13:05)
But that’s the meaning. So I’m still talking about just the form of the meaning. How do I frame the form of the meaning is all I’m talking about. You’re talking about a harder thing, I think. It’s like trying to change the meaning. Let’s keep the meaning constant.
Lex Fridman
(01:13:20)
Got it.
Edward Gibson
(01:13:20)
If you keep the meaning constant, how can I phrase whatever it is I need to say? I got to pick the right words and I’m going to pick the order so it’s easy for me. That’s what I think is probably-
Lex Fridman
(01:13:32)
I think I’m still tying meaning and form together in my head, but you’re saying if you keep the meaning of what you’re saying constant, the optimization, it could be The primary objective of that optimization is for production. That’s interesting. I’m struggling to keep constant meaning. I’m a human, right? So for me, without having introspected on this, the form and the meaning are tied together deeply because I’m a human. For me when I’m speaking, because I haven’t thought about language in a rigorous way, about the form of language-
Edward Gibson
(01:14:16)
But look, for any event, there’s I don’t want to say infinite, but unbounded ways of that I might communicate that same event. Those two dogs entered a room I can say in many, many different ways. I could say, :Hey, there’s two dogs. They entered the room.” “Hey, the room was entered by something. The thing that was entered was two dogs.” That’s kind of awkward and weird and stuff, but those are all similar messages with different forms, different ways I might frame, and of course I use the same words there all the time.

(01:14:49)
I could have referred to the dogs as a Dalmatian and a poodle or something. I could have been more specific or less specific about what they are, and I could have been more abstract about the number. So I am trying to keep the meaning, which is this event, constant. And then how am I going to describe that to get that to you? It kind of depends on what you need to know and what I think you need to know. But let’s get control for all that stuff and I’m just choosing, but I’m doing something simpler than you’re doing, which is just forms, just words.
Lex Fridman
(01:15:22)
To you, specifying the breed of dog and whether they’re cute or not is changing the meaning.
Edward Gibson
(01:15:30)
That might be, yeah. Well, that would be changing the meaning for sure.
Lex Fridman
(01:15:33)
Right. So you’re just-
Edward Gibson
(01:15:36)
That’s changing the meaning. But say even if we keep that constant, we can still talk about what’s easier or hard for me, the listener. Which phrase structures I use, which combinations.
Lex Fridman
(01:15:49)
This is so fascinating and just a really powerful window into human language, but I wonder still throughout this how vast the gap between meaning and form. I just have this maybe romanticized notion that they’re close together, that they evolve close, hand in hand. That you can’t just simply optimize for one without the other being in the room with us. Well, it’s kind of like an iceberg. Form is the tip of the iceberg and the rest, the meaning is the iceberg, but you can’t separate.
Edward Gibson
(01:16:26)
But I think that’s why these large language models are so successful, is because good at form and form isn’t that hard in some sense. And meaning is tough still, and that’s why they don’t understand. We’re going to talk about that later maybe, but we can distinguish, forget about large language models, talking humans, maybe you’ll talk about that later too, is the difference between language, which is a communication system, and thinking, which is meaning. So language is a communication system for the meaning. It’s not the meaning. And there’s a lot of interesting evidence we can talk about relevant to that.

Thinking and language

Lex Fridman
(01:17:04)
Well, that’s a really interesting question. What is the difference between language written communicated versus thought? What to you is the difference between them?
Edward Gibson
(01:17:18)
Well, you or anyone has to think of a task which they think is a good thinking task, and there’s lots and lots of tasks which would be good thinking tasks. And whatever those tasks are, let’s say it’s playing chess, that’s a good thinking task, or playing some game or doing some complex puzzles, maybe remembering some digits, that’s thinking, a lot of different tasks we might think. Maybe just listening to music is thinking. There’s a lot of different tasks we might think of as thinking.

(01:17:47)
There’s this woman in my department, Fedorenko, and she’s done a lot of work on this question about what’s the connection between language and thought. And so she uses, I was referring earlier to MRI, fMRI, that’s her primary method. And so she has been really fascinated by this question about what language is. And so as I mentioned earlier, you can localize my language area or your language area in a few minutes, like 15 minutes. I can listen to language, listen to non-language or backward speech or something, and we’ll find areas left lateralized network in my head, which especially is very sensitive to language as opposed to whatever that control was.
Lex Fridman
(01:18:28)
Can you specify what you mean by language? Like communicating language? What is language?
Edward Gibson
(01:18:31)
Just sentences. I’m listening to English of any kind, a story, or I can read sentences. Anything at all that I understand, if I understand it, then it’ll activate my language network.
Lex Fridman
(01:18:42)
[inaudible 01:18:42]
Edward Gibson
(01:18:42)
My language network is going like crazy when I’m talking and when I’m listening to you because we’re communicating.
Lex Fridman
(01:18:48)
And that’s pretty stable.
Edward Gibson
(01:18:49)
Yeah, it’s incredibly stable. So I happen to be married to this woman at Fedorenko, and so I’ve been scanned by her over and over and over since 2007 or ’06 or something, and so my language network is exactly the same a month ago as it was back in 2007.
Lex Fridman
(01:18:49)
Oh, wow.
Edward Gibson
(01:19:05)
It’s amazingly stable. It’s astounding. It’s a really fundamentally cool thing. And so my language network is like my face. Okay? It’s not changing much over time inside my head.
Lex Fridman
(01:19:17)
Can I ask a quick question? Sorry, it’s a small tangent. At which point as you grow up from baby to adult does it stabilize?
Edward Gibson
(01:19:25)
We don’t know. That’s a very hard question. They’re working on that right now because of the problem scanning little kids. Trying to do the localization on little children in this scanner where you’re lying in the fMRI scan, that’s the best way to figure out where something’s going on inside our brains, and the scanner is loud and you’re in this tiny little area, you’re claustrophobic and it doesn’t bother me at all. I can go sleep in there, but some people are bothered by it and little kids don’t really like it and they don’t like to lie still, and you have to be really still because if you move around, that messes up the coordinates of where everything is. And so your question is how and when are language developing? How does this left lateralized system come to play? And it’s really hard to get a two-year-old to do this task, but you can maybe they’re starting to get three and four and five-year-olds to do this task for short periods and it looks like it’s there pretty early.
Lex Fridman
(01:20:19)
So clearly, when you lead up to a baby’s first words, before that there’s a lot of fascinating turmoil going on about figuring out what are these people saying and you’re trying to make sense, how does that connect to the world and all that kind of stuff. That might be just fascinating development that’s happening there. That’s hard to introspect. But anyway-
Edward Gibson
(01:20:42)
We’re back to the scanner, and I can find my network in 15 minutes and now we can ask, “Find my network, find yours, find 20 other people to do this task,” and we can do some other tasks. Anything else you think is thinking of some other thing. I can do a spatial memory task. I can do a music perception task. I can do programming task if I program, where I can understand computer programs, and none of those tasks tap the language network at all. At all. There’s no overlap. They’re highly activated in other parts of the brain. There’s a bilateral network, which I think she tends to call the multiple demands network, which does anything kind of hard. And so anything that’s kind of difficult in some ways will activate that multiple demands network. Music will be in some music area, there’s music specific kinds of areas, but none of them are activating the language area at all unless there’s words. So if you have music and there’s a song and you can hear the words, then you get the language area.
Lex Fridman
(01:21:46)
Are we talking about speaking and listening or are we also talking about reading?
Edward Gibson
(01:21:50)
This is all comprehension of any kind-
Lex Fridman
(01:21:53)
That is fascinating.
Edward Gibson
(01:21:54)
… so this network, doesn’t make any difference if it’s written or spoken. So the thing that Fedorenko calls the language network is this high level language, so it’s not about the spoken language and it’s not about the written language, it’s about either one of them. And so when you do speech, you listen to speech and you subtract away some language you don’t understand or you subtract away backwards speech, which sounds like speech but isn’t. Then you take away the sound part altogether and then if you do written, you get exactly the same network for just reading the language versus reading nonsense words or something like that.

(01:22:34)
You’ll find exactly the same network. And so this is about high level the comprehension of language in this case. Production’s a little harder to run the scanner, but the same thing happens in production. You get the same network, so production’s a little harder. You have to figure out how do you run a task in the network such that you’re doing some kind of production? And I can’t remember, they’ve done a bunch of different kinds of tasks there where you get people to produce things, figure out how to produce, and the same network goes on there exactly the same place.
Lex Fridman
(01:23:02)
Wait, wait, so if you read random words-
Edward Gibson
(01:23:05)
If you read things like-
Lex Fridman
(01:23:07)
Gibberish.
Edward Gibson
(01:23:08)
… Lewis Carroll’s, “‘Twas brillig,” Jabberwocky, right? They call that Jabberwocky speech-
Lex Fridman
(01:23:13)
The network doesn’t get activated.
Edward Gibson
(01:23:15)
Not as much. There are words in there. There’s function words and stuff, so it’s lower activation.
Lex Fridman
(01:23:21)
That’s fascinating.
Edward Gibson
(01:23:22)
So basically the more language it is, the higher it goes in the language network. And that network is there from when you speak, from as soon as you learn language and it’s there, you speak multiple languages, the same network is going for your multiple languages. So you speak English and you speak Russian, both of them are hitting that same network if you’re fluent in those languages.
Lex Fridman
(01:23:44)
Programming-
Edward Gibson
(01:23:45)
Not at all. Isn’t that amazing? Even if you’re a really good programmer, that is not a human language. It is just not conveying the same information, and so it is not in the language network.
Lex Fridman
(01:23:56)
Is that as mind-blowing as I think? That’s weird.
Edward Gibson
(01:23:59)
It’s pretty cool. It is amazing.
Lex Fridman
(01:23:59)
That’s pretty weird.
Edward Gibson
(01:24:00)
So that’s one set of data. Hers shows that what you might think is thinking is not language. Language is just this conventionalized system that we’ve worked out in human languages. Oh, another fascinating little tidbit is that even if they’re these constructed languages like Klingon or I don’t know the languages from Game of Thrones, I’m sorry, I don’t remember those languages. Maybe you-
Lex Fridman
(01:24:25)
There’s a lot of people offended right now.
Edward Gibson
(01:24:26)
… there’s people that speak those languages. They really speak those languages because the people that wrote the languages for the shows, they did an amazing job of constructing something like a human language and that lights up the language area because they can speak pretty much arbitrary thoughts in a human language. It’s a constructed human language, and probably it’s related to human languages because the people that were constructing them were making them like human languages in various ways, but it also activates the same network, which is pretty cool. Anyway.
Lex Fridman
(01:24:59)
Sorry to go into a place where you may be a little bit philosophical, but is it possible that this area of the brain is doing some kind of translation into a deeper set of almost like concepts?
Edward Gibson
(01:25:13)
That what it has to be doing. It’s doing in communication. It is translating from thought, whatever that is, it’s more abstract, and that’s what it’s doing. That is kind of what it is doing. It’s a meaning network, I guess.
Lex Fridman
(01:25:27)
Yeah, like a translation network. But I wonder what is at the core at the bottom of it? What are thoughts? Thoughts and words, are they neighbors or is it one turtle sitting on top of the other, meaning is there a deep set of concepts that we-
Edward Gibson
(01:25:46)
Well, there’s connections between what these things mean and then there’s probably other parts of the brain, but what these things mean. And so when I’m talking about whatever it is I want to talk about, it’ll be represented somewhere else. That knowledge of whatever that is will be represented somewhere else.
Lex Fridman
(01:26:02)
Well, I wonder if there’s some stable-
Edward Gibson
(01:26:04)
That’s meaning.
Lex Fridman
(01:26:05)
… nicely compressed encoding of meanings-
Edward Gibson
(01:26:08)
I don’t know.
Lex Fridman
(01:26:08)
… that’s separate from language. I guess the implication here is that we don’t think in language.
Edward Gibson
(01:26:19)
That’s correct. Isn’t that cool? And that’s so interesting. This is hard to do experiments on, but there is this idea of inner voice, and a lot of people have an inner voice. And so if you do a poll on the internet and ask if you hear yourself talking when you’re just thinking or whatever, about 70 or 80% of people will say yes. Most people have an inner voice. I don’t, and so I always find this strange. So when people talk about an inner voice, I always thought this was a metaphor. And they hear, I know most of you, whoever’s listening to this thinks I’m crazy now because I don’t have an inner voice and I just don’t know what you’re listening to. It sounds so kind of annoying to me, to have this voice going on while you’re thinking, but I guess most people have that, and I don’t have that and we don’t really know what that connects to.
Lex Fridman
(01:27:08)
I wonder if the inner voice activates that same network. I wonder.
Edward Gibson
(01:27:12)
I don’t know. This could be speechy, right? So that’s like you hear. Do you have an inner voice?
Lex Fridman
(01:27:18)
I don’t think so.
Edward Gibson
(01:27:18)
Oh. A lot of people have this sense that they hear themselves and then say they read someone’s email, I’ve heard people tell me that they hear that this other person’s voice when they read other people’s emails and I’m like, “Wow, that sounds so disruptive.”
Lex Fridman
(01:27:33)
I do think I vocalize what I’m reading, but I don’t think I hear a voice.
Edward Gibson
(01:27:38)
Well, you probably don’t have an inner voice.
Lex Fridman
(01:27:40)
I don’t think I have an inner voice.
Edward Gibson
(01:27:41)
People have an inner voice. People have this strong percept of hearing sound in their heads when they’re just thinking.
Lex Fridman
(01:27:48)
I refuse to believe that’s the majority of people.
Edward Gibson
(01:27:50)
Majority, absolutely.
Lex Fridman
(01:27:51)
What?
Edward Gibson
(01:27:52)
It’s like two-thirds or three-quarters. It’s a lot. Whenever I ask the class and I went internet, they always say that. So you’re in a minority.
Lex Fridman
(01:27:59)
It could be a self-report flaw.
Edward Gibson
(01:28:01)
It could be.
Lex Fridman
(01:28:02)
When I’m reading inside my head, I’m kind of saying the words, which is probably the wrong way to read, but I don’t hear a voice. There’s no percept of a voice. I refuse to believe the majority of people have it. Anyway, the human brain is fascinating, but it still blew my mind that that language does appear, comprehension does appear to be separate from thinking.
Edward Gibson
(01:28:32)
So that’s one set. One set of data from Fedorenko’s group is that no matter what task you do, if it doesn’t have words and combinations of words in it, then it won’t light up the language network you. It’ll be active somewhere else but not there, so that’s one. And then this other piece of evidence relevant to that question is it turns out there are this group of people who’ve had a massive stroke on the left side and wiped out their language network, and as long as they didn’t wipe out everything on the right as well, in that case, they wouldn’t be cognitively functionable. But if they just wiped out language, which is pretty tough to do because it’s very expansive on the left, but if they have, then there’s patients like this called, so-called global aphasics, who can do any task just fine, but not language.

(01:29:23)
You can’t talk to them, they don’t understand you. They can’t speak, they can’t write, they can’t read. But they can play chess, they can drive their cars, they can do all kinds of other stuff, do math. So math is not in the language area, for instance. You do arithmetic and stuff, that’s not in language area. It’s got symbols, so people confuse some kind of symbolic processing with language, and symbolic processing is not the same. So there are symbols and they have meaning, but it’s not language. It’s not a conventionalized language system, and so math isn’t there. And so they can do math. They do just as well as their control age matching controls and all these tasks. This is Rosemary Varley over in University College of London who has a bunch of patients who she’s shown this. So that sort of combination suggests that language isn’t necessary for thinking. It doesn’t mean you can’t think in language. You could think in language because language allows a lot of expression, but it’s just you don’t need it for thinking. It suggests that language is a separate system from-
Lex Fridman
(01:30:24)
This is kind of blowing my mind right now.
Edward Gibson
(01:30:24)
It’s cool, isn’t it?
Lex Fridman
(01:30:26)
I’m trying to load that in because it has implications for large language models.
Edward Gibson
(01:30:32)
It sure does, and they’ve been working on that.

LLMs

Lex Fridman
(01:30:35)
Well, let’s take a stroll there. You wrote that the best current theories of human language are arguably large language models, so this has to do with form.
Edward Gibson
(01:30:43)
It’s a kind of a big theory, but the reason it’s arguably the best is that it does the best at predicting what’s English, for instance. It’s incredibly good, better than any other theory, but there’s not enough detail.
Lex Fridman
(01:31:01)
Well, it’s opaque. You don’t know what’s going on.
Edward Gibson
(01:31:03)
You don’t know what’s going on.
Lex Fridman
(01:31:05)
Black box.
Edward Gibson
(01:31:06)
It’s in a black box. But I think it is a theory.
Lex Fridman
(01:31:08)
What’s your definition of a theory? Because it’s a gigantic black box with a very large number of parameters controlling it. To me, theory usually requires a simplicity, right?
Edward Gibson
(01:31:20)
Well, I don’t know, maybe I’m just being loose there. I think it’s not a great theory, but it’s a theory. It’s a good theory in one sense in that it covers all the data. Anything you want to say in English, it does. And so that’s how it’s arguably the best, is that no other theory is as good as a large language model in predicting exactly what’s good and what’s bad in English. Now, you’re saying is it a good theory? Well, probably not because I want a smaller theory than that. It’s too big, I agree.
Lex Fridman
(01:31:47)
You could probably construct mechanism by which it can generate a simple explanation of a particular language, like a set of rules. Something like it could generate a dependency grammar for a language, right?
Edward Gibson
(01:32:03)
Yes.
Lex Fridman
(01:32:03)
You could probably just ask it about itself.
Edward Gibson
(01:32:12)
Well, that presumes, and there’s some evidence for this, that some large language models are implementing something like dependency grammar inside them. And so there’s work from a guy called Chris Manning and colleagues over at Stanford in natural language. And they looked at I don’t know how many large language model types, but certainly BERT and some others, where you do some kind of fancy math to figure out exactly what kind of abstractions of representations are going on, and they were saying it does look like dependency structure is what they’re constructing. It’s actually a very, very good map, so they are constructing something like that. Does it mean that they’re using that for meaning? Probably, but we don’t know.
Lex Fridman
(01:33:01)
You write that the kinds of theories of language that LLMs are closest to are called construction-based theories. Can you explain what construction-based theories are?
Edward Gibson
(01:33:09)
It’s just a general theory of language such that there’s a form and a meaning pair for lots of pieces of the language. And so it’s primarily usage-based is a construction grammar. It’s trying to deal with the things that people actually say and actually write, and so it’s a usage-based idea. What’s a construction? Construction’s either a simple word, so a morpheme plus its meaning or a combination of words. It’s basically combinations of words, the rules, but it’s unspecified as to what the form of the grammar is underlyingly. And so I would argue that the dependency grammar is maybe the right form to use for the types of construction grammar. Construction grammar typically isn’t formalized quite, and so maybe the a formalization of that, it might be in dependency grammar. I would think so, but it’s up to other researchers in that area if they agree or not.
Lex Fridman
(01:34:16)
Do you think that large language models understand language? Are they mimicking language? I guess the deeper question there is, are they just understanding the surface form or do they understand something deeper about the meaning that then generates the form?
Edward Gibson
(01:34:33)
I would argue they’re doing the form. They’re doing the form, they’re doing it really, really well. And are they doing the meaning? No, probably not. There’s lots of these examples from various groups showing that they can be tricked in all kinds of ways. They really don’t understand the meaning of what’s going on. And so there’s a lot of examples that he and other groups have given which show they don’t really understand what’s going on. So the Monty Hall problem is this silly problem. Let’s Make a Deal is this old game show, and there’s three doors and there’s a prize behind one, and there’s some junk prizes behind the other two and you’re trying to select one. And Monty, he knows where the target item is. The good thing, he knows everything is back there, and he gives you a choice.

(01:35:25)
You choose one of the three and then he opens one of the doors and it’s some junk prize. And then the question is, should you trade to get the other one? And the answer is, yes, you should trade because he knew which ones you could turn around, and so now the odds are two-thirds. And then if you just change that a little bit to the large language model, the large language model has seen that explanation so many times. If you change the story, it’s a little bit, but you make it sound like it’s the Monty Hall problem, but it’s not. You just say, “Oh, there’s three doors and one behind them is a good prize and there’s two bad doors. I happen to know it’s behind door number one. The good prize, the car is behind door number one, so I’m going to choose door number one.”

(01:36:03)
Monty Hall opens door number three and shows me nothing there. Should I trade for door number two, even though I know the good prize in door number one? And then the large language model say, “Yes, you should trade,” because it just goes through the forms that it’s seen before so many times on these cases where yes, you should trade because your odds have shifted from one in three now to two out of three to being that thing. It doesn’t have any way to remember that actually, you have 100% probability behind that door number one. You know that. That’s not part of the scheme that it’s seen hundreds and hundreds of times before. And so even if you try to explain to it that it’s wrong, that they can’t do that, it’ll just keep giving you back the problem.
Lex Fridman
(01:36:45)
But it’s also possible the larger language model would be aware of the fact that there’s sometimes over-representation of a particular kind of formulation, and it’s easy to get tricked by that. And so you could see if they get larger and larger, models be a little bit more skeptical, so you see over-representation. It just feels like training on form can go really far in terms of being able to generate things that look like the thing understands deeply the underlying world model, of the kind of mathematical world, physical world, psychological world that would generate these kinds of sentences. It just feels like you’re creeping close to the meaning part, easily fooled, all this kind of stuff, but that’s humans too. So it just seems really impressive how often it seems like it understands concepts.
Edward Gibson
(01:37:54)
You don’t have to convince me of that. I am very, very impressed. You’re giving a possible world where maybe someone’s going to train some other versions such that it’ll be somehow abstracting away from types of forms, I don’t think that’s happened. And so-
Lex Fridman
(01:38:12)
Well, no, no, no, I’m not saying that. I think when you just look at anecdotal examples and just showing a large number of them where it doesn’t seem to understand and it’s easily fooled, that does not seem like a scientific data-driven analysis of how many places is it damn impressive in terms of meaning and understanding and how many places is easily fooled?
Edward Gibson
(01:38:36)
That’s not the inference, so I don’t want to make that. The inference I wouldn’t want to make was that inference. The inference I’m trying to push is just that is it like humans here? It’s probably not like humans here, it’s different. So humans don’t make that error. If you explain that to them, they’re not going to make that error. They don’t make that error. And so it’s doing something different from humans that they’re doing. In that case,
Lex Fridman
(01:38:59)
What’s the mechanism by which humans figure out that it’s an error?
Edward Gibson
(01:39:02)
I’m just saying the error there is if I explained to you there’s a hundred percent chance that the car is behind this door, do you want to trade people say no, but this thing will say yes because it’s that trick, it’s so wound up on the form. That’s an error that a human doesn’t make, which is kind of interesting.
Lex Fridman
(01:39:23)
Less likely to make, I should say.
Edward Gibson
(01:39:25)
Less likely.
Lex Fridman
(01:39:26)
Because you’re asking a system to understand 100%, you’re asking some mathematical concepts.
Edward Gibson
(01:39:40)
But the places where language models are, the form is amazing. So let’s go back to nested structure, center-embedded structures. If you ask a human to complete those, they can’t do it. Neither can a large language model. They’re just like humans in that. If I ask a large language model-
Lex Fridman
(01:39:56)
That’s fascinating, by the way. The central embedding struggles with anyone-
Edward Gibson
(01:40:01)
Just like humans. Exactly the same way as humans, and that’s not trained. So that is a similarity, but that’s not meaning. This is form. But when we get into meaning, this is where they get kind of messed up. When you start just saying, “Oh, what’s behind this door? Oh, this is the thing I want,” humans don’t mess that up as much. Here, the form is just like. The form of the match is amazingly similar without being trained to do that. It’s trained in the sense that it’s getting lots of data, which is just like human data, but it’s not being trained on bad sentences and being told what’s bad. It just can’t do those. It’ll actually say things like, “Those are too hard for me to complete or something,” which is kind of interesting, actually. How does it know that? I don’t know.
Lex Fridman
(01:40:51)
But it really often doesn’t just complete, it very often says stuff that’s true and sometimes says stuff that’s not true. And almost always the form is great, but it’s still very surprising that with really great form, it’s able to generate a lot of things that are true based on what it’s trained on and so on. So it’s not just form that is generating, it’s mimicking true statements-
Edward Gibson
(01:41:24)
That’s right, that’s right. I think that’s right.
Lex Fridman
(01:41:25)
… from the internet. I guess the underlying idea there is that on the internet, truth is overrepresented versus falsehoods.
Edward Gibson
(01:41:33)
I think that’s probably right.
Lex Fridman
(01:41:35)
But the fundamental thing it’s trained on you’re saying is just form, and it’s really-
Edward Gibson
(01:41:40)
I think so.
Lex Fridman
(01:41:42)
Well, to me, that’s still a little bit of an open question. I probably lean agreeing with you, especially now you’ve just blown my mind that there’s a separate module in the brain for language versus thinking. Maybe there’s a fundamental part missing from the large language model approach that lacks the thinking, the reasoning capability.
Edward Gibson
(01:42:08)
Yeah, that’s what this group argues. So the same group, Fedorenko’s group has a recent paper arguing exactly that. There’s a guy called Kyle Mahowald who’s here in Austin, Texas, actually. He’s an old student of mine, but he’s a faculty in linguistics at Texas, and he was the first author on that.
Lex Fridman
(01:42:27)
That’s fascinating. Still to me, an open question. What to you are the interesting limits of LLMs?
Edward Gibson
(01:42:35)
I don’t see any limits to their form. Their form is perfect.
Lex Fridman
(01:42:35)
Impressive, perfect.
Edward Gibson
(01:42:35)
It’s pretty close to being-
Lex Fridman
(01:42:39)
Well, you said ability to complete central embeddings.
Edward Gibson
(01:42:39)
Yeah. It’s just the same as humans. It seems the same as humans.
Lex Fridman
(01:42:47)
But that’s not perfect, right? It should be able to-
Edward Gibson
(01:42:51)
That’s good. No, but I want it to be like humans. I want a model of humans.
Lex Fridman
(01:42:55)
Oh, wait, wait. Oh, so perfect to you is as close to humans as possible.
Edward Gibson
(01:42:59)
Yeah.
Lex Fridman
(01:42:59)
I got it. But if you’re not human, you’re superhuman, you should be able to complete central embedded sentences, right?
Edward Gibson
(01:43:07)
The mechanism is, if it’s modeling, I think it’s kind of really interesting that it can’t.
Lex Fridman
(01:43:13)
That is really interesting.
Edward Gibson
(01:43:14)
I think it’s potentially underlying modeling something like the way the form is processed.
Lex Fridman
(01:43:21)
The form of human language and how humans process the language.
Edward Gibson
(01:43:26)
Yes. I think that’s plausible.

Center embedding

Lex Fridman
(01:43:27)
And how they generate language, process language and generate language. That’s fascinating. So in that sense, they’re perfect. If we can just linger on the center embedding thing, that’s hard for LLMs to produce and that seems really impressive because hard for humans to produce. And how does that connect to the thing we’ve been talking about before, which is the dependency grammar framework in which you view language, and the finding that short dependencies seem to be a universal part of language? So why is it hard to complete center embeddings?
Edward Gibson
(01:44:02)
So what I like about dependency grammar is it makes the cognitive cost associated with longer distance connections very transparent. Basically, it turns out there is a cost associated with producing and comprehending connections between words, which are just not beside each other. The further apart they are, the worse it is. We can measure that and there is a cost associated with that.
Lex Fridman
(01:44:31)
Can you just linger on what do you mean by cognitive cost and how do you measure it?
Edward Gibson
(01:44:36)
Sure. Well, you can measure it in a lot of ways. The simplest is just asking people to say how good a sentence sounds. Just ask. That’s one way to measure, and you try to triangulate then across sentences and across structures to try to figure out what the source of that is. You can look at reading times in controlled materials, in certain kinds of materials, and then we can measure the dependency distances there. There’s a recent study-
Edward Gibson
(01:45:00)
… the dependency distance is there. There’s a recent study which looked at, we’re talking about the brain here. We could look at the language network. We could look at the language network and we could look at the activation in the language network and how big the activation is, depending on the length of the dependencies. It turns out in just random sentences that you’re listening to, if you listen, as it turns out there are people listening to stories here. The longer the dependency is, the stronger the activation in the language network. So, there’s some measure… There’s a bunch of different measures we could do. That’s kind of a neat measure actually of actual-
Lex Fridman
(01:45:40)
Activation.
Edward Gibson
(01:45:41)
… activation in the brain.
Lex Fridman
(01:45:42)
So then you can somehow in different ways convert it to a number. I wonder if there’s a beautiful equation connecting cognitive costs and length of dependency. E equals MC squared kind of thing.
Edward Gibson
(01:45:51)
It’s complicated, but probably it’s doable. I would guess it’s doable. I tried to do that a while ago, and I was reasonably successful, but for some reason I stopped working on that. I agree with you that it would be nice to figure out… So, there’s some way to figure out the cost. It’s complicated.

(01:46:08)
Another issue you raised before was how do you measure distance? Is it words? It probably isn’t, is part of the problem, is that some words matter than more than others meaning nouns might matter. And then it maybe depends on which kind of noun. Is it a noun we’ve already introduced or a noun that’s already been mentioned? Is it a pronoun versus a name? All these things probably matter. So, probably the simplest thing to do is just like, oh, let’s forget about all that and just think about words or morphemes.
Lex Fridman
(01:46:38)
For sure. But there might be some insight in the kind of function that fits the data. Meaning like quadratic… What-
Edward Gibson
(01:46:50)
I think it’s an exponential.
Lex Fridman
(01:46:50)
Exponential.
Edward Gibson
(01:46:51)
So, we think it’s probably an exponential such that the longer the distance, the less it matters. So then it’s the sum of those, that was our best guess a while ago. So you’ve got a bunch of dependencies. If you’ve got a bunch of them that are being connected at some point, at the ends of those, the cost is some exponential function of those is my guess. But because the reason it’s probably an exponential is it’s not just the distance between two words. I can make a very, very long subject verb dependency by adding lots and lots of noun phrases and prepositional phrases and it doesn’t matter too much. It’s when you do nested, when I have multiple of these, then things go really bad, go south.
Lex Fridman
(01:47:34)
That’s probably somehow connected to working memory or something like this?
Edward Gibson
(01:47:37)
Yeah, that’s probably a function of the memory here is the access, is trying to find those earlier things. It’s kind of hard to figure out what was referred to earlier. Those are those connections. That’s the notion of murky… As opposed to a storage-y thing, but trying to connect, retrieve those earlier words depending on what was in between. Then we’re talking about interference of similar things in between. The right theory probably has that kind of notion, it is an interference of similar.

(01:48:06)
So, I’m dealing with abstraction over the right theory, which is just, let’s count words, it’s not right, but it’s close. Then maybe you’re right though. There’s some sort of an exponential or something to figure out the total so we can figure out a function for any given sentence in any given language. But it’s funny, people haven’t done that too much, which I do think is… I’m interested that you find that interesting. I really find that interesting and a lot of people haven’t found it interesting. I don’t know why I haven’t got people to want to work on that. I really like that too.
Lex Fridman
(01:48:36)
That’s a beautiful idea, and the underlying idea is beautiful, that there’s a cognitive cost that correlates with the length of dependency. It feels like, I mean, language is so fundamental to the human experience. This is a nice, clean theory of language where it’s like, “Wow, okay, so we like our words close together, depend words close together.”
Edward Gibson
(01:49:00)
Yeah, that’s why I like it too. It’s so simple. It’s so simple.
Lex Fridman
(01:49:02)
Yeah, the simplicity of the theory is good.
Edward Gibson
(01:49:04)
And yet it explains some very complicated phenomena. If I write these very complicated sentences, it’s kind of hard to know why they’re so hard. And you can like, oh, nail it down. I can give you a math formula for why each one of them is bad and where, and that’s kind of cool. I think that’s very neat.
Lex Fridman
(01:49:20)
Have you gone through the process… Is there, if you take a piece of text and then simplify, there’s an average length of dependency and then you reduce it and see comprehension on the entire, not just a single sentence, but you go from James Joyce to Hemingway or something.
Edward Gibson
(01:49:42)
No, no. Simple answer is no. There’s probably things you can do in that kind of direction.
Lex Fridman
(01:49:47)
That’s fun.
Edward Gibson
(01:49:49)
We’re going to talk about legalese at some point, and so maybe we’ll talk about that kind of thinking with applied to legalese.
Lex Fridman
(01:49:55)
Let’s talk about legalese because you mentioned that as an exception. We’re just taking a tangent upon tangent, that’s an interesting one, you give it as an exception.
Edward Gibson
(01:50:02)
It’s an exception.
Lex Fridman
(01:50:04)
That you say that most natural languages, as we’ve been talking about, have local dependencies with one exception, legalese.
Edward Gibson
(01:50:12)
That’s right.
Lex Fridman
(01:50:13)
So, what is legalese first of all?
Edward Gibson
(01:50:15)
Oh, well, legalese is what you think it is. It’s just any legal language.
Lex Fridman
(01:50:20)
Well, I actually know very little about the kind of language that lawyers use.
Edward Gibson
(01:50:24)
So, I’m just thinking about language in laws and language and contracts.
Lex Fridman
(01:50:28)
Got it.
Edward Gibson
(01:50:29)
The stuff that you have to run into, we have to run into every other day or every day and you skip over because it reads poorly or partly it’s just long, right? There’s a lot of texts there that we don’t really want to know about. But the thing I’m interested in, so I’ve been working with this guy called Eric Martinez. He was a lawyer who was taking my class. I was teaching a psycholinguistics lab class, I have been teaching it for a long time at MIT, and he was a law student at Harvard. He took the class because he had done some linguistics as an undergrad and he was interested in the problem of why legalese sounds hard to understand. So, why is it hard to understand and why do they write that way if it is so hard to understand? It seems apparent that it’s hard to understand. The question is, why is it?

(01:51:19)
So, we didn’t know and we did an evaluation of a bunch of contracts. Actually, we just took a bunch of random contracts. I don’t know, there’s contracts and laws might not be exactly the same, but contracts are the things that most people have to deal with most of the time. That’s the most common thing that humans have, that adults in our industrialized society have to deal with a lot. That’s what we pulled and we didn’t know what was hard about them, but it turns out that the way they’re written is very center embedded. It has nested structures in them. So, it has low frequency words as well. That’s not surprising. Lots of texts have low… It does have surprising slightly lower frequency words than other kinds of control texts, even academic texts. Legalese is even worse. It is the worst that we were being able to find-
Lex Fridman
(01:52:10)
Fascinating. You just reveal the game that lawyers are playing.
Edward Gibson
(01:52:13)
They’re not though.
Lex Fridman
(01:52:13)
That they’re optimizing a different… Well-
Edward Gibson
(01:52:15)
It’s interesting. Now you’re getting at why. So, now you’re saying they’re doing intentionally. I don’t think they’re doing intentionally, but let’s-
Lex Fridman
(01:52:23)
It’s an emergent phenomena. Okay.
Edward Gibson
(01:52:25)
We’ll get to that. We’ll get to that. But we wanted to see what first as opposed… Because it turns out that we’re not the first to observe that legalese is weird. Back to Nixon had a plain language act in 1970 and Obama had one. Boy, a lot of these presidents that said, “Oh, no, we’ve got to simplify legal language. Must simplify it.” But if you don’t know how it’s complicated, it’s not easy to simplify it. You need to know what it is you’re supposed to do before you can fix it. So, you need a psycholinguist to analyze the text and see what’s wrong with it before you can fix it. You don’t know how to fix it. How am I supposed to fix something I don’t know what’s wrong with it?

(01:53:05)
And so what we did, that’s what we did. We figured out, okay, just a bunch of contracts, had people… And we encoded them for a bunch of features. Another feature, one of them was center embedding. That is basically how often a clause would intervene between a subject and a verb, for example. That’s one center embedding of a clause, and turns out they’re massively center embedded. So, I think in random contracts and in random laws, I think you get about 70%, something like 70% of sentences have a center embedded clause, which is insanely high.

(01:53:43)
If you go to any other text, it’s down to 20% or something. It’s so much higher than any control you can think of, including, you think, people think, oh, technical, academic texts. No, people don’t write center embedded sentences in technical academic texts. They do a little bit, but it’s on the 20%, 30% realm as opposed to 70. So, there’s that and there’s low frequency words. Then people, oh, maybe it’s passive. People don’t like the passive. Passive for some reason, the passive voice in English has a bad rap, and I’m not really sure where that comes from. And there is a lot of passive, there’s much more passive voice in legalese than there is in other texts-
Lex Fridman
(01:54:23)
And passive voice accounts for some of the low frequency words?
Edward Gibson
(01:54:26)
No, no. Those separate. Those are separate.
Lex Fridman
(01:54:28)
[inaudible 01:54:28] I apologize. Oh, so passive voice sucks. Low frequency words sucks.
Edward Gibson
(01:54:31)
Well sucks is different. So, these are different-
Lex Fridman
(01:54:32)
That’s a judgment I’m passing?
Edward Gibson
(01:54:33)
Yeah, yeah, yeah. Drop the judgment. It’s just like, these are frequent. These are things which happen in legalese text. Then we can ask, the dependent measure is how well you understand those things with those features. And it turns out the passive makes no difference. So, it has zero effect on your comprehension ability, on your recall ability. Nothing at all, it has no effect. The words matter a little bit. Low frequency words are going to hurt you in recall and understanding, but what really hurts is the center of embedding.
Lex Fridman
(01:55:01)
Center embedding.
Edward Gibson
(01:55:02)
That kills you. That slows people down, that makes them very poor in understanding, they can’t recall what was said as well, nearly as well. And we did this not only on laypeople, we did on a lot of laypeople, we ran on a hundred lawyers. We recruited lawyers from a wide range of different levels of law firms and stuff. And they have the same pattern. When they did this, I did not know what would happen. I thought maybe they could process… They’re used to legalese, maybe they process it just as well as if it was normal.

(01:55:37)
No, no, they’re much better than laypeople. So, they can much better recall, much better at understanding. But they have the same main effects as laypeople. Exactly the same. So, they also much prefer the non-center… So, we constructed non-center embedded versions of each of these. We constructed versions which have higher frequency words in those places. And we did, we un-passivized, we turned them into active versions. The passive/active made no difference. The words made a little difference. And the un-center embedding makes big differences in all the populations.
Lex Fridman
(01:56:12)
Un-center embedding. How hard is that process, by the way?
Edward Gibson
(01:56:15)
Not very hard.
Lex Fridman
(01:56:16)
Sorry, dumb question, but how hard is it to detect center embedding?
Edward Gibson
(01:56:19)
Oh, easy. Easy to detect. [inaudible 01:56:21]-
Lex Fridman
(01:56:20)
You’re just looking at long dependencies or is there a real-
Edward Gibson
(01:56:23)
So, there’s automatic parsers for English, which are pretty good.
Lex Fridman
(01:56:27)
And they can detect center embedding?
Edward Gibson
(01:56:28)
Oh yeah, very good.
Lex Fridman
(01:56:29)
Or I guess nesting?
Edward Gibson
(01:56:30)
Perfectly. [inaudible 01:56:32]. Pretty much.
Lex Fridman
(01:56:32)
So, you’re not just looking for long dependencies, you’re just literally looking for center embedding.
Edward Gibson
(01:56:36)
Yeah, we are in this case, in these cases. But long dependencies, they’re highly correlated, these things to this.
Lex Fridman
(01:56:40)
All right. So, like center embedding is a big bomb you throw inside of a sentence that just blows out, that makes super-
Edward Gibson
(01:56:47)
Yeah. Can I read a sentence for you from these things?
Lex Fridman
(01:56:49)
Sure.
Edward Gibson
(01:56:50)
I’ll see if I can find. I mean, this is just one of the things that… This is just [inaudible 01:56:53]-
Lex Fridman
(01:56:52)
My eyes might glaze over in mid-sentence. No, I understand that. I mean, legalese is hard.
Edward Gibson
(01:57:00)
Here we go. It goes, “In the event that any payment or benefit by the company, all such payments and benefits, including the payments and benefits under section 3(A) hereof being here and after referred to as a total payments would be subject to the excise tax, then the cash severance payments shall be reduced.” So that’s something we pulled from a regular text from a contract.
Lex Fridman
(01:57:18)
Wow.
Edward Gibson
(01:57:19)
And the center embedded bit there is just for some reason, there’s a definition. They throw the definition of what payments and benefits are in between the subject and the verb. How about don’t do that? How about put the definition somewhere else as opposed to in the middle of the sentence? That’s very, very common, by the way. That’s what happens. You just throw your definitions, you use a word, a couple of words, and then you define it and then you continue the sentence. Just don’t write like that.

(01:57:47)
So then we asked lawyers, we thought, “Oh, maybe lawyers like this.” Lawyers don’t like this, they don’t like this. They don’t want to write like this. We asked them to rate materials which are with the same meaning, with un-center embedded and center embedded, and they much preferred the un-center embedded versions.
Lex Fridman
(01:58:05)
On comprehension, on the reading side.
Edward Gibson
(01:58:07)
And we asked them, “Would you hire someone who writes like this or this?” We asked them all kinds of questions and they always preferred the less complicated version, all of them. So, I don’t even think they want it this way.
Lex Fridman
(01:58:18)
But how did it happen?
Edward Gibson
(01:58:19)
How did it happen? That’s a very good question. And the answer is, I still don’t know, but-
Lex Fridman
(01:58:25)
I have some theories.
Edward Gibson
(01:58:27)
Our best theory at the moment is that there’s actually some kind of a performative meaning in the center embedding and the style, which tells you it’s legalese. We think that that’s the kind of a style which tells you it’s legalese, it’s a reasonable guess. And maybe it’s just, so for instance, it’s like a magic spell. We kind of call this the magic spell hypothesis. When you tell someone to put a magic spell on someone, what do you do? People know what a magic spell is and they do a lot of rhyming. That’s kind of what people will tend to do. They’ll do rhyming and they’ll do some kind of poetry kind of thing.
Lex Fridman
(01:59:03)
Abracadabra type of thing.
Edward Gibson
(01:59:05)
Yeah. And maybe there’s a syntactic reflex here of a magic spell, which is center embedding. And so that’s like, “Oh, it’s trying to tell you this is something which is true,” which is what the goal of law is. It’s telling you something that we want you to believe is certainly true. That’s what legal contracts are trying to enforce on you. And so maybe that’s a form which has… This is like an abstract, very abstract form center embedding, which has a meaning associated with it.
Lex Fridman
(01:59:36)
Well, don’t you think there’s an incentive for lawyers to generate things that are hard to understand?
Edward Gibson
(01:59:45)
That was one of our working hypotheses. We just couldn’t find any evidence of that.
Lex Fridman
(01:59:49)
No, lawyers also don’t understand it, but you’re creating space-
Edward Gibson
(01:59:54)
But when you ask lawyers-
Lex Fridman
(01:59:55)
You ask in a communist Soviet Union, the individual members, their self-report is not going to correctly reflect what is broken about the gigantic bureaucracy then leads to Chernobyl or something like this. I think the incentives under which you operate are not always transparent to the members within that system. So, it just feels like a strange coincidence that there is benefit if you just zoom out, look at the system as opposed to asking individual lawyers, that making something hard to understand is going to make a lot of people money.

(02:00:36)
You’re going to need a lawyer to figure that out, I guess from the perspective of the individual. But then that could be the performative aspect. It could be as opposed to the incentive driven to be complicated. It could be performative to where, “We lawyers speak in this sophisticated way and you regular humans don’t understand it, so you need to hire a lawyer.” Yeah, I don’t know which one it is, but it’s suspicious. Suspicious that it’s hard to understand and that everybody’s eyes glaze over and they don’t read.
Edward Gibson
(02:01:04)
I’m suspicious as well. I’m still suspicious and I hear what you’re saying. It could be kind, no individual and even average of individuals. It could just be a few bad apples in a way which are driving the effect in some way.
Lex Fridman
(02:01:17)
Influential bad apples that everybody looks up to or whatever, they’re central figures in how-
Edward Gibson
(02:01:25)
But it is kind of interesting that-
Lex Fridman
(02:01:28)
It’s fascinating.
Edward Gibson
(02:01:28)
… among our hundred lawyers, they did not share that.
Lex Fridman
(02:01:31)
They didn’t want this. That’s fascinating.
Edward Gibson
(02:01:32)
They really didn’t like it. And so it gave us hope-
Lex Fridman
(02:01:34)
And they weren’t better than regular people at comprehending it.
Edward Gibson
(02:01:38)
They were much-
Lex Fridman
(02:01:38)
Or they were on average better-
Edward Gibson
(02:01:38)
But they had the same difference.
Lex Fridman
(02:01:40)
… but the same difference.
Edward Gibson
(02:01:41)
Exact same difference, but they wanted it fixed. And so that gave us hope that because it actually isn’t very hard to construct a material which is un-center embedded and has the same meaning. It’s not very hard to do. Just basically in that situation, you’re just putting definitions outside of the subject verb relation in that particular example, and that’s pretty general. What they’re doing is just throwing stuff in there, which you didn’t have to put in there.

(02:02:09)
There’s extra words involved, typically. You may need a few extra words to refer to the things that you’re defining outside in some way. If you only use it in that one sentence, then there’s no reason to introduce extra terms. So, we might have a few more words, but it’ll be easier to understand. I have hope that now that maybe we can make legalese less convoluted in this way.
Lex Fridman
(02:02:35)
So, maybe the next President of the United States can, instead of saying generic things, say-
Edward Gibson
(02:02:39)
Say exactly-
Lex Fridman
(02:02:40)
“I ban center embeddings, and make Ted the language czar of-
Edward Gibson
(02:02:44)
Well, make Eric. Martinez is the guy you should really put in there.
Lex Fridman
(02:02:53)
Eric Martinez, yeah. But center embeddings are the bad thing to have.
Edward Gibson
(02:02:56)
That’s right.
Lex Fridman
(02:02:57)
If you get rid of that-
Edward Gibson
(02:02:58)
That’ll do a lot of it. That’ll fix a lot.
Lex Fridman
(02:03:00)
That’s fascinating. That is so fascinating. And just really fascinating on many fronts that humans are just not able to deal with this kind of thing and that language because of that evolved in the way you did. It’s fascinating. So, one of the mathematical formulations you have when talking about languages communication is this idea of noisy channels. What’s a noisy channel?
Edward Gibson
(02:03:25)
That’s about communication. And so this is going back to Shannon. Claude Shannon was a student at MIT in the ’40s. And so he wrote this very influential piece of work about communication theory or information theory, and he was interested in human language. Actually. He was interested in this problem of communication, of getting a message from my head to your head. And he was concerned or interested in what was a robust way to do that.

(02:03:59)
And so that assuming we both speak the same language, we both already speak English, whatever the language is, we speak that what is a way that I can say the language so that it’s most likely to get the signal that I want to you. And then the problem there in the communication is the noisy channel, is that I make… There’s a lot of noise in the system. I don’t speak perfectly. I make errors. That’s noise. There’s background noise, you know that.
Lex Fridman
(02:04:30)
Like literal.
Edward Gibson
(02:04:31)
Literal background noise. There is white noise in the background or some other kind of noise or some speaking going on or just you’re at a party, that’s background noise. You’re trying to hear someone, it’s hard to understand them because there’s all this other stuff going on in the background. And then there’s noise on the communication, on the receiver side so that you have some problem maybe understanding me for stuff that’s just internal to you in some way. You’ve got some other problems, whatever, with understanding for whatever reasons. Maybe you’ve had too much to drink. Who knows why you’re not able to pay attention to the signal.

(02:05:04)
So, that’s the noisy channel. And so that language, if it’s communication system, we are trying to optimize in some sense that the passing of the message from one side to the other. And so one idea is that maybe aspects of word order, for example, might’ve optimized in some way to make language a little more easy to be passed from speaker to listener. And so Shannon’s, the guy that did this stuff way back in the forties, it was very interesting.

(02:05:34)
Historically he was interested in working in linguistics. He was at MIT and this was his master’s thesis of all things. It’s crazy how much he did for his master’s thesis in 1948 I think, or ’49 something. And he wanted to keep working in language and it just wasn’t a popular communication as a reason source for what language was, wasn’t popular at the time. So, Chomsky was moving in there and he just wasn’t able to get a handle there, I think. And so he moved to [inaudible 02:06:04] and worked on communication from a mathematical point of view and did all kinds of amazing work. And so he’s just-
Lex Fridman
(02:06:12)
More on the signal side versus the language side.
Edward Gibson
(02:06:16)
Yeah.
Lex Fridman
(02:06:16)
It would’ve been interesting to see if he pursued the language side. That’s really interesting.
Edward Gibson
(02:06:20)
He was interested in that. His examples in the ’40s are like, they’re very language-like things. We can kind of show that there’s a noisy channel process going on in, when you’re listening to me, you can often guess what you think I meant, given what I said. And I mean, with respect to sort of why language looks the way it does, there might be, as I alluded to, there might be ways in which word orders is somewhat optimized because of the noisy channel in some way.
Lex Fridman
(02:06:53)
That’s really cool to model if you don’t hear certain parts of a sentence or have some probability of missing that part, how do you construct a language that’s resilient to that, that’s somewhat robust to that?
Edward Gibson
(02:07:04)
Yeah, that’s the idea.
Lex Fridman
(02:07:06)
And then you’re kind saying the word order and the syntax of language, the dependency length are all helpful to do-
Edward Gibson
(02:07:14)
Well, dependency length is really about memory. I think that’s about what’s easier or harder to produce in some way. And these other ideas are about robustness to communication. So, the problem of potential loss of signal due to noise. There may be aspects of word order which is somewhat optimized for that. And we have this one guess in that direction… And these are kind of just so stories, I have to be pretty frank. They’re not like, I can’t show, this is true. All we can do is look at the current languages of the world.

(02:07:44)
We can’t see how languages change or anything because we’ve got these snapshots of a few hundred or a few thousand languages. We can’t do the right kinds of modifications to test things experimentally. And so just take this with a grain of salt from here, this stuff. The dependency stuff, I’m much more solid on and here’s what the lengths are and here’s what’s hard, here’s what’s easy, and this is a reasonable structure. I think I’m pretty reasonable. Why does the word order look the way it does is, we’re now into shaky territory, but it’s kind of cool.
Lex Fridman
(02:08:17)
We’re talking about, just to be clear, we’re talking about maybe just actually the sounds of communication. You and I are sitting in a bar, it’s very loud, and you model with a noisy channel, the loudness, the noise, and we have the signal that’s coming across and you’re saying word to order might have something to do with optimizing that when there’s presence of noise.
Edward Gibson
(02:08:40)
Yes.
Lex Fridman
(02:08:40)
It’s really interesting. To me, it’s interesting how much you can load into the noisy channel. How much can you bake in? You said cognitive load on the receiver end-
Edward Gibson
(02:08:49)
We think that there’s at least three different kinds of things going on there. We probably don’t want to treat them all as the same. And so I think that the right model, a better model of a noisy channel would have three different sources of noise, which are background noise, speaker-inherent noise and listener-inherent noise. And those are all different things.
Lex Fridman
(02:09:11)
Sure. But then underneath it, there’s a million other subsets of what-
Edward Gibson
(02:09:12)
That’s true.
Lex Fridman
(02:09:17)
… on the receiving, I just mentioned cognitive load on both sides. Then there’s speech impediments or just everything, worldview. The meaning. We’ll start to creep into the meaning realm of we have different worldviews.
Edward Gibson
(02:09:32)
Well, how about just form still though? Just what language you know.
Lex Fridman
(02:09:35)
[inaudible 02:09:35].
Edward Gibson
(02:09:35)
So, how well you know the language, and so if it’s second language for you versus first language and how maybe what other languages you know. These are still just form stuff and that’s potentially very informative. And how old you are, these things probably matter. So, child learning a language is as a noisy representation of English grammar, depending on how old they are. Maybe when they’re six, they’re perfectly formed, but…

Learning a new language

Lex Fridman
(02:10:03)
You mentioned one of the things is a way to measure a language is learning problems. So, what’s the correlation between everything we’ve been talking about and how easy it’s to learn a language? Is a short dependencies correlated to ability to learn a language? Is there some kind of… Or the dependency grammar, is there some kind of connection there? How easy it is to learn?
Edward Gibson
(02:10:30)
Well, all the languages in the world’s language, none is right now we know is any better than any other with respect to optimizing dependency lengths, for example. They’re all kind of do it, do it well. They all keep low. So, I think of every human language as some kind of an optimization problem, a complex optimization problem to this communication problem. And so they’ve solved it. They’re just noisy solutions to this problem of communication. There’s just so many ways you can do this.
Lex Fridman
(02:11:00)
So, they’re not optimized for learning. They’re probably optimized for communication.
Edward Gibson
(02:11:05)
And learning. So yes, one of the factors which-
Lex Fridman
(02:11:06)
Uh-oh.
Edward Gibson
(02:11:07)
So, learning is messing this up a bit. And so for example, if it were just about minimizing dependency lengths and that was all that matters, then we might find grammars which didn’t have regularity in their rules. But languages always have regularity in their rules. What I mean by that is that if I wanted to say something to you and the optimal way to say it was what really mattered to me, all that mattered was keeping the dependencies as close together as possible, then I would have a very lax set of free structure or dependency rules. I wouldn’t have very many of those. I would’ve very little of that. And I would just put the words as close to the things that refer to the things that are connected right beside each other. But we don’t do that.

(02:11:51)
There are word order rules. And depending on the language, they’re more and less strict. So, you speak Russian, they’re less strict than English. English is very rigid word order rules. We order things in a very particular way. And so why do we do that? That’s probably not about communication. That’s probably about learning. Then we’re talking about learning. It’s probably easier to learn regular things, things which are very predictable and easy. So, that’s probably about learning is our guess because that can’t be about communication.
Lex Fridman
(02:12:21)
Can it be just noise? Can it be just the messiness of the development of a language?
Edward Gibson
(02:12:26)
If it were just a communication, then we should have languages which have very, very free word order. And we don’t have that. We have free-er, but not free. There’s always-
Lex Fridman
(02:12:35)
Well, no, but what I mean by noise is cultural, sticky cultural things. Like the way you communicate, there’s a stickiness to it, that it’s an imperfect, it’s a noisy optimist… Stochastic, the function over which you’re optimizing is very noisy. Because it feels weird to say that learning is part of the objective function, because some languages are way harder to learn than others. Or that’s not true?
Edward Gibson
(02:13:04)
That’s not true.
Lex Fridman
(02:13:06)
That’s interesting.
Edward Gibson
(02:13:07)
I mean, yes-
Lex Fridman
(02:13:07)
That’s the public perception, right?
Edward Gibson
(02:13:09)
Right? Yes, that’s true for a second language.
Lex Fridman
(02:13:12)
For second language, [inaudible 02:13:13]-
Edward Gibson
(02:13:12)
But that depends on what you started with, right? So, it really depends on how close that second language is to the first language you’ve got. And so yes, it’s very, very hard to learn Arabic if you’ve started with English or it’s hard to learn Japanese or if you’ve started with… Chinese, I think is the worst. There’s Defense Language Institute in the United States has a list of how hard it is to learn what language from English, I think Chinese is the worse-
Lex Fridman
(02:13:40)
But this is the second language. You’re saying babies don’t care.
Edward Gibson
(02:13:41)
No. There’s no evidence that there’s anything harder or easy about any language learned, by three or four, they speak that language. So, there’s no evidence of anything hard or easy about human language. They’re all kind of equal.

Nature vs nurture

Lex Fridman
(02:13:54)
To what degree is language, this is returning to Chomsky a little bit, is innate. You said that for Chomsky, you used the idea that language is, some aspects of language are innate to explain away certain things that are observed. How much are we born with language at the core of our mind brain?
Edward Gibson
(02:14:18)
The answer is, I don’t know, of course. I’m an engineer at heart, I guess and I think it’s fine to postulate that a lot of it’s learned. And so I’m guessing that a lot of it’s learned. I think the reason Chomsky went with innateness is because he hypothesized movement in his grammar. He was interested in grammar and movement’s hard to learn. I think he’s right movement. It’s a hard thing to learn, to learn these two things together and how they interact. And there’s a lot of ways in which you might generate exactly the same sentences and it’s really hard.

(02:14:52)
And so he’s like, “Oh, I guess it’s not learned. It’s innate.” And if you just throw out the movement and just think about that in a different way, then you get some messiness. But the messiness is human language, which it actually fits better. That messiness isn’t a problem. It’s actually, it’s a valuable asset of the theory. And so I think I don’t really see a reason to postulate much innate structure. And that’s kind of why I think these large language models are learning so well is because I think you can learn the form, the forms of human language from the input. I think that’s likely to be true.
Lex Fridman
(02:15:34)
So, that part of the brain that lights up when you’re doing all the comprehension, that could be learned? That could be just, you don’t need any-
Edward Gibson
(02:15:40)
Yeah, it doesn’t have to be an innate, so lots of stuff is modular in the brain that’s learned. So, there’s something called the visual word form area in the back, and so it’s in the back of your head near the visual cortex. And that is very specialized brain area, which does visual word processing if you read, if you’re a reader. If you don’t read, you don’t have it. Guess what? You spend some time learning to read and you develop that brain area, which does exactly that. And so the modularization is not evidence for innateness. So, the modularization of a language area doesn’t mean we’re born with it. We could have easily learned that. We might’ve been born with it. We just don’t know at this point. We might very well have been born with this left lateralized area.

(02:16:31)
There’s a lot of other interesting components here, features of this kind of argument. Some people get a stroke or something goes really wrong on the left side where the language area would be and that isn’t there. It’s not available. It develops just fine in the right. So, it’s not about the left. It goes to the left. This is a very interesting question. It’s like why are any of the brain areas the way that they are and how did they come to be that way? There’s these natural experiments which happen where people get these strange events in their brains at very young ages, which wipe out sections of their brain, and they behave totally normally and no one knows anything was wrong. And we find out later, because they happen to be accidentally scanned for some reason. It’s like what happened to your left hemisphere? It’s missing.

(02:17:21)
There’s not many people who have missed their whole left hemisphere, but they’ll be missing some other section of their left or their right. And they behave absolutely normally, you would never know. So, that’s a very interesting current research. This is another project that this person, Ev Fedorenko is working on. She’s got all these people contacting her because she’s scanned some people who have been missing sections. One person missed a section of her brain and was scanned in her lab, and she happened to be a writer for the New York Times.

(02:17:50)
And there was an article in New York Times just about the scanning procedure, about what might be learned by the general process of MRI and language, not necessarily language. And because she’s writing for the New York Times, then all these people started writing to her who also have similar kinds of deficits because they’ve been accidentally scanned for some reason and found out they’re missing some section. And they say they volunteer to be scanned.
Lex Fridman
(02:18:22)
These are natural experiments, you said?
Edward Gibson
(02:18:22)
Natural experiments. They’re kind of messy, but natural experiments, it’s kind of cool.
Lex Fridman
(02:18:27)
The brain.
Edward Gibson
(02:18:28)
She calls it Interesting Brains.
Lex Fridman
(02:18:29)
The first few hours, days, months of human life are fascinating. Well, inside the womb actually, that development, that machinery, whatever that is, seems to create powerful humans that are able to speak, comprehend, think, all that kind of stuff, no matter what happens… Not no matter what, but robust to the different ways that the brain might be damaged and so on. That’s really interesting. But what would Chomsky say about the fact, the thing you’re saying now, that language seems to be happening separate from thought? Because as far as I understand, maybe you can correct me, he thought that language underpins a thought.
Edward Gibson
(02:19:13)
Yeah, he thinks so. I don’t know what he’d say.
Lex Fridman
(02:19:15)
He would be surprised, because for him, the idea is that language is the foundation of thought.
Edward Gibson
(02:19:21)
That’s right. Absolutely.
Lex Fridman
(02:19:23)
It’s pretty mind-blowing to think that it could be completely separate from thought.
Edward Gibson
(02:19:28)
That’s right. So, he’s basically a philosopher, philosopher of language in a way, thinking about these things. It’s a fine thought. You can’t test it in his methods. You can’t do a thought experiment to figure that out. You need a scanner, you need brain-damaged people. You need ways to measure that. And that’s what FMRI offers. And patients are a little messier. FMRI is pretty unambiguous, I’d say. It’s very unambiguous. There’s no way to say that the language network is doing any of these tasks. There’s-
Edward Gibson
(02:20:00)
The language network is doing any of these tasks, you should look at those data. It’s like there’s no chance that you can say that those networks are overlapping. They’re not overlapping, they’re just completely different. And so you can always make, oh, it’s only two people, it’s four people or something for the patients, and there’s something special about them we don’t know. But these are just random people and with lots of them, and you find always the same effects and it’s very robust, I’d say.

Culture and language

Lex Fridman
(02:20:29)
Well, that’s a fascinating effect. You mentioned Bolivia. What’s the connection between culture and language? You’ve also mentioned that much of our study of language comes from W-E-I-R-D, WEIRD people, western, educated, industrialized rich, and democratic. So when you study remote cultures such as around the Amazon jungle, what can you learn about language?
Edward Gibson
(02:21:02)
So that term WEIRD is from Joe Henrich. He’s at Harvard. He’s a Harvard evolutionary biologist. And so he works on lots of different topics and he basically was pushing that observation that we should be careful about the inferences we want to make when we’re in psychology or mostly in psychology, I guess, about humans. If we’re talking about undergrads at MIT and Harvard, those aren’t the same. These aren’t the same things. And so if you want to make inferences about language, for instance, there’s a lot of other kinds of languages in the world than English and French and Chinese. And so maybe for language, we care about how culture, because cultures can be very, I mean, of course English and Chinese cultures are very different, but hunter-gatherers are much more different in some ways. And so if culture has an effect on what language is, then we kind of want to look there as well as looking.

(02:22:06)
It’s not like the industrialized cultures aren’t interesting, of course they are, but we want to look at non-industrialized cultures as well. And so I’ve worked with two, I’ve worked with the Tsimane, which are in Bolivia and Amazon, both in the Amazon in these cases. And there are so-called farmer-foragers, which is not hunter-gatherers, sort of one-up from hunter-gatherers in that they do a little bit of farming as well, a lot of hunting as well, but a little bit of farming. And the kind of farming they do is the kind of farming that I might do if I ever were to grow tomatoes or something in my backyard. So it’s not big field farming, it’s just farming for a family. A few things you do that. So that’s the kind of farming they do.

(02:22:49)
And the other group I’ve worked with are the Piraha, which are also in the Amazon and happened to be in Brazil. And that’s with a guy called Dan Everett, who was a linguist anthropologist who actually lived and worked in the, I mean, he was a missionary actually, initially back in the seventies working with trying to translate languages so they could teach them the Bible, teach them Christianity.
Lex Fridman
(02:23:15)
What can you say about that?
Edward Gibson
(02:23:16)
Yeah, so the two groups I’ve worked with, the Tsimane and the Piraha are both isolate languages, meaning there’s no known connected languages at all, just on their own. Yeah, there’s a lot of those. And most of the isolates occur in the Amazon or in Papua, New Guinea, these places where the world has sort of stayed still for a long enough. So there aren’t earthquakes there. Well, certainly no earthquakes in the Amazon jungle. And the climate isn’t bad, so you don’t have droughts. And so in Africa, you’ve got a lot of moving of people because there’s drought problems. So they get a lot of language contact when people have to, you got to move because you’ve got no water, then you’ve got to get going. And then you run into contact with other tribes, other groups.

(02:24:13)
In the Amazon, that’s not the case. And so people can stay there for hundreds and hundreds and probably thousands of years, I guess. And so these groups, the Tsimane and the Piraha are both isolates in that. And I guess they’ve just lived there for ages and ages with minimal contact with other outside groups. So I mean, I’m interested in them because they are, in these cases, I’m interested in their words. I would love to study their syntax, their orders of words, but I’m mostly just interested in how languages are connected to their cultures in this way. And so, with the Piraha, they’re most interesting, I was working on number there, number information.

(02:24:54)
And so the basic idea is I think language is invented. This, what I get from the words here is that I think language is invented. We talked about color earlier. It’s the same idea. So that what you need to talk about with someone else is what you’re going to invent words for. And so we invent labels for colors, not that I can see, but the things I need to tell you about so that I can get objects from you or get you to give me the right objects. And I just don’t need a word for teal or a word for aquamarine in the Amazon jungle for the most part because I don’t have two things which differ on those colors. I just don’t have that. And so numbers are really another fascinating source of information here where you might naively, I certainly thought that all humans would have words for exact counting, and the Piraha don’t. Okay, so they don’t have any words for even one. There’s not a word for one in their language. And so there’s certainly not word for two, three or four. So that kind of blows people’s minds often.
Lex Fridman
(02:25:59)
Yeah, that’s blowing my mind.
Edward Gibson
(02:26:00)
That’s pretty weird, isn’t it?
Lex Fridman
(02:26:02)
How are you going to ask, I want two of those?
Edward Gibson
(02:26:03)
You just don’t. And so that’s just not a thing you can possibly ask in the Piraha, it’s not possible. There’s no words for that. So here’s how we found this out. So it was thought to be a one, two, many language. There are three words for quantifiers for sets, and people had thought that those meant one, two, and many. But what they really mean is few, some and many. Many is correct. It’s few, some and many. And so the way we figured this out, and this is kind of cool, is that we gave people, we had a set of objects. These happen to be spools of thread. It doesn’t really matter what they are, identical objects, and I sort of start off here. I just give you one of those and say, what’s that? Okay, so you’re a Piraha speaker and you tell me what it is, and then I give you two and say, what’s that?

(02:26:51)
And nothing’s changing in the set except for the number. And then I just ask you to label these things. And we just do this for a bunch of different people. And frankly, I did this task.
Lex Fridman
(02:27:01)
This is fascinating.
Edward Gibson
(02:27:02)
And it’s a little bit weird. So they say the word that we thought was one, it’s few, but for the first one, and then maybe they say few, or maybe they say some for the second, and then for the third or the fourth, they start using the word many for the set. And then 5, 6, 7, 8, I go all the way to 10 and it’s always the same word. And they look at me like I’m stupid because they told me what the word was for 6, 7, 8, and going to continue asking them at nine and 10. I’m like, I’m sorry. They understand that I want to know their language. That’s the point of the task is I’m trying to learn their language, so that’s okay. But it does seem like I’m a little slow because they already told me what the word for many was, 5, 6, 7, and I keep asking.

(02:27:43)
So it’s a little funny to do this task over and over. We did this with a guy called, Dan was our translator. He’s the only one who really speaks Piraha fluently. He’s a good bilingual for a bunch of languages, but also English and then a guy called Mike Frank was also a student with me down there, he and I did these things. So you do that and everyone does the same thing. We ask 10 people, and they all do exactly the same labeling for one up. And then we just do the same thing down on random order. Actually, we do some of them up, some of them down first, instead of one to 10, we do 10 down to one. I give them 10, 9, at 8, they start saying the word for some. And then when you get to four, everyone is saying the word for few, which we thought was one. So the context determined what that quantifier they used was. So it’s not a count word. They’re not count words, they’re just approximate words-
Lex Fridman
(02:28:41)
And they’re going to be noisy when you interview a bunch of people, the definition of few. And there’s going to be a threshold in the context.
Edward Gibson
(02:28:48)
Yeah, I don’t know what that means. That’s going to depend on the context. I think that’s true in English too. If you ask an English person what a few is, I mean, that’s depend on the context.
Lex Fridman
(02:28:56)
And it might actually be at first hard to discover because for a lot of people, the jump from one to two will be few. Right? So it’s the jump.
Edward Gibson
(02:29:05)
Yeah, it might be still be there. Yeah.
Lex Fridman
(02:29:07)
I mean that’s fascinating. That’s fascinating. The numbers don’t present themselves.
Edward Gibson
(02:29:11)
So the words aren’t there. And so then we did these other things. Well, if they don’t have the words, can they do exact matching kinds of tasks? Can they even do those tasks? And the answer is sort of yes and no. And so yes, they can do them. So here’s the tasks that we did. We put out those spools of thread again. So I even put three out here. And then we gave them some objects, and those happened to be uninflated red balloons. It doesn’t really matter what they are, they’re a bunch of exactly the same thing. And it was easy to put down right next to these spools of thread. And so then I put out three of these, and your task was to just put one against each of my three things, and they could do that perfectly. So I mean, I would actually do that.

(02:29:55)
It was a very easy task to explain to them, because I did this with this guy, Mike Frank, and I’d be the experimenter telling him to do this and showing him to do this. And then we just, just do it what he did. You’ll copy him all we had to, I didn’t have to speak Piraha except for know what copy him. Do what he did is all we had to be able to say. And then they would do that just perfectly. And so we’d move it up. We’d do some sort of random number of items up to 10, and they basically do perfectly on that. They’d never get that wrong. I mean, that’s not a counting task that is just a match. You just put one against it doesn’t matter how many, I don’t need to know how many there are there to do that correctly. And they would make mistakes, but very, very few and no more than MIT undergrads, just going to say, these are low stakes. So you make mistakes.
Lex Fridman
(02:30:41)
Counting is not required to complete the matching class.
Edward Gibson
(02:30:45)
That’s right. Not at all. And so that’s our control. And this, a guy had gone down there before and said that they couldn’t do this task, but I just don’t know what he did wrong there. They can do this task perfectly well, and I can train my dog to do this task. So of course they can do this task. And so it’s not a hard task. But the other task that was sort of more interesting is so then we do a bunch of tasks where you need some way to encode the set. So one of them is just, I just put a opaque sheet in front of the things. I put down a bunch, a set of these things, and I put an opaque sheet down. And so you can’t see them anymore. And I tell you, do the same thing you were doing before. It’s easy if it’s two or three, it’s very easy, but if I don’t have the words for eight, it’s a little harder maybe with practice. Well, no.
Lex Fridman
(02:31:36)
Because you have to count-
Edward Gibson
(02:31:37)
For us, it’s easy because we just count them. It’s just so easy to count them. But they don’t, they can’t count them because they don’t count. They don’t have words for this thing. And so they would do approximate. It’s totally fascinating. So they would get them approximately right after four or five, because basically you always get four right, three or four that looks, that’s something we can visually see. But after that, you have its approximate number. And there’s a bunch of tasks we did, and they all failed. I mean, failed. They did approximate after five on all those tasks. And it kind of shows that the words, you kind of need the words to be able to do these kinds of tasks.
Lex Fridman
(02:32:17)
But there’s a little bit of a chicken and egg thing there, because if you don’t have the words, then maybe they’ll limit you in the kind of a little baby Einstein there won’t be able to come up with a counting task. You know what I mean? The ability to count enables you to come up with interesting things probably. So yes, you develop counting because you need it, but then once you have counting, you can probably come up with a bunch of different inventions, how to, I don’t know what kind of thing they do matching really well for building purposes, building some kind of hut or something like this. So it’s interesting that language is a limiter on what you’re able to do.
Edward Gibson
(02:33:01)
Yeah, language is the words. Here is the words. The words for exact count is the limiting factor here. They just don’t have them in this-
Lex Fridman
(02:33:11)
But that’s what I mean. That limit is also a limit on the society of what they’re able to build.
Edward Gibson
(02:33:19)
That’s going to be true. Yeah. I mean, we don’t know. This is one of those problems with the snapshot of just current languages is that we don’t know what causes a culture to discover/ invent accounting system. But the hypothesis is, the guess out there is something to do with farming. So if you have a bunch of goats and you want to keep track of them, and you have saved 17 goats and you go to bed at night and you get up in the morning, boy, it’s easier to have a count system to do that. That’s an abstraction over a set. So don’t have, people often ask me when I tell them about this kind of work, and they say, well, don’t these people have… Don’t they have kids? They have a lot of children. I’m like, yeah, they have a lot of children. And they do. They often have families of three or four, five kids, and they go, well, they need the numbers to keep track of their kids. And I always ask this person who says this, do you have children? And the answer is always no, because that’s not how you keep track of your kids. You care about their identities. It’s very important to me when I go, I have five children, it doesn’t matter.
Lex Fridman
(02:34:20)
You don’t think one, two, three, four?
Edward Gibson
(02:34:21)
It matters which five. If you replaced one with someone else, I would care. A goat, maybe not. Right? That’s the kind of point. It’s an abstraction. Something that looks very similar to the one wouldn’t matter to me probably.
Lex Fridman
(02:34:33)
But, if you care about goats, you’re going to know them actually individually also.
Edward Gibson
(02:34:37)
Yeah, you will.
Lex Fridman
(02:34:38)
I mean, cows, goats, if it’s a source of food and milk and all that kind stuff. You’re going to actually care-
Edward Gibson
(02:34:42)
Yeah, yeah, yeah. You’re actually, you’re absolutely right. But I’m saying it is an abstraction such that you don’t have to care about their identities to do this thing fast. That’s the hypothesis, not mine from anthropologists are guessing about where words for counting came from is from farming maybe. Any way…

Universal language

Lex Fridman
(02:34:57)
Yeah. Do you have a sense why universal languages like Esperanto have not taken off? Why do we have all these different languages?
Edward Gibson
(02:35:08)
Well, my guess is the function of a language is to do something in a community. I mean, unless there’s some function to that language in the community, it’s not going to survive. It’s not going to be useful. So here’s a great example. Language death is super common. Okay? Languages are dying all around the world, and here’s why they’re dying. It’s like, yeah, I see this. It’s not happening right now in either the Tsimane or the Piraha, but it probably will. So there’s a neighboring group called Moseten, which is, I said that it’s isolate. It’s actually there’s a dual, there’s two of them. So it’s actually, there’s two languages which are really close, which are Moseten and Tsimane, which are unrelated to anything else. And Moseten is unlike Tsimane in that it has a lot of contact with Spanish and it’s dying, so that language is dying. The reason it’s dying is there’s not a lot of value for the local people in their native language.

(02:36:06)
So there’s much more value in knowing Spanish because they want to feed their families. And how do you feed your family? You learn Spanish so you can make money so you can get a job and do these things, and then you make money. And so they want Spanish things. And so Moseten is in danger and is dying, and that’s normal. Basically, the problem is that people, the reason we learn language is to communicate. We use it to make money and to do whatever it is to feed our families. If that’s not happening, then it won’t take off. It’s not like a game or something. This is something we, why is English so popular? It’s not because it’s an easy language to learn. Maybe it is, I don’t really know. But that’s not why it’s popular.
Lex Fridman
(02:36:54)
But because the United States is gigantic economy therefore-
Edward Gibson
(02:36:57)
Yeah, it’s big economies that do this. It’s all it is. It’s all about money. And that’s what, so there’s a motivation to learn Mandarin. There’s a motivation to learn Spanish. There’s a motivation to learn English. These languages are very valuable to know because there’s so many speakers all over the world.
Lex Fridman
(02:36:58)
That’s fascinating.
Edward Gibson
(02:37:13)
There’s less of a value economically. It’s kind of what drives this, it’s not just for fun. I mean, there are these groups that do want to learn language just for language’s sake, and there’s something to that. But those are rarities in general. Those are a few small groups that do that. Not most people don’t do that.
Lex Fridman
(02:37:32)
Well, if that was a primary driver, then everybody was speaking English or speaking one language. There’s also a tension-
Edward Gibson
(02:37:38)
That’s happening.
Lex Fridman
(02:37:40)
Well, that-
Edward Gibson
(02:37:41)
We’re moving towards fewer and fewer languages. Exactly.
Lex Fridman
(02:37:43)
We are. I wonder if, you’re right. Maybe, this is slow, but maybe that’s where we’re moving, but there is a tension. You’re saying language that infringes, but if you look at geopolitics and superpowers, it does seem that there’s another thing in tension, which is a language is a national identity sometimes for certain nations. That’s the war in Ukraine, language, Ukrainian language is a symbol of that war in many ways, like a country fighting for its own identity. So it’s not merely the convenience. I mean, those two things are at attention is the convenience of trade and the economics and be able to communicate with neighboring countries and trade more efficiently with neighboring countries, all that kind of stuff. But also identity of the group.
Edward Gibson
(02:38:30)
That’s right. I completely agree.
Lex Fridman
(02:38:32)
Because language is the way for every community like dialects that emerge are a kind of identity for people and sometimes a way for people to say F you to the more powerful people. It’s interesting. So in that way, language can be used as that tool.
Edward Gibson
(02:38:51)
Yeah, I completely agree. And there’s a lot of work to try to create that identity. So people want to do this. As a cognitive scientist and language expert, I hope that continues because I don’t want languages to die. I want languages to survive because they’re so interesting for so many reasons. But I mean, I find them fascinating just for the language part, but I think there’s a lot of connections to culture as well, which is also very important.

Language translation

Lex Fridman
(02:39:21)
Do you have hope for machine translation that it can break down the barriers of language? So while all these different diverse languages exist, I guess there’s many ways of asking this question, but basically how hard is it to translate in an automated way for one language to another?
Edward Gibson
(02:39:40)
There’s going to be cases where it’s going to be really hard. So there are concepts that are in one language and not another. The most extreme kinds of cases are these cases of number information. So good luck translating a lot of English into Piraha. It’s just impossible. There’s no way to do it because there are no words for these concepts that we’re talking about. There’s probably the flip side. There’s probably stuff in Piraha, which is going to be hard to translate into English on the other side. And so I just don’t know what those concepts are. The space, the world space is a little different from my world space, so I don’t know what the things they talk about, things it’s going to have to do with their life as opposed to my industrial life, which is going to be different. And so there’s going to be problems like that always. Maybe it’s not so bad in the case of some of these spaces, and maybe it’s going to be hard or others. And so it’s pretty bad in number. It’s extreme, I’d say in the number space, exact number space. But in the color dimension, that’s not so bad. But it’s a problem that you don’t have to talk about the concepts.
Lex Fridman
(02:40:49)
And there might be entire concepts that are missing. So to you, it’s more about the space of concept versus the space of form. Like form you can probably map.
Edward Gibson
(02:40:58)
Yes. Yeah. So you were talking earlier about translation and about how translations, there’s good and bad translations. I mean, now we’re talking about translations of form, right? So what makes writing good, right? It’s not-
Lex Fridman
(02:40:58)
There’s the music to the form.
Edward Gibson
(02:41:14)
It’s not just the content, it’s how it’s written and translating that that sounds difficult.
Lex Fridman
(02:41:22)
We shouldn’t should say that, there is, I hesitate to say meaning, but there’s a music and a rhythm to the form. When you look at the broad picture, like the difference between Dostoevsky and Tolstoy or Hemingway, Bukowski, James Joyce, like I mentioned, there’s a beat to it. There’s an edge to it that is in the form.
Edward Gibson
(02:41:46)
We can probably get measures of those.
Lex Fridman
(02:41:47)
Yeah.
Edward Gibson
(02:41:48)
I don’t know.
Lex Fridman
(02:41:49)
That’s interesting.
Edward Gibson
(02:41:50)
I’m optimistic that we could get measures of those things. And so maybe that’s-
Lex Fridman
(02:41:54)
Translatable?
Edward Gibson
(02:41:54)
I don’t know. I don’t know though. I have not worked on that.
Lex Fridman
(02:41:58)
Actually, I would love to see you translate-
Edward Gibson
(02:41:58)
That sounds totally fascinating.
Lex Fridman
(02:42:00)
Translation to, I mean, Hemingway is probably the lowest. I would love to see different authors, but the average per sentence dependency length for Hemingway is probably the shortest.
Edward Gibson
(02:42:14)
That’s your sense, huh? It’s simple sentences?
Lex Fridman
(02:42:17)
Simple short sentences-
Edward Gibson
(02:42:18)
Short. Yeah. Yeah.
Lex Fridman
(02:42:19)
I mean, that’s one. If you have really long sentences, even if they don’t have center embedding-
Edward Gibson
(02:42:23)
They can have longer connections.
Lex Fridman
(02:42:26)
They can have longer connections.
Edward Gibson
(02:42:26)
They don’t have to. You can’t have a long, long sentence with a bunch of local words, but it is much more likely to have the possibility of long dependencies with long sentences. Yeah.

Animal communication

Lex Fridman
(02:42:37)
I met a guy named Aza Raskin, who does a lot of cool stuff, really brilliant, works with Tristan Harris on a bunch of stuff, but he was talking to me about communicating with animals. He co-founded Earth Species Project where you’re trying to find the common language between whales, crows and humans. And he was saying that there’s a lot of promising work that even though the signals are very different, the actual, if you have embeddings of the languages, they’re actually trying to communicate similar type things. Is there something you can comment on that? Is there promise to that in everything you’ve seen in different cultures, especially remote cultures, that this is a possibility or no? That we can talk to whales?
Edward Gibson
(02:43:28)
I would say yes. I think it’s not crazy at all. I think it’s quite reasonable. There’s this sort of weird view, well, odd view, I think that to think that human language is somehow special. I mean, maybe it is. We can certainly do more than any of the other species, and maybe our language system is part of that. It’s possible. But people have often talked about how, like Chomsky, in fact, has talked about how human, only human language has this compositionality thing that he thinks is sort of key in language. And the problem with that argument is he doesn’t speak whale, and he doesn’t speak crow, and he doesn’t speak monkey. They say things like, well, they’re making a bunch of grunts and squeaks. And their reasoning is like, that’s bad reasoning. I’m pretty sure if you asked a whale what we’re saying, they’d say, well, I’m making a bunch of weird noises.
Lex Fridman
(02:44:31)
Exactly.
Edward Gibson
(02:44:32)
And so it’s like, this is a very odd reasoning to be making that human language is special because we’re the only ones who have human language. I’m like, well, we don’t know what those other, we can’t talk to them yet. And so there are probably a signal in there, and it might very well be something complicated like human language. I mean, sure with a small brain in lower species, there’s probably not a very good communication system. But in these higher species where you have what seems to be abilities to communicate something, there might very well be a lot more signal there than we might’ve otherwise thought.
Lex Fridman
(02:45:11)
But also if we have a lot of intellectual humility here, somebody formerly from MIT and Neri Oxman, who I admire very much, has talked a lot about, has worked on communicating with plants. So yes, the signal there is even less than, but it’s not out of the realm of possibility that all nature has a way of communicating. And it’s a very different language, but they do develop a kind of language through the chemistry, through some way of communicating with each other. And if you have enough humility about that possibility, I think it would be a very interesting, in a few decades, maybe centuries, hopefully not a humbling possibility of being able to communicate not just between humans effectively, but between all of living things on earth.
Edward Gibson
(02:46:04)
Well, I mean, I think some of them are not going to have much interesting to say-
Lex Fridman
(02:46:07)
But [inaudible 02:46:07] still?
Edward Gibson
(02:46:07)
But some of them will. We don’t know. We certainly don’t know. I think-
Lex Fridman
(02:46:11)
I think if we’re humble, there could be some interesting trees out there.
Edward Gibson
(02:46:17)
Well, they’re probably talking to other trees, right? They’re not talking to us. And so to the extent they’re talking, they’re saying something interesting to some other conspecific as opposed to us. And so there probably is, there may be some signal there. So there are people out there. Actually, it’s pretty common to say that human language is special and different from any other animal communication system, and I just don’t think the evidence is there for that claim. I think it’s not obvious. We just don’t know because we don’t speak these other communication systems until we get better. I do think there are people working on that, as you pointed out though, people working on whale speak, for instance. That’s really fascinating.
Lex Fridman
(02:47:02)
Let me ask you a wild out there sci-fi question. If we make contact with an intelligent alien civilization and you get to meet them, how surprised would you be about their way of communicating? Do you think you would be recognizable? Maybe there’s some parallels here to when you go to the remote tribes.
Edward Gibson
(02:47:23)
I would want Dan Everett with me. He is amazing at learning foreign languages, and so this is an amazing feat to be able to go, this is a language, the Piraha, which has no translators before him. I mean, there-
Lex Fridman
(02:47:36)
Oh, wow. So he just shows up?
Edward Gibson
(02:47:36)
He was a missionary that went there. Well, there was a guy that had been there before, but he wasn’t very good. And so he learned the language far better than anyone else had learned before him. He’s good at, he’s a very social person. I think that’s a big part of it is being able to interact. So I don’t know. It kind of depends on this species from outer space, how much they want to talk to us.
Lex Fridman
(02:47:58)
Is there something you could say about the process he follows? How do you show up to a tribe and socialize? I mean, I guess colors and counting is one of the most basic things to figure out.
Edward Gibson
(02:48:07)
You start that. You actually start with objects and just say, just throw a stick down and say stick. And then you say, what do you call this? And then they’ll say the word, whatever, and he says, a standard thing to do is to throw two sticks. Two sticks. And then he learned pretty quick that there weren’t any count words in this language because they didn’t know, this wasn’t interesting. I mean, it was kind of weird, they’d say some or something, the same word over and over again. But that is a standard thing. You just try to, but you have to be pretty out there socially willing to talk to random people, which these are really very different people from you. And he is very social. And so I think that’s a big part of this is that’s how a lot of people know a lot of languages is they’re willing to talk to other people.
Lex Fridman
(02:48:50)
That’s a tough one where you just show up knowing nothing.
Edward Gibson
(02:48:53)
Yeah. Oh god.
Lex Fridman
(02:48:54)
It’s beautiful that humans are able to connect in that way. You’ve had an incredible career exploring this fascinating topic. What advice would you give to young people about how to have a career like that or a life that they can be proud of?
Edward Gibson
(02:49:11)
When you see something interesting, just go and do it. I do that. That’s something I do, which is kind of unusual for most people. So when I saw the Piraha, if Piraha was available to go and visit, I was like, yes, yes, I’ll go. And then when we couldn’t go back, we had some trouble with the Brazilian government, there’s some corrupt people there. It was very difficult to go back in there. And so I was like, all right, I got to find another group. And so we searched around and we were able to find the, because I wanted to keep working on this kind of problem, and so we found the Tsimane and just go there. We didn’t have content. We had a little bit of contact and brought someone, and you just kind of try things. I say it’s like a lot of that’s just like ambition. Just try to do something that other people haven’t done. Just give it a shot, is what I mean. I do that all the time. I don’t know.
Lex Fridman
(02:49:58)
I love it. And I love the fact that your pursuit of fun has landed You here talking to me. This was an incredible conversation that you’re just a fascinating human being. Thank you for taking a journey through human language with me today. This is awesome.
Edward Gibson
(02:50:13)
Thank you very much, Lex, it’s been a pleasure.
Lex Fridman
(02:50:16)
Thanks for listening to this conversation with Edward Gibson. To support this podcast, please check out our sponsors in the description. And now let me leave you with some words from Wittgenstein. The limits of my language mean the limits of my world. Thank you for listening and hope to see you next time.

Transcript for Andrew Callaghan: Channel 5, Gonzo, QAnon, O-Block, Politics & Alex Jones | Lex Fridman Podcast #425

This is a transcript of Lex Fridman Podcast #425 with Andrew Callaghan.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
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Table of Contents

Here are the loose “chapters” in the conversation.
Click link to jump approximately to that part in the transcript:

Introduction

Andrew Callaghan
(00:00:00)
There’s two people in the back, two of her homegirls wearing sheisty masks. I’m like, “What are we doing? Where are we going?” She goes, “We’re going to go film the riot. We’re going to Lake Street.” We drive down there, Kmart is burning, Target is burning, everything is on fire. She has the Sony a7, she gives me a microphone and she’s like, “Go talk to that guy.” That was the guy with a molotov cocktail in his hand who had just burned Kmart down. I go, “What should I ask him? She goes, “What’s on your mind?” I walk up to him and I’m like, “What’s on your mind?”
Lex Fridman
(00:00:36)
The following is a conversation with Andrew Callaghan, host of Channel 5 on YouTube, where he does Gazelle style interviews with fascinating humans at the edges of society. The so-called vagrants, vagabonds, runaways, outlaws, from QAnon adherence to fish heads, O’Block residents, and much more. He created the documentary that I highly recommend called This Place Rules, on the undercurrents that led to the January 6th Capitol riots. This is the Lex Fridman podcast. To support it, please check out our sponsors in the description. Now, dear friends, here’s Andrew Callaghan.

Walmart

Andrew Callaghan
(00:01:18)
I tried to color match you though. Got the black and white going. I went to Walmart before this and got the Wrangler shirt with the Texas Longhorns Tee and everything.
Lex Fridman
(00:01:25)
Is that where you shop, Walmart?
Andrew Callaghan
(00:01:26)
Generally, yeah.
Lex Fridman
(00:01:27)
I’m a Target man myself. T.
Andrew Callaghan
(00:01:29)
Here’s no way you get those suits from Target.
Lex Fridman
(00:01:30)
See, you’re saying it’s a nice way to complement a suit.
Andrew Callaghan
(00:01:33)
I think you go Men’s Warehouse, if not further.
Lex Fridman
(00:01:35)
I think you would be wrong.
Andrew Callaghan
(00:01:37)
You go further.
Lex Fridman
(00:01:38)
No, the other direction.
Andrew Callaghan
(00:01:39)
You got that from Target?
Lex Fridman
(00:01:40)
Not Target. I was joking about Target. I like Walmart better. It just felt like a funny thing to say.
Andrew Callaghan
(00:01:45)
No, it was funny.
Lex Fridman
(00:01:46)
The most expensive thing I own is this watch, and it was given to me as a gift.
Andrew Callaghan
(00:01:50)
When I was on tour, I had these $2,700 Cartier glasses that I got for a lot of money, $2,700.
Lex Fridman
(00:01:58)
Like sunglasses?
Andrew Callaghan
(00:01:59)
Yeah, but they’re really embarrassing. I was on tour, so I just felt like I could do anything as far as fashion choices. Looking back at pictures for myself in that era, I’m like, “God, that wasn’t…”
Lex Fridman
(00:02:08)
That was the symbol of the fame got to your head?
Andrew Callaghan
(00:02:11)
I think so, yeah. I think fame getting to your head. If you spend more than a hundred bucks on sunglasses, you’ve officially gone off the deep end.
Lex Fridman
(00:02:17)
You’ve crossed the line.
Andrew Callaghan
(00:02:18)
Totally.
Lex Fridman
(00:02:18)
That’s where you go back to Walmart to humble yourself. I really love Walmart. In fact, I moved to Austin because I was at Walmart and a lady said that I look handsome in a suit. I was like, “That’s it. I love this place.” She just said it for no reason whatsoever. This older lady just kind of looked at me and with this genuine sweetness just said, “Oh, you look handsome.”
Andrew Callaghan
(00:02:41)
She’s not wrong, man.
Lex Fridman
(00:02:42)
Thank you.
Andrew Callaghan
(00:02:43)
That’s part of your whole swag though.

Early life

Lex Fridman
(00:02:44)
Yeah, the suit thing. Yep. Anyway, what was the first, if you remember, first recorded interview you did?
Andrew Callaghan
(00:02:54)
Well, my first-grade teacher, Mrs. Claudia, this is back in the day like I was telling you, we just asked her about her life in Columbia and stuff like that. I didn’t really get into actual journalism until my ninth-grade year. I had no idea I had an interest in it. Before then, I wanted to be a rapper. It’s all about hip hop and meditation and picking psilocybin mushrooms and public parks and stuff like that. That’s what I was into.
Lex Fridman
(00:03:16)
That’s a lot. Psilocybin, meditation, rap, public parks.
Andrew Callaghan
(00:03:20)
Yeah. I was making conscious rap music. I was to the point where I had four dream catchers hanging above my bed, Alex Grey painting on the wall, tapestry on the ceiling. Just scribbling rhymes down all the time.
Lex Fridman
(00:03:33)
You said somewhere that you sucked at school.
Andrew Callaghan
(00:03:36)
Okay, well, let’s step back a little bit. I had this amazing journalism course in ninth grade. I went to an alternative high school. The teacher was named Calvin Shaw. I ended up taking his class all four years and he used to let me actually leave school. I didn’t like going to school, so he let me basically go around Seattle and do different interviews with people as long as I could come back by the end of the day and write a story for his class and he’d mark me as present. The first article that I wrote was about the Silk Road and the Deep Web.
Lex Fridman
(00:04:10)
Yeah, nice.
Andrew Callaghan
(00:04:10)
Because as a ninth grader when I discovered the Hidden Wiki, I thought that I was really tapping into the most secret society, elite-level black market in the world. If you remember, they had that hidden Wiki link that was like, hire a hitman. I messaged them and I was like, “All right, I want to get someone killed at my school. How much is it going to cost me?” I published my interview with the Hidden Wiki Hitman. He was probably a fed or something, but who knows? My first article was called Inside the Deep Web, A Conversation with a Hitman.
Lex Fridman
(00:04:39)
That’s nice. I mean, you were fearless even then.
Andrew Callaghan
(00:04:43)
I mean, I was hiding behind a Tor browser, so there’s not much fear to be had.
Lex Fridman
(00:04:47)
Oh, so it was anonymous?
Andrew Callaghan
(00:04:47)
It was anonymous, but I did publish it under my name. You’re right, I could’ve been in danger.
Lex Fridman
(00:04:53)
I also saw that you said you took too many shrooms when you were young and that led you to have hallucinogen persisting perception disorder, HPPD. Can you explain what this is?
Andrew Callaghan
(00:05:05)
Well, that condition is classified by persistent visual snow floaters, morphing objects. I see them right now. I see them all the time.
Lex Fridman
(00:05:15)
The snow is in the room?
Andrew Callaghan
(00:05:16)
The snow is definitely in the room. It’s all over you. Basically, it wasn’t that I took too many shrooms, I think that it was… I took about an eighth of senescence mushrooms, which are the ones that come from the earth instead of cow shit. I took an eighth of those at my friend Toby’s house, which is a normal amount, but I was in eighth grade. I woke up the next morning with these extreme visual distortions and I thought that it would go away. I tried to make it go away, but there’s really no cure for HPPD, it’s a life-long condition. It’s just a matter of dealing with it and realizing that it is only visual. When people ask me, “Hey, I have HPPD, how do I cope with it?” I say, “Remember that every other sense that you have, what you can hear, what you can taste, your feet on the ground, you’re still on earth, you’re still here.”
Lex Fridman
(00:06:05)
Well, you said it’s only visual, and yes, gratitude for being alive at all. It’s great. You said that this led you into some dark psychological places, like depersonalization disorder.
Andrew Callaghan
(00:06:16)
Yeah. Depersonalization is the feeling that you are not real, but that reality still exists. Derealization is the idea that reality itself is an illusion created by your mind and that you’re the only person alive and that everything that your brain is projecting to your visual cortex is a lie, and that you’re the only living human being.
Lex Fridman
(00:06:37)
Both are pretty intense.
Andrew Callaghan
(00:06:39)
HPPD creates both of those things. When I’ve talked to people who have the condition, it’s really either-or, but more than 70% of people with HPPD fall into either category. They’re both coping mechanisms for the, I don’t know what really happens. I talked to a researcher once, named Dr. Abraham, he lives in Upstate New York. He’s the leading scientist when it comes to HPPD research. He’s the only one who actually seems to care about finding a cure. The only known treatment right now is alcohol and benzodiazepines.
Lex Fridman
(00:07:10)
That’s not good.
Andrew Callaghan
(00:07:12)
Alcoholism, something that came into my life pretty early. Alcohol abuse as a result of that experience because that helps with the visual symptoms, makes some of the static go away.
Lex Fridman
(00:07:21)
Man.
Andrew Callaghan
(00:07:22)
Never tried benzos, though.
Lex Fridman
(00:07:24)
Can you explain to me where in that spectrum you are? Do you sometimes have a sense that you’re not real and something else is not real?
Andrew Callaghan
(00:07:32)
Sometimes.
Lex Fridman
(00:07:33)
Like the reality is not real?
Andrew Callaghan
(00:07:35)
Yeah, I experience it all the time. Like I said, my job helps with that because I get to feel like when you seek out extremes to a certain extent and you put yourself on the front lines of intense events, whether it be politically or socially or just dive into deep fringe subcultures, you get this feeling that you’re real. Being filmed is also confirmation, if you can look at the MP4 file that you’re in fact living here on earth
Lex Fridman
(00:08:00)
Confirming that you were in it with reality by watching yourself on video.
Andrew Callaghan
(00:08:05)
Exactly.
Lex Fridman
(00:08:06)
Is that basically the engine behind all the extreme interviews you’ve done?
Andrew Callaghan
(00:08:11)
Well, I got HPPD around the same time that I began this journalism course in ninth grade. I sort of always used journalism as a therapeutic mechanism to deal with some of these symptoms, especially depersonalization. There’s some pretty good illustrations of what it feels like, kind of feels like you’re trapped behind your eyes or that you’re just this nebulous soul that’s trapped in a flesh suit that you’re not really a part of. You’re sort of puppeteering a flesh and bone skin suit.
Lex Fridman
(00:08:38)
Trapped, or just the ability to step outside of yourself?
Andrew Callaghan
(00:08:42)
You feel like your soul is not something that is connected to your body, it’s something living in your head. It’s really hard to explain to people who haven’t gone through derealization or depersonalization, but if you go on support groups, they always say, “How do I break free from behind my eyes?” Dark stuff like that?
Lex Fridman
(00:08:56)
Oh, so you’re trapped. I mean, there’s a higher state of being through meditation that you can step outside of yourself, but this is not that.
Andrew Callaghan
(00:09:04)
Unfortunately, it was the meditative path or the Eastern path that I took and fused that with psychedelic culture in Seattle that took me down the psychedelic use rabbit hole in the first place. I’d say it all started with Siddhartha.
Lex Fridman
(00:09:19)
Siddhartha, that’s a good book. Have you done shroom since then?
Andrew Callaghan
(00:09:22)
No, I don’t really do psychedelic drugs. A lot of people think that I’m against them, which I’m not, it just doesn’t work for me. If it works for you, I’m sure they can be really fun. Especially, I know there’s lots of therapeutic uses for acid and ketamine and psilocybin, but I personally abstain from those. Anything psychotropic, I try to stay away from.
Lex Fridman
(00:09:42)
Drinking, a bit?
Andrew Callaghan
(00:09:44)
Well, yeah, I mean, I didn’t drink at all before I had the HPPD stuff. I would’ve drank later in life, but definitely, 14, 15. Every day after school, I drink a 40 ounce of Mickey’s. It looks like Old English, but the bottle is green and it has a hornet on the side of it. Just became a ritual just to deal with the anxiety of that situation.
Lex Fridman
(00:10:03)
It made the snow go away?
Andrew Callaghan
(00:10:05)
Yeah, alcohol really works to suppress HPPD symptoms.
Lex Fridman
(00:10:09)
You said you hated classes in school, except that journalism class.
Andrew Callaghan
(00:10:12)
Okay, we need to clear this up. Because on my Wikipedia page, for some reason, for Andrew Callahan early life, it says, “Andrew hated every single class, except for one.” I’ve had a bunch of teachers who are super cool, like this guy Tim, my astronomy professor at ninth grade, Mrs. Zanetti, my creative writing teacher in sixth grade, and this really cool dude at my college in New Orleans named Charles Cannon, who taught me a class called New Orleans Mythology. My three favorite classes besides my journalism class, and they all hit me up and they’re like, “Hey, man. I saw you said you hated every class. Sorry, I couldn’t be everything that you wanted me to be.” I just want to say, shout out to all those teachers. I didn’t hate every class.

(00:10:50)
The point that I was making is that being forced into the institution of school so young and having to take common core classes like biology, dissecting frogs, history of the Han Dynasty, stuff like that, that I didn’t want to learn, but I had to learn multiple times. I learned about the dynastic cycle in ancient China three separate times at three different schools. I was like, “Who is writing this curriculum and why is it so important that I understand this process?” The part that makes school difficult, especially in college, is that you have people just going to school just to get the degree who don’t really know exactly what they’re interested in, and they don’t even have time to figure that out because they’re in a business program or a communications program with no specific interest.
Lex Fridman
(00:11:33)
Well, I think if you want to do school right, take on every single subject that you’re forced into. It’s like the David Foster Wallace, just be unborable by it. Just really go in as if ancient Chinese dynasties are the most interesting thing you could possibly learn.
Andrew Callaghan
(00:11:49)
It is somewhat interesting, the Silk Road and the Great Wall and terracotta the soldiers and stuff. I’m just saying, when I got to college, I signed up for journalism school and I didn’t get to take a media class until the second semester and I had to take everything prior to that, and I’d already spent so much time. I just think the excruciating boredom of schooling left a bad taste in my mouth, but there was individual classes that I liked a lot.
Lex Fridman
(00:12:12)
There should be some choice or maybe a lot of choice even at the level of high school for what kind of classes you pursue.
Andrew Callaghan
(00:12:20)
Yeah, for sure.
Lex Fridman
(00:12:22)
You’re also saying, so Wikipedia is not always perfectly right.
Andrew Callaghan
(00:12:25)
No, but it’s just interesting because I’ve said so much in podcasts, but that’s what they isolated. I’ve gotten that question before, which I understand it’s the first thing on my Wikipedia page, but it makes me sound like a super hater. Have you ever seen this Instagram page called Depths of Wikipedia?
Lex Fridman
(00:12:40)
It’s great.
Andrew Callaghan
(00:12:40)
Oh, it’s so good, dude.
Lex Fridman
(00:12:42)
You said you love journalism. What did you love about journalism? What hooked you?
Andrew Callaghan
(00:12:46)
On a basic level, everybody wants media coverage. Everyone likes to be on camera and get exposure for whatever they’re doing. Being a journalist and being almost like a portal for exposure for people allows you to be on the front row of everything that you want to be a part of. You get to be in the front row for history as it’s unfolding because everyone wants to be covered. Being a journalist gives you a ticket to everywhere that you want to go in life. It allows you to step into different realities almost and then go back to yours and it just keeps life interesting.
Lex Fridman
(00:13:18)
Buy the ticket, take the Ride. Hunter S. Thompson, is he up there as one of the influences? Who are your influences?
Andrew Callaghan
(00:13:23)
I think the Early Daily Show was so good. Sacha Baron Cohen, huge influence. The Ali G show, especially. I think Louis Theroux’s broadcasts on BBC were great. I was really into Hunter S. Thompson too, but not really until college. I really like a particular Hunter S. Thompson book called The Great Shark Hunt, where he covers the Ruben Salazar murder by LAPD or LA Sheriff’s Department in Boyle Heights in the 70s. His relationship with his lawyer, Oscar Acosta, and that whole saga is great. Fear and Loathing, I like, but not as much as his straightforward reporting. Because there’s the gonzo side of Hunter where he’s like saying he’s taking drugs and seeing shit. Then there’s the other side of him, which is like an actual reporter interested in telling a story that has news value. It’s two different lanes for him.
Lex Fridman
(00:14:14)
There is something about you that makes people want to say you’re the Hunter S. Thompson of this generation. I don’t think they mean the drugs, I think they mean some kind of non-standard willingness to explore the extremes of humanity and almost a celebration of the extremes of humanity.
Andrew Callaghan
(00:14:37)
Yeah. Well, that’s a very kind comparison. I’ll get there one day, maybe. I just went to Aspen on a little Hunter S. Thompson recon trip to go check out the Woody Creek Tavern, which is the spot that it was like his bar near his cabin. It was pretty cool to see. Unfortunately, it’s turned into not a dive bar now, but it’s a sit-down sort of country restaurant, but it was cool. I expected to see a bunch of gnarly Hunter, S. Thompson types doing speeds.
Lex Fridman
(00:15:05)
Doing drugs. I mean, drugs and alcohol is all part of it, somehow. It opens a gateway to a deeper understanding of humanity.
Andrew Callaghan
(00:15:13)
I will say though, as someone now who doesn’t party like I did when I was younger, it’s not as important as I thought it was.
Lex Fridman
(00:15:21)
I’m conflicted on this. I’m good friends with a lot of people that say alcohol is really bad for you, and I believe that too. There’s something that I just as an introvert, as a person who has a lot of anxiety, for me, alcohol has opened doors of just opening myself up to the world more.
Andrew Callaghan
(00:15:43)
I’m actually a fan of alcohol, moderate drinking. I’m saying my life before, I would say 2019, 2018, especially, there was the chaos on camera, but then there was my private life, which was chaotic partying all the time.
Lex Fridman
(00:15:55)
Oh, I see.
Andrew Callaghan
(00:15:56)
I convinced myself much like Hunter did that, that was the secret sauce in the core, in my spiritual core, that gave me the creativity. Then I cut out a lot of that stuff and I’m just as creative. It’s interesting, I think one of the hardest parts about addiction is that if you’re functioning highly creative addict of any kind, your brain and the addictive part of your brain convinces yourself that it’s all part of the cross purpose and that it has this symbiotic inspirational thing going on, but it’s not true. It can be, but it’s typically not.
Lex Fridman
(00:16:30)
Yeah, it’s not a requirement. You can sometimes channel, you can sometimes leverage all those things for your creativity, but the creative engine, it lives outside of that.
Andrew Callaghan
(00:16:40)
Have you read Hunter’s daily routine in the year up to his death? It was like 15 grapefruits, an eight-ball of coke and just a certain amount of shotgun shells for him to fire into the sky every morning. There’s no way, and he didn’t do anything creative in those final years. The creativity goes away and gradually you just become a party animal, like Andy Dick.
Lex Fridman
(00:17:02)
A caricature of yourself.
Andrew Callaghan
(00:17:03)
Yeah.
Lex Fridman
(00:17:04)
I mean, that’s why life is interesting. You make all kinds of choices and sometimes you can create works of genius in a short amount of time based on drugs and no drugs. Einstein had that miracle year where he published several incredible papers in one year, 1905.
Andrew Callaghan
(00:17:21)
Did he do drugs before that?
Lex Fridman
(00:17:22)
Lots of coke.
Andrew Callaghan
(00:17:25)
I was like, I believed you for a second. I’m like, did Einstein have blow? I don’t think he did.
Lex Fridman
(00:17:30)
How do you think he gets that hair? Come on.
Andrew Callaghan
(00:17:31)
It’s true.
Lex Fridman
(00:17:32)
I’m just asking questions.
Andrew Callaghan
(00:17:33)
High confidence hair.
Lex Fridman
(00:17:34)
Look into it.
Andrew Callaghan
(00:17:35)
You know what I mean?
Lex Fridman
(00:17:37)
Yeah. Well, no, he’s a well put together, sexy young man. The hair came later.
Andrew Callaghan
(00:17:42)
Was Albert Einstein attractive as a teenager? Not teenager, was he attractive as a young man?
Lex Fridman
(00:17:47)
Sexually attractive? I’m turned on by Einstein at all ages. I don’t discriminate.
Andrew Callaghan
(00:17:52)
Are you more turned on by the work that he did or his physical being?
Lex Fridman
(00:17:56)
No. Sometimes I fantasize what it would be like to be in the arms of Einstein. I couldn’t even get that out.
Andrew Callaghan
(00:18:01)
In the arms of Einstein.
Lex Fridman
(00:18:04)
I want to feel safe.
Andrew Callaghan
(00:18:06)
It’s a good idea for a rom-com
Lex Fridman
(00:18:08)
To be a little more serious, General Relativity, that space-time can be unified and curved by gravity is an incredibly wild and difficult idea to come up with. It’s a really, really difficult thing to imagine, given how well Newtonian classical mechanics physics works for predicting how stuff happens on earth. To think that gravity can morph space-time, both space and time, and it permeates the entire universe, it’s a field. It’s a really wild idea to come up. There’s one human on earth to intuit that is really, really, really difficult. It’s really sad to me that he didn’t get a Nobel Prize for that.
Andrew Callaghan
(00:18:58)
Was there people saying he was crazy when he was around, or was he universally recognized as an OG of this?
Lex Fridman
(00:19:05)
No, I think once the papers came out, he was widely recognized as a true genius. Before that, he wasn’t recognized. He had a really difficult life.
Andrew Callaghan
(00:19:14)
Backing up, where does a black hole go after something gets sucked into it?
Lex Fridman
(00:19:18)
You mean is it a portal to another place, that kind of thing?
Andrew Callaghan
(00:19:21)
Yeah.
Lex Fridman
(00:19:21)
No. Well, we don’t know. It could be. It could be that the universe is kind of like Swiss cheese full of black holes. There’s something called Hawking radiation where because of quantum mechanics, the information leaks out of a black hole, so it is possible to escape a black hole. There’s a lot of interesting questions there.
Andrew Callaghan
(00:19:38)
I hope we get to the bottom of that.
Lex Fridman
(00:19:39)
There’s a super-massive black hole at the center of our galaxy, which doesn’t seem to scare physicists, but it terrifies me.
Andrew Callaghan
(00:19:45)
Oh yeah, for sure. Astronomy can be terrifying.
Lex Fridman
(00:19:48)
We’re all like orbiting, I mean, we’re not just orbiting the sun, but the sun is part of the solar system, is part of the galaxy, and it’s all orbiting a gigantic black hole.
Andrew Callaghan
(00:19:58)
Have you ever spoke to someone who’s been to outer space?
Lex Fridman
(00:20:00)
Jeff Bezos, he flew his own rocket.
Andrew Callaghan
(00:20:03)
Wow. That’s pretty cool.
Lex Fridman
(00:20:05)
Astronaut that’s been to deep space, no. Well, maybe I’ve spoken to an alien that just hasn’t admitted it.
Andrew Callaghan
(00:20:11)
I want to do a research paper or a report about space madness. It’s supposed to be this torturous feeling that you get when you look away from earth and into the abyss after you’ve exited Earth’s orbit or whatever, because there’s one specific psychiatrist who knows how to deal with space madness, and I want to figure out how and interview people with it.
Lex Fridman
(00:20:33)
Is this a real thing?
Andrew Callaghan
(00:20:33)
Yes.
Lex Fridman
(00:20:34)
Is there a Wikipedia article on it?
Andrew Callaghan
(00:20:35)
Yes. Look up space madness treatment.
Lex Fridman
(00:20:37)
Well, now I don’t trust Wikipedia after what you told me.
Andrew Callaghan
(00:20:40)
I know. They think I hate classes.
Lex Fridman
(00:20:41)
I thought you meant more about the fact that you’re isolated out in space that we need social connection and it’s difficult.
Andrew Callaghan
(00:20:47)
I think it’s just a feeling of extreme insignificance that you might get sometimes when you look at the night sky, but it’s that times a thousand. It’s like an existential void that’s created after looking into the abyss and then realizing how small earth is in the grand scheme. You just start to really have a strange new perception about the pointlessness of existence.
Lex Fridman
(00:21:07)
I don’t need to go to space for that.
Andrew Callaghan
(00:21:09)
Only a handful of people have been to space, but I’m sure they’re all pretty well off. The psychiatrist has to be in the multi-millions.
Lex Fridman
(00:21:15)
Well, technically, we’re all in space because earth is in space. I wonder if you have to go to space to talk to the psychiatrist.
Andrew Callaghan
(00:21:23)
Probably, so.
Lex Fridman
(00:21:24)
Well, technically, we’re all in space, so that’s a boundary he can’t have.
Andrew Callaghan
(00:21:30)
Not everyone believes that, as you’ve seen from my work probably.
Lex Fridman
(00:21:33)
You’re right. Those are important people that are asking important questions.
Andrew Callaghan
(00:21:37)
Yeah.

Hitchhiking

Lex Fridman
(00:21:38)
You hitchhiked across us for 70 days when you were 19. Tell the story of that.
Andrew Callaghan
(00:21:44)
Well, this connects to what I was talking about with the boredom of school and these common core classes. After my first year of school where I lived in the dorms, like an old-school dormitory building at a school in New Orleans called Loyola University. I wanted to just do something, I felt so bored. I was working for the school newspaper for that whole first year, it was called the Maroon. I didn’t have the ability to write my own stories. I had to defer to an older editor and they would give me stories to write about.

(00:22:13)
They were all about on-campus happenings, like the Pope visits New Orleans, or glass recycling to be restored in the French Quarter or hover boards banned on campus due to safety concerns. It just felt like, all right, well, I wanted to be a gonzo reporter. I’m not sure if working my way up through the traditional newsroom hierarchy is going to get me to that point. I started reading a bunch of old hobo literature, like post World War II vagabonding stuff, and there was this book called Vagabonding in America by an old hobo named Ed Buryn. I read this and just basically, obviously, some of it was outdated. They had stuff in there, like the hobo code, like, oh, this moniker on the side of a fence means this person has free soup or something like that. They didn’t have stuff like that.
Lex Fridman
(00:22:55)
That’s great.
Andrew Callaghan
(00:22:56)
What it did tell me, it told me about train-stop towns, like Dunsmuir and places in Montana where there was a friendly attitude toward drifters, and that still persists from the 60s and 70s to this day. Even though, in my opinion, movies like Texas Chainsaw Massacre have ruined hitchhiking culture in America, because now everyone thinks you’re going to decapitate them if they pick you up. After my final day of courses at Loyola, I literally left all of my belongings inside my dorm and took the streetcar to the Greyhound station, got a one-Way ticket to Baton Rouge, and I was like, “I’m going to hitchhike across the whole country back to Seattle with no money.” That was the plan, and it worked out.
Lex Fridman
(00:23:38)
I love it. I traveled across the United States before in similar kind of plan.
Andrew Callaghan
(00:23:43)
Were you on the silver dog? The Greyhound Bus.
Lex Fridman
(00:23:48)
Greyhound is pretty nice.
Andrew Callaghan
(00:23:49)
That’s a step above hitchhiking.
Lex Fridman
(00:23:50)
That’s way better than hitchhiking, because I don’t want to-
Andrew Callaghan
(00:23:52)
Hitchhiking, Greyhound, Amtrak.
Lex Fridman
(00:23:54)
Amtrak, no, that’s elitist.
Andrew Callaghan
(00:23:56)
What’s in between Greyhound and Amtrak? A car, that’s what it is.
Lex Fridman
(00:24:00)
Yeah, it’s a car.
Andrew Callaghan
(00:24:00)
It’s a car.
Lex Fridman
(00:24:01)
A shitty car.
Andrew Callaghan
(00:24:02)
Okay, cool.
Lex Fridman
(00:24:04)
I lived in a shitty car.
Andrew Callaghan
(00:24:05)
You lived in a car?
Lex Fridman
(00:24:06)
Yeah, when I was driving across the United States.
Andrew Callaghan
(00:24:10)
Solo?
Lex Fridman
(00:24:11)
With a friend, some solo, and I would eat cold soup.
Andrew Callaghan
(00:24:19)
I love cold soup. What I like is the cold chickpeas in a can. You get the water out and just dump them into your mouth. Those are good. Beef jerky, KIND bars. KIND bars are really good for the road.
Lex Fridman
(00:24:31)
Yeah. I mean, all of that is great, but too much of it is not great. Too much cold soup, not great. Too much beef jerky, not good.
Andrew Callaghan
(00:24:40)
What was the route you took? Was it Chicago across, or was it Philadelphia across?
Lex Fridman
(00:24:44)
Philadelphia across.
Andrew Callaghan
(00:24:45)
To LA, or where?
Lex Fridman
(00:24:48)
San Diego is a window, but it was a zigzagging, went up to Chicago and then all the way down to Texas.
Andrew Callaghan
(00:24:53)
You went Philly, through Appalachia, up to the Midwest. Did you cut over through the Southwest down to San Diego?
Lex Fridman
(00:25:00)
No. I went straight down to Texas, all the way down to the Midwest.
Andrew Callaghan
(00:25:05)
Did you cut from Texas West through New Mexico and Arizona to get to San Diego?
Lex Fridman
(00:25:08)
Yeah.
Andrew Callaghan
(00:25:08)
That is the best road trip place. Interstate 40, like Albuquerque, Flagstaff, Vegas, Kingman, the Mojave Desert, Yuma, doesn’t get better.
Lex Fridman
(00:25:19)
Yeah. I mean, and you’re kids, so you don’t care and you’re throwing caution to the wind, and I met some crazy, crazy people.
Andrew Callaghan
(00:25:24)
It gives me some sanity whenever I’m feeling kind of out of control or bummed out, I just remembered that the road is still out there. The open road never goes anywhere, and it’s kind of like, I see an invisible door in the corner of the room all the time. That makes me more comfortable because I’m like, “Hey, at the end of the day, if I’m bummed out, I can go hit the road and I’m sure there’s going to be a fun time ahead.”
Lex Fridman
(00:25:44)
Yeah, get that Greyhound ticket and go.
Andrew Callaghan
(00:25:46)
I would say silver dog half, because sometimes I got to ride the dog when no one will pick me up. There’s some places in the country where no one is going to pick you up. Kansas, Missouri, they’re not going to do it.
Lex Fridman
(00:25:58)
Maybe you’re not charming enough. You thought about that?
Andrew Callaghan
(00:26:00)
I was 19, fresh, clean-shaven. I was pretty charming, I’d say.
Lex Fridman
(00:26:05)
All right.
Andrew Callaghan
(00:26:05)
The older you get, the harder it is to hitchhike because they think you’re an escaped convict or some type of psycho wanderer. Some of these people are like what we call punishers, it’s people who never stop talking. They see someone hitchhiking and they’re like, “Yes, I’m going to talk at this person.” You can tell their eyes are wide, they’re like, “What’s up?” You’re like, “Oh, shit.” It’s six hours of just like, oh, cool. Nice. Yeah.
Lex Fridman
(00:26:26)
That’s rough.
Andrew Callaghan
(00:26:27)
Yeah.
Lex Fridman
(00:26:27)
You’re right. I like people that are comfortable in silence.
Andrew Callaghan
(00:26:34)
Then that also raises the question, are they about to kill me? You know what I mean?
Lex Fridman
(00:26:37)
I think that’s a you problem, not a…
Andrew Callaghan
(00:26:39)
You know what’s funny? Is almost everybody who picked me up when I was hitchhiking was like a day laborer. It was almost all Mexican day laborers who picked me up.
Lex Fridman
(00:26:47)
Oh, interesting.
Andrew Callaghan
(00:26:48)
Because I think that in some places down there, that’s a typical thing to do, hitchhike to work. A lot of people don’t have cars, but they still have to get to their jobs. A lot of people ask me, “Hey, where should I drop you off? Where’s your job at?” I’m like, “My job is to explore.” They were down with it.
Lex Fridman
(00:27:01)
See, for me, it was really easy because you just say, I’m traveling across the United States. I think people love that idea and they want to help. They romanticize, because they also have that invisible door. Everybody has that invisible door, I just want to go.
Andrew Callaghan
(00:27:16)
You know what I’m talking about.
Lex Fridman
(00:27:17)
Yeah. I mean, I don’t think-
Andrew Callaghan
(00:27:18)
It can anchor you a bit, just to remind you that every pattern that I’ve fallen into is voluntary, and it’s for my own stability and mental health.
Lex Fridman
(00:27:26)
Well, that’s why I’m renting everything and I’m making sure tomorrow I can just go. I gave away everything I own twice in my life, just very like, I’m ready to go tonight. Let’s go.
Andrew Callaghan
(00:27:37)
What’s the hardest item you’ve had to part with in this experience?
Lex Fridman
(00:27:40)
There’s nothing.
Andrew Callaghan
(00:27:41)
You’ve never had a material object that was really hard to let go of?
Lex Fridman
(00:27:45)
No.
Andrew Callaghan
(00:27:45)
You’d give that watch to somebody if it meant object?
Lex Fridman
(00:27:49)
You’re right. That’s probably the only, I’ve never had to let go of that though. That’s the only thing I own. This means a lot to me, but everything else. Then again, listen, because this watch is given to me by Rogan, who’s become a close friend. Whenever I romanticize the notion that this watch means a lot to me, he’s like, “Don’t worry about it. I’ll just get you the same one again.” I was like, “God damn it.”
Andrew Callaghan
(00:28:12)
It’s a pretty sick ass gift though.
Lex Fridman
(00:28:14)
Yeah, it’s pretty sick. I’m not usually a gift guy, but when somebody you look up to gives you a thing, it’s a nice little symbol of that relationship, so it’s nice. Other than that, no. Even this, whatever. The relationship is what matters, the human is what matters, not the…
Andrew Callaghan
(00:28:33)
Agree, 100%.
Lex Fridman
(00:28:34)
You had something like this?
Andrew Callaghan
(00:28:36)
Not really. I mean, there was a hard drive that I lost that had all of my childhood pictures on it and stuff like that, that I think about all the time because I left it on a train. Certain memories, you think about it, you just get off. I just think to myself, someone has that somewhere. I have dreams about reuniting with the hard drive.
Lex Fridman
(00:28:53)
You and Hunter Biden have the similar kind of dream.
Andrew Callaghan
(00:28:56)
I don’t think he wants to reunite with that one. Dude, it’s crazy. All he did was smoke crack, right? Or was there more stuff going on?
Lex Fridman
(00:29:06)
I think there’s prostitutes involved.
Andrew Callaghan
(00:29:08)
Oh, okay. Whatever.
Lex Fridman
(00:29:09)
I think you got to look into it.
Andrew Callaghan
(00:29:10)
I think I have to look into it too.
Lex Fridman
(00:29:16)
I don’t know. Was Jack Kerouac somebody that was an inspiration at all in this road trip?
Andrew Callaghan
(00:29:22)
No.
Lex Fridman
(00:29:22)
Did you even know who that is?
Andrew Callaghan
(00:29:22)
No.
Lex Fridman
(00:29:23)
The Beat Generation and all of this?
Andrew Callaghan
(00:29:25)
I didn’t know who it was, and then after I did the… Ultimately, I wrote a book about my hitchhiking experience years later, and everyone was like, “Have you read On the Road?” Then On the Road, I probably heard the title of that book every day, at least 10 times for two years. I’m sure Kerouac is a great guy. I mean, I’m not too familiar with the Beat Generation.
Lex Fridman
(00:29:45)
It’s a great book. You read it, or no?
Andrew Callaghan
(00:29:48)
I refuse to read it. People even have gifted it to me, being like, “Hey, man, you’re going to love this one.” I’m like, “Is that On the Road?” Honestly, people have given me a book with wrapping paper on it, and they’re like, “This is right up your alley.” I was like, ” That’s fucking On the Road, isn’t it?”
Lex Fridman
(00:30:01)
They give you a different cover.
Andrew Callaghan
(00:30:03)
I’m like, “Anything, but that.” I’m sure it’s a great book, it’s just the comparison thing drives me crazy. Big respect to Kerouac. Would never speak down on anyone in the Beat Generation.
Lex Fridman
(00:30:15)
What are some interesting moments you remember from that, those 70 days?
Andrew Callaghan
(00:30:19)
Man, there was so much. I mean, getting mistaken for a gay prostitute on my first hitchhiking ride in Louisiana was pretty funny.
Lex Fridman
(00:30:26)
I can see that. Where did you come from and where did you go?
Andrew Callaghan
(00:30:28)
Well, I mean, the journey began in Baton Rouge, and the first destination was Houston, which is about four and a half hours west on Interstate 10. I’m in Crowley, Louisiana, I’m on the side of the road, and I guess this was a cruising truck stop. It was known for being a place where male lot lizards would go to procure clients, and I was there.
Lex Fridman
(00:30:50)
Lot lizards are?
Andrew Callaghan
(00:30:51)
It’s a derogatory term in trucker culture for a prostitute who hangs out at the Love’s or Pilot Flying J. Large interstate truck stops. Now, trucker culture as it once is pretty much finished because of the live stream cameras they have inside of the trucks now, so you can’t snort Sudafed or pick up anybody. You can’t even pick up a hitchhiker or you get fired.
Lex Fridman
(00:31:12)
Killed all the romance.
Andrew Callaghan
(00:31:14)
Yeah, definitely, the old-school outlaw trucker lifestyle. Unless you’re an owner operator who’s not even in a union, which is a real cowboy way to haul loads, you can’t do that.
Lex Fridman
(00:31:24)
You were mistaken for a lot lizard?
Andrew Callaghan
(00:31:25)
Mistaken for a lot lizard by a small man from Honduras with a spiky leather jacket covered in studs.
Lex Fridman
(00:31:33)
Nice.
Andrew Callaghan
(00:31:33)
Didn’t speak any English, but I thought he was just a nice guy, and then he pulled over at a… There’s private theaters in the South where they have confessional booths set up and they have three channels and people go in there and, you know.
Lex Fridman
(00:31:50)
Porn?
Andrew Callaghan
(00:31:51)
Yeah, People go in there and please themselves.
Lex Fridman
(00:31:54)
Masturbate?
Andrew Callaghan
(00:31:54)
Yeah. I thought he was taking me to one of those, and I was like, “All right, cool, man.” If this guy wants to go jerk off, I’m just going to wait in the car. It’s all good. I don’t discriminate. Then I was like, he buys a booth for me, and I’m like, “Okay.”
Lex Fridman
(00:31:55)
That’s nice.
Andrew Callaghan
(00:32:07)
I’m not really in the mood to watch porn with this random guy. He gets in the same booth as me and he starts jerking off right next to me and I’m like, “Oh, man.” I don’t think this is chill. I’m like, “Dude, can you stop jacking off?” He’s like, “What do you mean? I thought this is what you want to do. I have money for you. What’s up?” I was like, “Oh, no, I’m just a regular guy.” He was super cool about it. He started laughing. He was like, “Oh, my bad, man. I thought you were selling something.” I said, “No.” He said, “Oh, it’s all good.” He gave me a ride all the way to Houston.
Lex Fridman
(00:32:39)
That’s great.
Andrew Callaghan
(00:32:40)
Yeah, we talked about anything except that for the rest of the car ride.
Lex Fridman
(00:32:43)
That’s great, you just rolled with it. Oh, sorry about that.
Andrew Callaghan
(00:32:47)
I had about a foot and a half on this, guys.
Lex Fridman
(00:32:47)
Honest mistake.
Andrew Callaghan
(00:32:49)
I wasn’t too scared, I also had a knife in my pocket, but I didn’t want to stab him, especially not at a place like that.
Lex Fridman
(00:32:54)
That didn’t leave a bad taste in your mouth, stuff like that?
Andrew Callaghan
(00:32:59)
Well, I figured that can’t happen again. It can’t keep happening. Because I was like, all right, if I got this out of the way the first ride, the following rides are going to be spectacular.
Lex Fridman
(00:33:06)
I mean, who among us have not been mistaken for a lot lizard?
Andrew Callaghan
(00:33:12)
It’s a fact. You heard it here first.

Couch surfing

Lex Fridman
(00:33:14)
What else? What’s some interesting, beautiful people that you’ve met along the way?
Andrew Callaghan
(00:33:20)
Well, I used the app Couchsurfing to find places to stay.
Lex Fridman
(00:33:23)
Nice. I remember Couchsurfing.
Andrew Callaghan
(00:33:23)
Now you can only submit like five Couchsurfing requests a day, unless you’re a premium member, which means you also host people.
Lex Fridman
(00:33:29)
Wait, Couchsurfing is still around?
Andrew Callaghan
(00:33:31)
Yeah, totally.
Andrew Callaghan
(00:33:31)
Oh, nice.
Lex Fridman
(00:33:32)
It’s evolved obviously into a different thing.
Andrew Callaghan
(00:33:34)
Airbnb is a kind of competitor to that, right?
Andrew Callaghan
(00:33:36)
Couchsurfing is free though. Couchsurfing, they call it the CS community. Basically, there’d be these Couchsurfing super hosts in different cities. There was one in Santa Fe, this firefighter dude who had 15 other couch-surfers there, chilling.
Lex Fridman
(00:33:50)
Nice.
Andrew Callaghan
(00:33:50)
I would do it everywhere. A lot of them were Catholics, so it was their way of giving back. A lot of them were nudists. I didn’t realize that there’s a small little section at the bottom of someone’s Couchsurfing profile that says clothing optional. That means if you go there, I thought it meant like it’s cool if you walk to the bathroom in your underwear. No, if you go there, everyone is going to be butt naked. I made that mistake a few times, not that I’m anti-nudist, but I wasn’t ready to take that leap of faith. It was just great. Couchsurfing hosts were amazing. That was just great. It was this constant thing where I felt like, wow, people were so welcoming. I’m not having to pay them a dollar for this experience. I
Lex Fridman
(00:34:32)
I love Couchsurfing. For like, again, for me, being an introvert, just crashing on a person’s couch, being essentially forced into a great conversation is great.
Andrew Callaghan
(00:34:43)
Yeah. The one thing that gets exhausting about hitchhiking is constantly thanking people, being in constant superficial gratitude everywhere all the time like, oh, thanks for letting me sleep on your couch. Thanks for the food. Part of the reason I wanted to live in an RV later in life is to avoid having to constantly live in this like, thanks so much type of frequency, because it’s exhaust-
Andrew Callaghan
(00:35:00)
… live in this thanks so much type of frequency. Because it’s exhausting to constantly, “Hey man, thanks.”
Lex Fridman
(00:35:06)
I think the shallowness of that interaction is exhausting, not the thanks.
Andrew Callaghan
(00:35:10)
Yeah. It was a true favor, of course I love giving people gratitude for that. But just this thing where everyone who picks you up… You get eight rides a day, you’re thanking eight people a day like they’re the second coming of Jesus. You start to feel a little bit debased.
Lex Fridman
(00:35:23)
What’d you learn about people from that journey? That’s your first time really going into it.
Andrew Callaghan
(00:35:29)
That the American public is just so kind overall. They’re so embracing depending on who you are. And specifically though, the Christian family people of the US who drive in minivans and have that fish sticker on the back where it’s Jesus’ fish, and then they have the family sticker where each member of the family is a stick figure, those people never picked me up and would flip me off with their whole family. Sometimes they would throw full Dr. Peppers at me, as a family, while I stood on the side of the road.
Lex Fridman
(00:36:02)
As a family, together.
Andrew Callaghan
(00:36:03)
They’d yell shit like, “Go to hell hippie,” when I was on the side of the road. And so, it’s weird that the most charitable Christian American family values people never gave me any charity or even conversation. They were antagonizing me and saw me as a hippie leftover from the ’60s who needed to go to work, go to Vietnam. I don’t get it. But the people who really extended a hand to me is people on the margins. People working on seasonal visas, people whose cars have less than a quarter tank left, people struggling with addiction. Who saw me struggling, or at least they thought that I was because they assumed I was hitchhiking not out of adventure but because I had no car, and were willing to sacrifice their day almost sometimes to take me exactly where I needed to go.
Lex Fridman
(00:36:52)
That’s beautiful, man. I’ve had similar kind of experience that people who are struggling the most are the ones who are willing to help you when you’re struggling.
Andrew Callaghan
(00:36:59)
Yeah.
Lex Fridman
(00:37:00)
There’s people in religious contexts and other kind of communities that just judge others. Because they’ve constructed a value system where they’re better than others because of that value system, and that actually has a cascade that forces you to actually be kind of a dick.
Andrew Callaghan
(00:37:19)
Yeah, I never thought about that. That’s so true. Do you think about morality and religion a lot?
Lex Fridman
(00:37:24)
Yeah, yeah, yeah. I’ve been to certain parts of the world where religion is really a big part of life. I’m just always skeptical about tribes of people that believe a thing and they believe they’re better than others because they believe that thing. That could be nations, that could be religions. I mean, in Ukraine and Russia, I’ve seen a lot of hate towards the other. And that hate, I’m always very skeptical of. Because it could be used by powerful people to direct that hate just so the powerful people can maintain power and get money. This kind of stuff.
Andrew Callaghan
(00:38:04)
It’s a scary thing to see how easy it is for high up political people to mobilize the hate of just the average working person and can almost convince them to sabotage their own countrymen, who they share more in common with than the politician they look up to, just to advance the agenda of one party. That’s what we’re seeing now.
Lex Fridman
(00:38:22)
Are there some places in America that are better than others? Can you speak negatively of… Like aforementioned Joe Rogan talked about Connecticut nonstop. Can you pick a region in the United States you can talk shit about?
Andrew Callaghan
(00:38:37)
To talk shit about? Oh, for sure.
Lex Fridman
(00:38:40)
Or, from that experience. Let’s just narrow it down to that.
Andrew Callaghan
(00:38:43)
Oh, Colorado. Oh, jeez.
Lex Fridman
(00:38:45)
Really?
Andrew Callaghan
(00:38:45)
Yes.
Lex Fridman
(00:38:46)
I know so many people that love Colorado.
Andrew Callaghan
(00:38:47)
Dude, Dallas, Denver. I used to think Phoenix sucks, but I love Phoenix now. The way they build these cities to just be so circular and massive, it’s just like, “Stop.”
Lex Fridman
(00:38:55)
You don’t like circles?
Andrew Callaghan
(00:38:56)
I like grids, man.
Lex Fridman
(00:38:58)
Oh, you’re a grid guy.
Andrew Callaghan
(00:38:59)
Manhattan, New Orleans, San Francisco.
Lex Fridman
(00:39:02)
What is it about grids that bring out the worst in people? Circles is where everyone is just-
Andrew Callaghan
(00:39:07)
Everyone’s just vibing out, loosey-goosey, but the grid gets people locked in hateful. I don’t know, man.
Lex Fridman
(00:39:13)
I’ve never heard anyone talk shit about Colorado, I have to say. It’s kind of refreshing because it provides a necessary balance for the Colorado Wikipedia page.
Andrew Callaghan
(00:39:21)
Yeah. Oh, Oregon too. I got problems with Oregon.
Lex Fridman
(00:39:23)
Oregon?
Andrew Callaghan
(00:39:24)
Yeah. Well, here’s the issue. And I don’t like just calling people racist because it’s kind of a two-dimensional insult, but you have the most racist state with the most psychotic anarchist city in the middle of it. What is going on up there? How did this happen? The yin and the yang is so extreme that there must be something in the [inaudible 00:39:43].
Lex Fridman
(00:39:43)
What do you have against anarchism?
Andrew Callaghan
(00:39:45)
Nothing. I used to be an anarchist. When I was in eighth grade, I had his friend named Mads who was part of a group called Seattle Solidarity, which is like an Antifa precursor. So, I grew up going to black bloc protests.

(00:39:56)
There was a particular shooting, the murder of John Williams, who is a Native American woodcarver in downtown Seattle. He got killed by a Seattle police officer named Ian Burke. John Williams was carving a pipe from a woodblock with a pocket knife. He’s deaf in one ear. Officer pulls a gun on him and says, “Put it down.” He doesn’t hear him. He shoots him six seconds later. That police involved shooting is what instantly turned me into a very critical of law enforcement kind of person when I was super young. As someone who used to see this guy who got murdered… He was a 55-year-old man. I used to see him around Pike Place where my mom lived. It’s a public market in downtown. That to me, put me into the anarchist political sphere, just channeling the anger of that experience. And the officer got no charges by the way. You can look up the video. It’s horrific. And it didn’t get reported. The officer, I’m pretty sure, is still active duty.

(00:40:54)
Situations like that early in life channeled me toward political extremism. But I grew up to realize how incompatible that anarchistic worldview is with reality and with American society. It can only exist in a small, little chamber. You can’t apply that to the industrial heartland of the country.
Lex Fridman
(00:41:15)
And I think also, anarchism… I’ve gotten to know Michael Malice who’s written quite a bit about anarchism. And it also exists as a body of literature about different philosophical notions that resist the state, the ever expanding state in different kinds of ways. It’s always nice to have extreme thought experiments to understand what kind of society we want to build, but implementing it may not necessarily be a good idea.
Andrew Callaghan
(00:41:42)
Yeah. Emma Goldman, I’m a huge fan of her writing. Also, the prison abolitionists that are associated with the anarchist movement, Angela Davis, Ruth Wilson Gilmore, all that stuff, influential. I still adhere to a lot of those principles when talking about stuff like radical prison reform and stuff like that. But I drifted more toward having a more open mind as I got older.
Lex Fridman
(00:42:05)
Extremism implemented in almost all of its forms is probably going to cause a lot of suffering.
Andrew Callaghan
(00:42:12)
Yeah.

Quarter Confessions

Lex Fridman
(00:42:13)
You worked as a doorman on the, I could say, legendary Bourbon Street in New Orleans.
Andrew Callaghan
(00:42:19)
That’s right.
Lex Fridman
(00:42:20)
Where you saw what you described as… This might be another Wikipedia quote by the way. This is where I do my research.
Andrew Callaghan
(00:42:26)
Does it say hellish scenes?
Lex Fridman
(00:42:28)
Hellish scenes, in quotes.
Andrew Callaghan
(00:42:29)
Wikipedia is damn right about that.
Lex Fridman
(00:42:30)
All right, thank you. That’s a win. That’s one in the win column. So yeah, tell the story of that. What’s it like to work on Bourbon Street? What kind of stuff did you see?
Andrew Callaghan
(00:42:41)
I was a host at a fine dining restaurant on the corner of Bourbon and Iberville. That’s the first street if you go from Canal Street onto the corridor. This is across from a daiquiri spot. It’s the middle of the tourist corridor of New Orleans. And the spot was kind of a tourist trap. It was called Bourbon House. The food was good. Chef Eric, I don’t want you to see this and think you don’t make good end dewy sausages. But it was overpriced. We had to maintain this fine dining facade on a street where almost everyone is throwing up fighting or is half naked.

(00:43:16)
There was this policy. We had these giant glass windows next to the tables. So if you’re eating at a Bourbon House, you can look out onto Bourbon Street and you can see as you’re dining, a full panoramic view of all these partiers throwing beads, boobs, all that. We had this policy where if we’re serving someone, we can’t look onto Bourbon Street if something crazy is happening. So if there’s a fight or something like that, we can’t look. I remember I’m fucking serving a table. There’s a dude in a Batman mask, butt naked, with 12 pairs of beads, just jerking it, back to jerking it.
Lex Fridman
(00:43:50)
Full on.
Andrew Callaghan
(00:43:51)
He’s jerking it, right? And every single person at the restaurant’s out there like, “Look.” They’re taking pictures. And the manager Stephen looks at me, he is like, “Keep your fucking eyes on the table.” So I’m serving these people and I’m like, “You like red beans and rice, or would you like something Creole?” And there’s just this dude. And ultimately, the manager went out and escorted him further down Bourbon Street.

(00:44:13)
But I would get off work at around midnight every night. And that was when Bourbon Street is at its most chaotic. I lived in the French Quarter as well. I lived about 12 blocks down Bourbon, in a small Creole cottage, in a cute little orange, old-school New Orleans, one story spot. I lived in the attic above these gay meth dealers named Frankie and Johnny.
Lex Fridman
(00:44:36)
Oh, wow.
Andrew Callaghan
(00:44:37)
So, I would get off work and I would basically have to walk through this battlefield. I mean, it was a battlefield. Getting home was out of the Warriors movie.
Lex Fridman
(00:44:50)
The best of humanity on display.
Andrew Callaghan
(00:44:50)
Yeah. It was like Kensington, Philadelphia, but just alcohol. You know what I mean?
Lex Fridman
(00:44:54)
Oh, it’s all alcohol. But it’s a lot of visitors, right, from outside?
Andrew Callaghan
(00:44:58)
Almost all visitors. And that would set the floor for the weekend. For example, if the Raiders were playing the Saints, Raider Nation. And they do not play around. If it’s the Patriots, that’s a whole different crowd. They think they’re better than everybody else.
Lex Fridman
(00:45:11)
Well, they technically are better than everybody else, but yeah.
Andrew Callaghan
(00:45:14)
But people from Massachusetts aren’t like the cream of the crop in terms of American superiority.
Lex Fridman
(00:45:19)
Strong words, yeah.
Andrew Callaghan
(00:45:20)
No offense, but I mean.
Lex Fridman
(00:45:21)
No, I’m sure they won’t take that as an offense.
Andrew Callaghan
(00:45:24)
They are good at fighting though, I’ll tell you that.
Lex Fridman
(00:45:26)
All right. Great.
Andrew Callaghan
(00:45:27)
New England has hands compared to some places.
Lex Fridman
(00:45:29)
Which places are those? Colorado?
Andrew Callaghan
(00:45:31)
Colorado has no hands. The West Coast, not too much hands.
Lex Fridman
(00:45:37)
That’s why you feel safe talking shit about Colorado.
Andrew Callaghan
(00:45:39)
But if you get to the corn-fed parts of East Colorado, these guys got hands bigger than my head, they’ll beat the of me. But anyways, I’d walk back to my house on Bourbon Street and I would be sifting through this battlefield. And I had a friend at the time who was like, “Yo, we should do a taxi cab confessions type spin-off,” where we ask people to confess a deep dark secret and we post it the next day. We tried that and it went viral on Instagram instantly. It was mostly incest stories, people admitting to incest. I know it’s a common southern stereotype, but there’s some truth to it. There were some murder confessions. That was pretty crazy. We never really posted any of those.
Lex Fridman
(00:46:18)
How did you get people to confess?
Andrew Callaghan
(00:46:20)
Pretty easy. And New Orleans has a homicide solve rate of 22%. So, most of the time, they’ll just tell you. I remember I was walking down Bourbon and I asked this kid, I was like, “What’s your deepest, darkest secret?” And he told me, he’s like, “I just smoked a dude in the Magnolia.” It’s a project house in the third ward, project development. And he said, “I just smoked a dude in the Magnolia playground for touching my sister,” molesting his sister. And I was like, “What?” And he was like, “Yeah, look it up.” And I was like, “All right, hold on.” And it was like, man found dead in Central City playground, appeared to be homeless, shot execution style. So I told the kid, I was like, “Why’d you tell me that?” He’s like, “Man, put that out there. I’m trying to go viral. Tag me too.”
Lex Fridman
(00:46:59)
Oh, wow.
Andrew Callaghan
(00:47:00)
Dude, I don’t think you understand that even if you’re a juvenile, he was probably 15, you can get juvenile life in Louisiana for a homicide even if it’s justified. So, I just deleted the footage in front of him. I was like, “I’m going to delete this footage. See that trash button? I’m hitting it right now. Don’t tell anyone that again.” And he was like, “All right, I appreciate it,” and he walked off. It’s the little moments like that I always remember.
Lex Fridman
(00:47:22)
Anything for the Gram, I guess.
Andrew Callaghan
(00:47:24)
Yeah. After a while though, it became repetitive. Because there’s only so many things that people can confess to that go viral.
Lex Fridman
(00:47:32)
Oh, so you were trying to see what?
Andrew Callaghan
(00:47:34)
Well, I mean, there’s the incest one. Some people just say, “I eat ass.” Everyone said that. Or, I cheated on someone.
Lex Fridman
(00:47:43)
I’ve seen a surprising number of people on your channel mention eating ass.
Andrew Callaghan
(00:47:48)
Yeah. How seriously you said that will live in my head for the rest of my life.
Lex Fridman
(00:47:56)
That’s good. I want to live in your head saying that a lot of people mentioned eating ass.
Andrew Callaghan
(00:48:04)
Yeah, a lot of people do mention that. Also, that’s kind of where I developed this magnetism for freestyle rapping. Everywhere I go, people rap, not sure why. I mean, as a former rapper myself in middle school and for the first year of high school, I think that maybe it takes one to know one. But everywhere I go, people start rapping. If you and me went outside of this podcast studio and walked around for five minutes, I could find somebody.
Lex Fridman
(00:48:29)
Who is rapping.
Andrew Callaghan
(00:48:30)
I can tell who raps or who can rap, who has eight bars in their head that they’re ready to go.
Lex Fridman
(00:48:34)
I think also, there’s something about you that creates the safe space to perform their art.
Andrew Callaghan
(00:48:42)
Yeah. The Quarter Confession series was the first time you saw the suit.
Lex Fridman
(00:48:47)
That’s when the suit came out.
Andrew Callaghan
(00:48:48)
Yeah. It was kind of like a Ron Burgundy, Eric Andre inspired type.
Lex Fridman
(00:48:52)
Where’d you get that suit?
Andrew Callaghan
(00:48:53)
Goodwill.
Lex Fridman
(00:48:54)
Goodwill?
Andrew Callaghan
(00:48:54)
Yeah. Always.
Lex Fridman
(00:48:56)
Wow. I was playing checkers, you were playing chess. Good job.
Andrew Callaghan
(00:48:59)
I mean, Goodwill has a surprising amount of identical gray suits for sale.
Lex Fridman
(00:49:04)
Yeah. I’ve actually gotten suits at thrift stores before. They’re great.
Andrew Callaghan
(00:49:07)
Yeah. A lot of people donate suits. And I was going for oversized suits, which are the cheapest ones there. It was $12 to $25 every time for the outfit.
Lex Fridman
(00:49:16)
If I wanted to look super sophisticated, like I’m from another era, I would go to the thrift store. Because usually, the patterns they have, it’s just a more sophisticated suit. Which is what you kind of picked out. It made you look ridiculous but in the best kind of way.
Andrew Callaghan
(00:49:34)
The tough part about Quarter Confessions for me is that everybody that was featured, for the most part, would more or less regret being a part of the show. And that over time just gave me a bad feeling where I was like, “You know what? I kind of feel like I am doing an ambush interview.” Especially because presenting as so agreeable, yet the intention is to make something funny. And I get that that’s what people do in the satire sphere. I’m sure Ali G and Bruno and Borat did the same thing. And I don’t think it’s unethical because that’s all for the purposes of comedy. It is what it is. But for me, I wanted to do something different.
Lex Fridman
(00:50:12)
Yeah, because there’s an intimacy to confessing a thing, and then you just don’t really realize the implications of that.
Andrew Callaghan
(00:50:20)
And the atmosphere of Bourbon Street is like anything goes, it’s a free spirited place. But if you transport that energy digitally to a different place like Colorado, they might look at it and be like…
Lex Fridman
(00:50:32)
Different place in time. Five years later, that same person has a family and stuff like this, and all of a sudden they’re talking about eating ass.
Andrew Callaghan
(00:50:39)
Right, exactly. Kids have to think about that. Or imagine if there’s a video of your grandma or grandpa out there, when he was a kid, talking about eating ass. That’s a horrible experience. To discover that about your respected elder later in life, it’s tough.
Lex Fridman
(00:50:52)
I don’t even know where to go with that. But literally the opening question was, tell me your deepest, darkest secret.
Andrew Callaghan
(00:50:59)
Yeah.
Lex Fridman
(00:50:59)
You just come up to somebody like that?
Andrew Callaghan
(00:51:01)
Yeah.
Lex Fridman
(00:51:02)
How often do you get a no? What’s the yes to no ratio?
Andrew Callaghan
(00:51:06)
Well, the weird thing is we don’t really extract answers from people. What makes a good interview is when they’re ready to talk. The more you have to talk and try to get an answer out of them, it is just not a good vibe. So we kind of look for people who appear to be already ready to talk, open body language, they seem confident and verbose, and we approach them first.
Lex Fridman
(00:51:27)
There’s a look.
Andrew Callaghan
(00:51:28)
We wouldn’t approach a shy person and be like, “Come on, tell me.” No.
Lex Fridman
(00:51:31)
What about a person with pain in their eyes?
Andrew Callaghan
(00:51:33)
Oh yeah, we’re interviewing them.
Lex Fridman
(00:51:35)
So they’re ready to talk, they’re just not… There’s different ways to be ready.
Andrew Callaghan
(00:51:41)
Right.
Lex Fridman
(00:51:42)
I see homeless people a lot, and they always look fascinating. And the ones I’ve talked to are always fascinating.
Andrew Callaghan
(00:51:47)
Yeah. We just did a video in the Vegas tunnels, trying to… Obviously it got taken down by Fox, but whatever.
Lex Fridman
(00:51:54)
I was going to make a joke that I didn’t see it.
Andrew Callaghan
(00:51:57)
We tried to help a lot of them by getting them IDs. And when I made the documentary, I had this idea that if… It’s a big roadblock for them is getting identification. Without IDs, you can’t check into a homeless shelter, you can’t do day labor, you can’t qualify for housing, nothing. So when we interviewed them, they’d basically tell us, “If I had my ID, I wouldn’t be here.” And so we said, “Okay, we’re going to really help this time. We’re not just going to talk to them about their struggles. We’re going to actively go out and get them IDs at the DMV.” So, we did that and nothing really changed in their life.

(00:52:32)
And we sat down with a recovery specialist who works directly with them day in and day out. And he explained to me that he’s been trying to do the same thing I tried to do in a one-week period for the past 10 years. And that they have deeper underlying traumas and pain that need to be dealt with far before they even take the steps to enter society as a housed person.
Lex Fridman
(00:52:54)
That’s a heavy truth right there.
Andrew Callaghan
(00:52:56)
Breaking that shame cycle has to come first. Because you got to think, right? I’m from a generation that romanticizes vagrancy and homelessness to a certain extent if it’s called Van Life or if it is done in a way that’s sort of like Rolling Stone, Willie Nelson, hit the road. People who are above 50, they feel really embarrassed to be in the spiral of homelessness. They feel like failures. A lot of them have kids who they weren’t there for. That’s not the kind of pain that can be dealt with by giving someone a tiny home. It’s a good step forward. But for someone to really make a change, they have to want to change. And so it is, how do you help someone and guide themselves in the right direction? And if you’re too paternalistic and you use shame as a method to get them to clean up, they’re going to end up right where they started. That’s a tough truth to accept because a lot of people want a quick fix to things. And I don’t blame people who go out and give bologna sandwiches out to the homeless.
Lex Fridman
(00:53:53)
And each case is probably its own little puzzle.
Andrew Callaghan
(00:53:57)
Each person is so complex. Now, imagine drug abuse. What that does for the brain? Trauma, childhood trauma. There’s so much to unpack. And then just the belief that they’re the undesirables, that they don’t deserve to be a part of society because they failed a fundamental obligation like taking care of their kids.
Lex Fridman
(00:54:15)
If we could take a small tangent to, you mentioned this Vegas video, which is fascinating. It was taken down recently by YouTube, or YouTube took it down based on-
Andrew Callaghan
(00:54:27)
Yeah, it was illegal.
Lex Fridman
(00:54:29)
… Fox 5, I guess.
Andrew Callaghan
(00:54:31)
So, the documentary was an hour and 45 minutes. We used 10 seconds of a news clip that was publicly broadcast by Fox 5 Vegas. And according to the Copyright Act of 1976, you’re allowed to use any publicly broadcast news clip in a transformative capacity in any documentary film or research paper or broadcast or anything. They, specifically this corporation called Gray Media that controls the TV stations in almost every small town, they had lawyers hit up YouTube. And YouTube complied with an illegal copyright strike to get our video immediately removed. And I’m a YouTube partner. I’m in the YouTube partner program. So, to think that I wasn’t forewarned, it’s a bit strange, but it also smells like corruption to me to a certain extent.
Lex Fridman
(00:55:16)
Yeah, you shouldn’t have that amount of power. At the very least, they should have the power to just silence that five second clip maybe.
Andrew Callaghan
(00:55:24)
Yeah. But I’m taking them to court because I have the means to be able to do so. I’m a larger creator. I have an audience. I have that financial backing to do it. I can’t imagine how many people out there are smaller creators with not as much of a fan base they can mobilize against someone like Fox 5 or the money to go to court. So I want to take them all the way there to set precedent for future cases, so that these giant mainstream media conglomerates can’t copyright strike documentary filmmakers at will. It doesn’t make sense.
Lex Fridman
(00:55:58)
Oh, thank you for doing that. That’s really, really, really important. And that’s really powerful. And it might hopefully empower YouTube to also put pressure on people to not… YouTube is in a difficult position because there’s so much content out there, there’s so many claims, it’s hard to investigate. But YouTube should be in a place where they push back against this kind of stuff as a first line of defense, especially to protect small creators. So what you’re doing is really, really important.
Andrew Callaghan
(00:56:24)
Appreciate it, man.
Lex Fridman
(00:56:25)
And it sucks that it was taken down. Do you have any hope?
Andrew Callaghan
(00:56:29)
Well, I talked to my YouTube partner today, and he said that the Fox 5 lawyers have two weeks to comply with my counter appeal. But I spent 20 grand on human voiceovers in five different languages. I invested probably in total like 70K into this video. So even if it gets reinstated, the steam’s kind of been taken out of its trajectory.
Lex Fridman
(00:56:48)
But also, it’s just a really important video, it is good for the world.
Andrew Callaghan
(00:56:52)
Why the hell would Fox 5 have a vested interest in having the video taken down?
Lex Fridman
(00:56:57)
I just hate it when people do that to videos or to creators that are doing good in the world.
Andrew Callaghan
(00:57:01)
Yeah. It’s not an expose on the mayor of Las Vegas. It’s an attempt to show the civilian public how to get involved in a local nonprofit and potentially intervene in the lives of the tunnel people.
Lex Fridman
(00:57:10)
Well, fuck Fox 5, the other Channel 5, as you said.
Andrew Callaghan
(00:57:13)
Yeah.
Lex Fridman
(00:57:14)
Well, thank you for pushing back and highlighting it. Hopefully, it gets brought back up. But yeah, defending other creators so that other creators can take risks and don’t get taken down for stupid reasons.
Andrew Callaghan
(00:57:26)
Yeah.
Lex Fridman
(00:57:27)
So, Quarter Confessions was written?
Andrew Callaghan
(00:57:30)
No, it was all real life reality TV documentary. But it caught the attention of a larger company called Doing Things Media. And they contacted me pretty much a week after I graduated from college in the May of 2019, and they said, “Hey, how would you like to produce a show?” I was like, “What do you mean?” They were like, “We’ll get you an RV. We’ll pay you 45K a year. We’ll pay for gas, for food, for two hotels a week. Go out there, make content. And we’ll be in the background just powering it all.”
Lex Fridman
(00:58:06)
And that was the birth of All Gas No Brakes.
Andrew Callaghan
(00:58:09)
Yes. All Gas No Brakes was named after a book that I wrote called All Gas No Brakes, a hitchhiker’s diary, which chronicled the 70-day journey that we were just talking about.
Lex Fridman
(00:58:19)
It’s a tough book to find, by the way.
Andrew Callaghan
(00:58:20)
Oh, yeah. There’s only a few copies left. I’m thinking about doing a reprint at some point down the line, but I sold off the last a hundred copies like a month and a half ago.
Lex Fridman
(00:58:28)
Until then, you guys should go read On the Road by Jack Kerouac.
Andrew Callaghan
(00:58:31)
Yeah, read-
Lex Fridman
(00:58:31)
You should read it. I don’t know if you’ve read it before.
Andrew Callaghan
(00:58:33)
If you can’t get my book, get On the Road by Jack Kerouac.
Lex Fridman
(00:58:33)
It’s great.
Andrew Callaghan
(00:58:36)
It’s the best.
Lex Fridman
(00:58:37)
When’s your birthday? I’ll send you-
Andrew Callaghan
(00:58:38)
April 23rd. I’m a Taurus. Coming soon.
Lex Fridman
(00:58:41)
Typical Taurus, yeah.
Andrew Callaghan
(00:58:43)
I’m a typical Taurus man. I’m a Scorpio moon. You should write that down.
Lex Fridman
(00:58:47)
What’s the time when you were born?
Andrew Callaghan
(00:58:48)
11:30.
Lex Fridman
(00:58:50)
11:30 at night? Of course.
Andrew Callaghan
(00:58:53)
Typical. This guy knew it. That’s the real science.

(00:58:57)
Anyways, the idea of All Gas No Brakes as a show was to combine the, I guess, road dog ethos of the All Gas No Brakes book with the presentation and editing style of Quarter Confessions. So, it was to take quarter confessions on the road. That was pretty much like a simulated hitchhiking experience. But with the editing and punchy effects of Quarter Confessions, which is like I wear a suit, we do the Fast Zoom-ins, little effects, stuff like that.

(00:59:26)
Man, those were the best years. It was just so fun. I mean, imagine. You’re fresh out of college. You were just a doorman interviewing people about making out with their cousin and stuff. And then boom, this company that you’ve never even heard of is willing to buy you an RV and give you 45K a year, which to me at the time was more money than I could possibly imagine. So, I called my dad. I was like, “Dad, I need you to find me an RV.” Because he’s the only guy I know who knows about cars, and even he doesn’t know much about cars. He’s like, “All right, I’m on it.” The RV was 20,000.

Burning Man


(00:59:58)
And the first event that we were called to cover was the Burning Man Festival. And that was tough because Burning Man is not too keen on filming. It’s supposed to be a non-commercialized escape from reality. They have a gift economy set up. It’s based upon mutual participation and non-exploitation. And so, the idea of making a Burning Man video was tough at first. Because burners oftentimes, and this is not all of them, are pretty well off in general. A lot of them have tech jobs, are pretty high up in Silicon Valley. And Burning Man is where they go to take the edge off and basically become their burner persona. On the playa, they become reborn. And they take ketamine and they wear kaleidoscope glasses and steampunk hats and they snort MDMA and they run around the sand. Listen-
Lex Fridman
(01:00:48)
Do you snort MDMA?
Andrew Callaghan
(01:00:51)
Yes, you can.
Lex Fridman
(01:00:52)
I need to do MDMA. I thought it’s a pill. I didn’t know.
Andrew Callaghan
(01:00:53)
It’s better to take it in a pill or water, but you can snort MDMA.
Lex Fridman
(01:00:57)
I definitely need to take MDMA. I’m already full of love, but that, I’d probably go on another level.
Andrew Callaghan
(01:01:02)
Yeah, don’t snort it because it’ll only last 90 minutes.
Lex Fridman
(01:01:05)
Let me write that down.
Andrew Callaghan
(01:01:07)
So anyways, we didn’t know what to do because we tried to film.
Lex Fridman
(01:01:09)
Don’t snort.
Andrew Callaghan
(01:01:10)
The initial idea for All Gas No Brakes was to, instead of asking people what’s your deepest, darkest secret, it was, what’s the craziest trip you’ve been on? The idea was to not satirize drunk people, but satirize people who are fried on acid. So we went to Boulder real quick, did a test interview with some lady who talked about seeing ancestral aliens during a peyote retreat. It’s pretty easy to extract trip reports from hippies and gutter punks and stuff like that, or oogles.

(01:01:41)
So, we go to Burning Man. We start asking people, what’s your craziest trip story? And they didn’t have the same type of free flowing storytelling style like a on the street, cross punk in New Orleans might have, where they’re like, “I don’t give a shit, I’ll tell you whatever.” These people were very bottled up about what they were willing to disclose. So we went on Burning Man Radio and we did a broadcast and we said, “Hey, we’re psychedelic journalists.” It was me and my friend Ciel at the time. I said, “We’re psychedelic journalists. We’re parked on Tan and I, which is a cross street in Black Rock City.” And we said, “We have a 1998 Catalina Coachman Sport. It’s an RV. We’ve set up a podcast studio. We’re doing a show about psychedelic voyages.” Lo and behold, two hours later, we had 10 people lined up at the RV willing to talk. That vetted people in advance for us. We did a couple interviews and that was that.
Lex Fridman
(01:02:37)
What were some of the stories from the trip reports?
Andrew Callaghan
(01:02:40)
There was this lady named Rosmah who said that she was known in several circles in Berkeley for being multi-orgasmic and could create multiple repeated climaxes using only her mind, by squinting her eyes and squeezing her eyes together so much that the pleasure spiral just went crazy.
Lex Fridman
(01:03:01)
I feel like I talked to several people like that at Berkeley.
Andrew Callaghan
(01:03:04)
Yeah. You know what I’m talking about?
Lex Fridman
(01:03:06)
Not that… Well yeah, that lady, I think she manifests herself in many forms, yeah.
Andrew Callaghan
(01:03:11)
Right. But still, it was on the cruder end. There was one guy named, Kimbo Slice was his burner name. He talked about taking a shit after taking a quarter of mushrooms and how he was seeing his childhood and visualizing his past life as the turds were flowing into the toilet, and just talks about the psychedelic union between pooing and taking shrooms.
Lex Fridman
(01:03:34)
So, he was very visual with his words.
Andrew Callaghan
(01:03:36)
Yeah. There was stuff like that. I interviewed Alex Gray, which was super cool, about his first trip in San Francisco, in 1971, shortly after the Summer of Love. I got to do some pretty cool interviews. But still, it was semi-ambush style. I wouldn’t say that we were doing journalism yet. It was still comedic video work.
Lex Fridman
(01:03:57)
Was there a narrative-
Andrew Callaghan
(01:03:59)
No.
Lex Fridman
(01:03:59)
… that tied it together? It’s really just a trip, comedic almost.
Andrew Callaghan
(01:04:03)
Interview and then I go Burning Man, and then it’s onto the next one. I guess that could give a loose structure, but it’s just a punch in slapstick thing.

(01:04:13)
Everything was going good until we interviewed this guy named DJ Soft Baby. He was wearing a golden leotard with, once again, kaleidoscope glasses, shirtless dancing like you know dancing. And he was eating chowder out of a plastic bowl. And he was like, “This chowder is so fucking good.” He is like, “This is the best chowder I’ve ever had in my life.” And he starts putting the chowder on his face. And he is like, “I want the chowder all over me, yah.” And we just go, “Hey man, can you just do a dance for us real quick, just for some B-roll.” He does a dance. We post it on Instagram the next morning. Doing Things Media CEO calls me, Reid, he says, “All of our pages are down.” And he’s like, “That guy you filmed dancing last night on drugs, putting chowder on his face, that guy is at the top of MIT.”
Lex Fridman
(01:05:00)
Top of MIT, I don’t understand what that means.
Andrew Callaghan
(01:05:00)
He went to MIT.
Lex Fridman
(01:05:03)
That’s like saying, my brother’s rocket scientist, he’s head of NASA or whatever.
Andrew Callaghan
(01:05:09)
Well, I mean, the guy knows people in Boston. Not in the Whitey Bulger sense, but in the reverse sense.
Lex Fridman
(01:05:16)
I have trouble believing that DJ Soft Baby-
Andrew Callaghan
(01:05:19)
Oh, DJ Soft Baby was major. It could have been Harvard. But it wasn’t UMass.
Lex Fridman
(01:05:26)
I don’t think there’s anybody that’s, quote, at the head of MIT who’s putting… What was it, all over his face?
Andrew Callaghan
(01:05:32)
Chowder.
Lex Fridman
(01:05:32)
Chowder.
Andrew Callaghan
(01:05:33)
Well then, you haven’t been to Burning Man yet.
Lex Fridman
(01:05:35)
Okay. I’ve not been to Burning Man. I would have to consult my colleagues at MIT if they know DJ Soft Baby. It probably was Harvard. Let’s put it on them.
Andrew Callaghan
(01:05:46)
Okay. The top of Harvard. So, he made some calls to the heads of Big Tech and got all the Doing Things Media pages taken down. At the time, that was a vast network of pages. And we ended up having to take the… Obviously, the video came down. And he held the entire network of Instagram pages hostage. He made us agree to never post that video again, and then somehow got all of our pages reinstated. That was my first brush with powerful people on drugs, and that was probably my last brush with powerful people on drugs.
Lex Fridman
(01:06:21)
What did you transition into from there?
Andrew Callaghan
(01:06:23)
I think after Burning Man, we went to the South. Went to Talladega Race weekend, went to a Donald Trump Jr. book signing, went to a juggalo adjacent fetish mansion in Central Florida called the Sausage Castle.
Lex Fridman
(01:06:37)
Juggalo adjacent sausage. Okay. Can you run that by me again?
Andrew Callaghan
(01:06:42)
Juggalo adjacent fetish mansion in Central Florida.
Lex Fridman
(01:06:45)
Okay. Fetish mansion in Central Florida. Juggalo adjacent. Every single one of those words, I feel like, needs a book or something. By the way, who are the juggalos? Is this ICP?
Andrew Callaghan
(01:06:45)
Just ICP fans.
Lex Fridman
(01:06:57)
ICP fans, okay.
Andrew Callaghan
(01:06:59)
But I say adjacent because it’s not a juggalo mansion, but there’s a lot of juggalos who kick it at the mansion and it’s juggalo friendly.
Lex Fridman
(01:07:05)
Oh, okay. Juggalo friendly.
Andrew Callaghan
(01:07:07)
Yeah, because they get made fun of in a lot of places.
Lex Fridman
(01:07:09)
Oh. Okay, got it.
Andrew Callaghan
(01:07:11)
And juggalos say outrageous shit, and they embarrass themselves and they fight a lot. They’re on the FBI’s gang list, which if you ask me-
Lex Fridman
(01:07:18)
ICP or the-
Andrew Callaghan
(01:07:19)
The juggalos,
Lex Fridman
(01:07:22)
The juggalos. Who’s the head of the juggalos?
Andrew Callaghan
(01:07:24)
It would be Violent J and Shaggy 2 Dope. But there’s associated acts like Twiztid, and there’s a whole rabbit hole. Honestly, Tech N9ne is sort of a part of that.
Lex Fridman
(01:07:31)
Tech N9ne, I don’t know who that is. Should I know who that is?
Andrew Callaghan
(01:07:34)
He’s actually one of the top-selling touring rappers, despite having not that many streams. Tech N9ne, he’s got a huge cult following in Missouri. The juggalos started in Warren, Michigan.
Lex Fridman
(01:07:47)
We should also say, ICP, Insane Clown Posse. This is a thing, this is a movement.
Andrew Callaghan
(01:07:51)
Oh, yeah. If you went to Seattle right now and punched a cop and they booked you in county jail, you may end up running with the juggalos.
Lex Fridman
(01:08:01)
Running with the juggalos.
Andrew Callaghan
(01:08:02)
They’re a presence in Pacific Northwest prison system from what I’ve heard.
Lex Fridman
(01:08:06)
Can you tell a juggalo from a distance?
Andrew Callaghan
(01:08:09)
Well, they say, whoop, whoop. If you see a Juggalo, they’ll say that also.
Lex Fridman
(01:08:13)
I’ll try to look up that.
Andrew Callaghan
(01:08:18)
It’s called the Dark Carnivals, the mythology they abide by.
Lex Fridman
(01:08:21)
What do they define themselves? What’s the ideology?
Andrew Callaghan
(01:08:23)
A family.
Lex Fridman
(01:08:24)
No, I understand, but what’s the ideology? What’s the philosophical foundation?
Andrew Callaghan
(01:08:28)
They’re anti-racist. They like to drink Faygo and also just cheap liquor and stuff like that. They’re into drugs. A lot of circles, if you pull out a crack pipe, people will be like, “I don’t want to drink with you anymore.” If you’re at a juggalo party and someone’s smoking twizz or something, it’s relatively accepted.
Lex Fridman
(01:08:50)
What’s twizz?
Andrew Callaghan
(01:08:50)
Meth.
Lex Fridman
(01:08:51)
Meth, right, right. Lots of tattoos?
Andrew Callaghan
(01:08:54)
Yeah. The Hatchet Man is the most common one. It’s a Psychopathic Records logo. It’s a cartoon of a clown wheeling a hatchet. It’s actually a pretty sick logo.
Lex Fridman
(01:09:03)
I vaguely remember enjoying some of the ICP music.
Andrew Callaghan
(01:09:08)
It’s good.
Lex Fridman
(01:09:09)
Yeah, it’s pretty good. It’s funny. It’s edgy.
Andrew Callaghan
(01:09:11)
They get satirized a lot, but I got love for the clowns. And also, when All Gas No Brakes transitioned away from rich, elite drug parties and into the South, that’s when the fun really started to happen. Living in your RV in Alabama and Florida and stuff is the best.
Lex Fridman
(01:09:27)
Why? What is it about it?
Andrew Callaghan
(01:09:29)
People are just so friendly down there. And it is warm year round, and people are non-judgmental, and it’s just great. The South gets hated on a lot, especially in the coastal states. Mississippi and Alabama are kind of like the butts of a lot of jokes and stuff, but those are great states.
Lex Fridman
(01:09:44)
No, I love it. New Mexico, Albuquerque, all those-
Andrew Callaghan
(01:09:46)
Oh, yeah. The ABQ is great.
Lex Fridman
(01:09:48)
ABQ, what’s that?
Andrew Callaghan
(01:09:49)
Albuquerque. That’s what Jesse Pinkman called it, the ABQ.
Lex Fridman
(01:09:53)
Oh, shit. The depth of references you bring to the table is intense.
Andrew Callaghan
(01:09:58)
It’s okay.
Lex Fridman
(01:09:59)
I met a lady in Albuquerque when I was traveling across the United States, and she said, “Take me with you.”
Lex Fridman
(01:10:00)
In Albuquerque when I was traveling across the United States and she said, “Take me with you.” I said, “I’m sorry, ma’am. I can’t.” But I didn’t think about that lady.
Andrew Callaghan
(01:10:08)
I think you made the right call.
Lex Fridman
(01:10:09)
I don’t know. On the Road by Jack Kerouac.
Andrew Callaghan
(01:10:13)
Best book I’ve ever read in my life.
Lex Fridman
(01:10:17)
There’s a moment when he meets a nice girl on a bus and they have a love affair. It was good.
Andrew Callaghan
(01:10:24)
On the bus or [inaudible 01:10:26]?
Lex Fridman
(01:10:25)
No, no, they went to California. Well, yeah, and there was a love affair on the bus, but it wasn’t sexual. It was just romantic.
Andrew Callaghan
(01:10:31)
It was in the air?
Lex Fridman
(01:10:32)
It was in the air, which there is something in the air on the bus, like a Greyhound Megabus, that type of situation. There’s something-
Andrew Callaghan
(01:10:40)
Certainly something in the air?
Lex Fridman
(01:10:41)
It was a romance. There is, man. When you travel, because it’s like strangers getting together and you’re feeling each other out, but you’re in it. You each have a story because you wouldn’t be taking a bus unless you had a story. So especially if you’re traveling cross-country, there’s something.
Andrew Callaghan
(01:10:57)
You ever taken the dollar bus from Philly to New York? The Chinatown bus?
Lex Fridman
(01:11:00)
Yeah, I have. Yeah.
Andrew Callaghan
(01:11:01)
That’s a great bus, the people on that.
Lex Fridman
(01:11:03)
It’s not a fucking dollar, though. [inaudible 01:11:05].
Andrew Callaghan
(01:11:05)
There’s some that are $5.
Lex Fridman
(01:11:07)
No, no, no, no. If you book it way ahead of time, which it’s like $20. I was like, “This is a fucking lie calling it $1.” I don’t know why I’m swearing. The anger came out, and I apologize.
Andrew Callaghan
(01:11:17)
Hey, swearing is okay sometimes. Last time I was on the Chinatown bus, there was a rooster walking down the aisle.
Lex Fridman
(01:11:23)
Actual rooster?
Andrew Callaghan
(01:11:23)
Yeah, watched him chilling. It was awesome.
Lex Fridman
(01:11:25)
Well, there’s a nice part of your film with the rooster.
Andrew Callaghan
(01:11:27)
I forgot about that.
Lex Fridman
(01:11:28)
Yeah, that felt almost fake.
Andrew Callaghan
(01:11:32)
Yeah.
Lex Fridman
(01:11:33)
Did you plant the rooster?
Andrew Callaghan
(01:11:34)
No, there’s a place in Ybor City in Tampa where roosters walk around all the time. And we had a rooster parked there right by the main drag for… What did I say? We had a rooster parked? We had the RV parked at Ybor City for a long time, and the rooster laid eggs in the undercarriage.
Lex Fridman
(01:11:50)
Nice.
Andrew Callaghan
(01:11:51)
Back to the All Gas No Brakes thing though, so it was really fun making it. And then we started All Gas No Brakes in September of 2019. Six months later, the country shuts down and everything just hits the fan. I was actually here in Austin when it shut down. I was on 6th Street. I remember the, I don’t just hang out on 6th Street all the time, but I was just here.
Lex Fridman
(01:12:10)
Yeah, you do. Come on, let’s just be honest.
Andrew Callaghan
(01:12:12)
I do like 6th Street. I like East Austin better, but I like 6th Street too. So anyways, the NBA shuts down, everything’s shutting down. So I went down to the Dirty 6 and I asked this doorman, I was like, “Are you guys ever going to shut down?” He was like, “Fuck no, bro. The Dirty 6 never closes.” And I was like, “All right, we’ll see about that.” Next day, plywood. And then I was like, “All right.” I thought my career was over when Covid hit. I was like, “What are we going to do? Nothing’s happening anymore. There’s no more parties or Talladega races or Burning Man’s to go to.” So I went back to Seattle in the RV and I just spent four months just depressed, living in the RV, trying to figure out what would happen.
Lex Fridman
(01:12:51)
But All Gas No Brakes went on still through that?
Andrew Callaghan
(01:12:56)
Well, this was the craziest thing about that period of time is that when Covid hit, I’m sure you remember, everything turned political overnight. In Seattle, if you went to a house party, you can get canceled because people were like, “Oh, you’re a super-spreader.” So if you wanted to socialize even with a group of four or more, you had to do so with your phones damn near turned off. And a lot of people were doing hyper social policing at that time. Beyond that, in the south and in more conservative places, they were doing the opposite. They were trying to prove that they could hang out 500 deep with no mask to make a statement against the establishment.

(01:13:36)
So you had this polarization that led to more division, and that’s when the anti-vax protests started. And I went to Sacramento and the passion was unreal. This is about two months after the Covid lockdowns began, and that was my first political video was at the California State Capitol in Sacramento, documenting they called it the Freedom rally, but that’s typically anti-vax stuff. And it was real intensity. And that video was my most successful to date at that time. And so I was like, “Okay, am I a political reporter now? Am I covering politics? What’s going on?”
Lex Fridman
(01:14:15)
What were the interviews that made up that video? What style of questions were you asking?
Andrew Callaghan
(01:14:21)
I don’t know if you remember, but I was actually scared when the pandemic started. I thought that this is something that might kill us all based upon what I was consuming. And so I’d asked people, “What do you think about this lockdown?” And I’ve had people say, “I’m immune-compromised. If I get exposed to Covid, I have a 95% fatality rate. But guess what? I’d rather be free and dead than alive living in fear.” And I was like, wow. So it was just stuff along those lines. You had some San Diego surfers there complaining about the beaches being shut down when such awesome waves were coming.
Lex Fridman
(01:14:54)
Yeah, it’s interesting how that really brought out the worst in people.
Andrew Callaghan
(01:15:02)
Oh, yeah.

Protests

Lex Fridman
(01:15:03)
I’m not sure why that is. Fear, maybe. Paranoia, I don’t know. It really divided people. Along the lines, as you mentioned, triple mask yourself or fight for your country.
Andrew Callaghan
(01:15:17)
Yeah, right. Exactly. Why are those the two options? That is literally what it was.
Lex Fridman
(01:15:23)
Yeah, it’s wild.
Andrew Callaghan
(01:15:25)
And both groups think they’re fighting for the survival of something. And so that’s where you really run into problems, when you have two polarized groups who both think that their cause is for the common good, mutual understanding is impossible at that juncture. And so after three months of almost everybody being locked down, George Floyd happens. And I remember I saw the third precinct burning on my phone in Minneapolis, and everyone says, “Andrew, you have to go cover this.” And I’m somebody, like I said, police violence has been close to my heart since I was a kid. And my first thought is, I can’t do that. I’m a comedic reporter.

(01:16:11)
I can’t go to Minneapolis and cover this, it’ll be the end of my career. And I had a friend named Lacey who I went to college with, and she told me, she was like, “Bro, this is your chance for you to do something serious. You can actually create a meaningful piece of reporting like you always wanted to before Quarter Confessions, and you can turn All Gas No Brakes into a news source.” So I called Reid, who was the CEO of the company that owned All Gas No Brakes, and I was like, “Look man, I want to go to Minneapolis.” I was in Orlando at the time. I was actually at The sausage Castle. And he said-
Lex Fridman
(01:16:43)
Sorry, The Sausage Castle?
Andrew Callaghan
(01:16:46)
Yeah, the Juggalo Mansion.
Lex Fridman
(01:16:48)
Oh, right. That was called The Sausage Castle. Right.
Andrew Callaghan
(01:16:50)
So I’m watching Minneapolis unfold on Lake Street where it was burning, and I got to the Orlando Airport and I booked a flight. I booked it on my own card, I didn’t consult my boss or anything. And I was sitting in my seat on the flight and he straight up told me, he’s like, “If you fuck this up and this destroys the brand, we’re getting a different host. If you mess this up and you turn our show away from a party show about drinking and drugs and all that stuff and you make this a social justice show, you’re done.” But I was like, I just turned my phone off. I got to the Minneapolis Airport on the second night of the riots. And when I got to the airport, there was National Guardsmen in the airport and it was like a Call of Duty mission, the one in the airport.

(01:17:42)
And on the speaker, they say, “If you’re arriving here right now, you are not permitted to go anywhere outside of the airport. National Guardsmen will escort you to your Uber or to your car, they’re going to take a picture of your ID, they’re going to figure out where you’re going. You are not permitted to go outside tonight.” And so Lacey picks me up. There’s two people in the back, two of her homegirls wearing shiesty masks. I’m like, “What are we doing? Where are we going?” And she goes, “We’re going to go film the riot. We’re going to Lake Street.”

(01:18:10)
And so we drive down there, Kmart is burning, Target is burning, everything is on fire. She has the Sony A7. She gives me a microphone and she’s like, “Go talk to that guy”, and that was the guy with a Molotov cocktail in his hand who had just burned Kmart down. And so I go, ” What should I ask him?” She goes, “What’s on your mind?” So I walk up to him and I’m like, “What’s on your mind?” He said something like, “Everything that was happening here was supposed to happen. This is how we feel. Is it right? No. Is this going to benefit the community? No, but this is how we feel.”
Lex Fridman
(01:18:45)
“This is how we feel”, that’s pretty powerful. Through a lot of the documenting that you do, “this is how we feel” is screaming through that.
Andrew Callaghan
(01:18:57)
Yeah. And I noticed that aside from a group called Unicorn Riot, there was no one else actually interviewing the protesters. The local news was on the bridge 15, not 15, but five blocks away filming just the scene itself, just the fire. But I saw some crazy things off camera, too. So there was two groups there. There was the anarchists, more mobilized protestors, and then there was just mostly African-American community members who were just pissed, who had nothing to do with the organized resistance. And they were all joining forces to riot. And there was this anarchist kid who ran up to White Castle with a Molotov cocktail, and he was about to throw it at White Castle. And this black dude ran up to him and grabbed his arm and he’s like, “Nah, we fuck with white Castle.” And I was like, what? And so you see, if you go on Lake Street, every business is burned. White Castle remains.
Lex Fridman
(01:19:51)
Yeah, White Castle stands.
Andrew Callaghan
(01:19:52)
I also saw all these dudes rip this ATM out of a bank and hit it with sledgehammers. They were a group of friends hitting it with sledgehammers, right? They’re hitting with sledgehammers, boom. All of a sudden, money starts spraying out of the ATM. I’ve never seen some shit like this, pouring out of it. And then these group of friends, who were just united and getting it open, start fighting each other for the money as it’s flying out of it. And so it was like Joker from The Batman’s army type vibes, but I got shot in the ass by the National Guard. It was no good.
Lex Fridman
(01:20:25)
Like what, a rubber bullet?
Andrew Callaghan
(01:20:26)
Yeah, yeah. Not shot-
Lex Fridman
(01:20:28)
How’d that feel like?
Andrew Callaghan
(01:20:29)
Honestly, it hurt. Yeah, it hurt.
Lex Fridman
(01:20:32)
I’m not sure what I was expecting as an answer to that question.
Andrew Callaghan
(01:20:34)
Yeah.
Lex Fridman
(01:20:35)
I liked it. It was good.
Andrew Callaghan
(01:20:36)
Yeah. And then after that, I posted the video and it was very well received. And that was the pivotal point where I realized that everything was going to change.

Jon Stewart

Lex Fridman
(01:20:45)
I mean, there was still a comedic element to the way you do conversations, so the way you edit. So did you see yourself as potentially like a Jon Stewart type of character?
Andrew Callaghan
(01:20:57)
At first, but I just think human beings are just funny in general.
Lex Fridman
(01:21:00)
Yeah, the absurdity of it.
Andrew Callaghan
(01:21:02)
Cool thing about Jon Stewart is I generally like to say that anybody who works for corporate media, whether it be Comedy Central or anything owned by Time Warner, Fox, MSNBC, they can’t say what they want because in order to climb up in those organizations, you have to appease the narrative of the company that you’re working for to rise in the ranks. Jon Stewart I feel like has so much clout in the media world that I’m pretty sure he can say whatever he wants. I actually don’t think that Jon Stewart is controlled by anybody, I really don’t. I think that he can go on the show and talk about whatever.
Lex Fridman
(01:21:36)
I do think that certain people have broken the brains of, Covid broke the brains of a lot of really great people I admire. Trump broke the brains of a lot of people I admire to where Trump derangement syndrome became a thing, you can’t see the world quite as clearly because of it. And I think Jon Stewart is quite a genius at stepping away. Even though the world needed him in that time, stepping away during that moment of Trump and coming back now, being able to reflect being [inaudible 01:22:12] that elder statesman.
Andrew Callaghan
(01:22:13)
My favorite Jon Stewart moment that illustrates that perfectly is whenever he went on the Colbert show. And he was just joking around with Stephen Colbert, who I think is a full-blown propagandist, about the Wuhan Lab leak theory. He was just goofing around and he was like, ” It’s called the Coronavirus Lab and they had it before. And now what do we have?” And it was like you could see in Stephen Colbert that he was like gun to his head type shit where he is like, “Jon, Jon, stop joking about that.” And that made me realize, oh, everything that Jon Stewart did, especially for the 9/11 first responders, he’s a true American. And not in the sense that the different political parties want you to believe as an American, not a do your part in social distance American, not a wave your Trump flag in the back of your pickup truck American, just a guy who genuinely stands up for what’s right.
Lex Fridman
(01:23:09)
There is a degree to which you can be in those positions easily captured by groupthink though, even when you’re not controlled by bosses and money and all that stuff. I think Jon Stewart has been mostly resistant, but it’s hard. His position is difficult.
Andrew Callaghan
(01:23:25)
I think he’s done the best job though. If someone in that obviously Democrat-connected corporate media economy, he seems to be the freest talker.
Lex Fridman
(01:23:34)
Yeah. So this is when you first became famous?

Fame

Andrew Callaghan
(01:23:38)
I’m not even sure what fame means. I mean, I just see myself as me.
Lex Fridman
(01:23:42)
When did you get the shades?
Andrew Callaghan
(01:23:43)
Oh, that was on tour. That’s a whole… The shades, that’s a dark time. I didn’t make-
Lex Fridman
(01:23:52)
This is a meme really. I don’t even know if that’s a symbol of fame or whatever.
Andrew Callaghan
(01:23:54)
I didn’t make journalism to become famous, I made it to give people a platform to share their stories. It just so happens that people liked it enough to where I became famous. But if I could go back and not be the on-camera guy and just platform the stories, I would. But the reality is people need a face to attach to stuff they like, and so that’s just how it is. But yeah, I would say right around Minneapolis protest, Portland protest, Proud Boys rally time when I was really in there is when I started to be acclaimed as more than just a ambush meme lord.
Lex Fridman
(01:24:28)
Did that have effect on you, the fame?
Andrew Callaghan
(01:24:31)
Not at that point.
Lex Fridman
(01:24:33)
Not at that point? So you were still able to have a lightness to you?
Andrew Callaghan
(01:24:37)
Well, the country was basically closed.
Lex Fridman
(01:24:39)
Yeah.
Andrew Callaghan
(01:24:39)
So it wasn’t like there was a street to walk down where people were like, “There’s that guy.” So getting famous during Covid made it. So when the country reopened, it was as if my life really changed because I was like, “Oh, all these fans I made during Covid are seeing me out at the bar. This is cool.”
Lex Fridman
(01:24:57)
Yeah.
Andrew Callaghan
(01:24:57)
At first, fame is the best thing ever because you can go anywhere in the country and these spaces that you normally feel a bit insecure in, like a local dive bar, a cool restaurant, a coffee shop where you just be another guy, all of a sudden they’re like, “Oh my God, I’m a big fan.” They give you free stuff. You get this sense of acceptance that you never would’ve gotten before, but there’s also-
Lex Fridman
(01:25:17)
The dark side. It’s all love, man. Just to speak to the first part you’re saying it’s just so much love that people have [inaudible 01:25:26].
Andrew Callaghan
(01:25:25)
It’s amazing. I’m sure you know what it’s like.
Lex Fridman
(01:25:27)
That’s beautiful.
Andrew Callaghan
(01:25:28)
The only downside of fame really is that you can’t really be anonymous again, and you have to seek out more strange environments to be anonymous in. Right now, I live in the desert basically, and I want to live in the middle of nowhere in the Mojave Desert. Not because I’m scared of people, but because I just want to be curious me again who people don’t know and I can ask questions to people that I’m interested in without them going, “I remember, I seen you here” or, “I seen you there.” That’s the main thing. That’s what I loved about hitchhiking.
Lex Fridman
(01:25:55)
Yeah, just to have an anonymity. For sure.
Andrew Callaghan
(01:25:58)
Yeah, it’s the best. But both are great. Complaining about fame is just the lamest shit.
Lex Fridman
(01:26:01)
Yeah. Did you go to furry conventions that you covered wearing an outfit?
Andrew Callaghan
(01:26:06)
I love furries. I should do that.
Lex Fridman
(01:26:08)
Yeah, we should go together. I go all the time, we should go together. What’s your favorite outfit?
Andrew Callaghan
(01:26:12)
You ever hopped into a furry convention?
Lex Fridman
(01:26:13)
No, I have not.
Andrew Callaghan
(01:26:14)
I think you might like it more than you think.
Lex Fridman
(01:26:18)
Listen, maybe I’m just afraid to face who I really am.
Andrew Callaghan
(01:26:23)
Yeah. Your fursona, the true Lex will come out when you’re in a $3,600 lizard suit.
Lex Fridman
(01:26:30)
Everything is possible. Lizard? Is that what they go with?
Andrew Callaghan
(01:26:31)
Well, scalies are the lizard furries. And there’s a big division in the community where they think scalies are douchebag because the scaly suits are more expensive. They’re about 7,000, whereas a fur suit is 3,600. And they’re also taller. So when the scalies pull up to the fur fest, it’s like, “Ah, fuck the reptiles.”
Lex Fridman
(01:26:49)
Fuck the reptiles, I can get behind that. I’m more like a teddy bear type of guy. I think bears, maybe squirrels. I don’t know.
Andrew Callaghan
(01:26:59)
Squirrels are so cool.
Lex Fridman
(01:27:00)
Giant squirrels, yeah.
Andrew Callaghan
(01:27:00)
I want to put a GoPro on one and just see what the hell they do.
Lex Fridman
(01:27:04)
You were talking about that conversation with the guy at the head of Doing Things Media. How did that end up?
Andrew Callaghan
(01:27:12)
Well, I mean, I want to clear up a few things. Reid, the CEO of Doing Things, I actually think he’s a good guy. I think that he was just trying to run a business. He saw what was working for his brand, which is very college-centric, very festival-centric. And he was right to think that journalism and especially coverage of sensitive topics like Covid or police brutality would definitely not work on merch. You’re not going to sell a picture of me interviewing someone at a riot like you would me interviewing a furry or a drunk dude in Alabama, it doesn’t work the same. So it was a lot harder to monetize not just because of YouTube censorship, but also just because of the sensitive nature of the content. So Reid was looking out for himself as a businessman. There was a different partner, I’m not going to say his name, that was more connected in Hollywood. I think he’s responsible for the collapse of the show.
Lex Fridman
(01:28:03)
What was the collapse like? What happened?
Andrew Callaghan
(01:28:05)
So right as the country’s reopening, I get a DM from Eric Wareheim of Tim & Eric, and I’m covering something called the UFO Mega Conference in Laughlin Nevada, which is a beautiful river town. And he DMed me and says, “Let’s make a show.” And I’m like, “Oh shit, is this real?” I grew up such a big fan of Nathan for You and The Eric Andre show, and those are produced by their company, Abso Lutely. So I was like, “Hell yeah, let’s do it.” Three days later, I get a call that says, “Jonah Hill wants to hop on board”, and I can’t believe this. I’m still in the RV and I’m in Laughlin, Nevada. So I’m like, “Jonah Hill, Super Bad. Are you shitting me right now?” So I was excited. Oh, and Moneyball. Jonah Hill’s a great actor.
Lex Fridman
(01:28:51)
Oh, he is great. He’s great all around.
Andrew Callaghan
(01:28:51)
Yeah.
Lex Fridman
(01:28:51)
He doesn’t get the credit he deserves. Well, I mean, he’s got the credit by now, but still deserves more.
Andrew Callaghan
(01:28:56)
So basically just within a week, I assembled this super team of Tim and Eric.
Lex Fridman
(01:29:00)
Super Bad team?
Andrew Callaghan
(01:29:01)
Yeah, pretty much of Tim and Eric.
Lex Fridman
(01:29:02)
Sorry, I’m so sorry.
Andrew Callaghan
(01:29:05)
No, that’s good. And Jonah Hill. And yeah, we just pitched it around. Every single TV network rejected it, I don’t know why. And they mainly did that because I was in this weird situation where I had signed a contract with Doing Things Media that I didn’t realize was called a 360 deal. That’s what they use in the rap world. Basically means that I can’t do anything outside of them without them getting 100% of the money. So if I was to go work at Sbarro or Quiznos while I was working for All Gas No Brakes, they would get my $500 a week from the sandwich spot. I was unable to earn any outside income.

(01:29:45)
I didn’t read the fine print because I was 21 and, like I told you, 45,000 a year RV sounds sick. And basically, the TV networks were like, “Why would we buy a show if the digital brand’s going to be running at the same time?” Because they didn’t want to stop doing All Gas No Brakes to make a TV show, they wanted All Gas No Brakes to continue as a web show while All Gas No Brakes as a future TV show at Showtime or Hulu or somewhere like that was also concurrently running, which is impossible for one man to do. And so every TV network said, “Okay, we’re not doing that. We want an exclusive rights contract with this guy.” Next, oh yeah, this is crazy to think about because it all happened so fast. So Jonah Hill says, “A24 Films wants to do a movie instead of a show, and they’re going to let you keep the digital brand running.”

(01:30:34)
So this meant that I could keep doing my Instagram stuff with Doing Things Media/All Gas No Brakes while making an A24 movie with Jonah Hill and Tim and Eric. So it was just like I was excited, it sounded perfect. So they said, “Okay, what do you want to make a movie about?” And I told them, “Okay, here’s what’s going to happen in 2020. If Trump wins, there’s going to be riots across the country. The major cities are going to burn down. If Trump loses, the militias and his loyal supporters are going to try to have a coup in DC.” That’s what I said. And I said, “So I’m going to follow the lead up to whoever wins the election and I’m going to document what happens after.” So they said, “Okay.” And so I was to begin filming in late October during the campaign trail, maybe mid-October up until November, and then in the following months to see what would happen. This meant that I couldn’t film anything for All Gas No Brakes the digital show because I had to dedicate 100% of my time to making this perfect movie.
Lex Fridman
(01:31:39)
Yes.
Andrew Callaghan
(01:31:41)
Still, one of the partners at Doing Things Media was demanding that I not only produce the movie, but also more content for the show. And I told them, “There’s only so many hours in a day, man. That’s going to be impossible.” And I said, “If you want it to be possible, I can make it work, but I want to have half of the monetization from the show. 50% profit split”, which I thought is fair. If you want me to do double work when I was getting almost nothing before, split me in on the profits. They fired us immediately, me and my two childhood friends who I hired to work on the show with me were all out of a job. As we were filming for the Now HBO project, we got our fire notices.
Lex Fridman
(01:32:20)
The guts on that person, because you should be owning probably close to 100% of it.
Andrew Callaghan
(01:32:28)
I think so too, but they didn’t see it that way because they figured we made the initial investment. “We discovered him” is how they looked at it. So it wasn’t Reid, but it was the other partner who wasn’t Reid who said, verbatim he said this, “I have tons of connections in the comedy world. We can replace Andrew overnight.” I’m not sure why he made that miscalculation. I wish he would’ve thought about it twice, I wish it didn’t have to end like that, but it did.
Lex Fridman
(01:32:56)
Why do people do that? What’s the benefit of acting like that? Because you can part amicably without the drama.
Andrew Callaghan
(01:33:04)
I think all betrayal in anything like that is motivated by self-interest, whether that be economic success, social stability, whatever it is. They figured that because I was being such a burden in asking for the profit that they could just release me and find someone equally talented and not split them in so they can make more money.
Lex Fridman
(01:33:23)
Oh, I see. Well, that’s a stupid way to think.
Andrew Callaghan
(01:33:27)
People think like that, man. The word I use is sidekick syndrome. When people are a part of the production, but they’re not integral, they start thinking that the front man doesn’t matter or something, and that the brains of the operation are actually the people on the periphery. And so they start to believe that they can just shift things around and the audience won’t care, not realizing that I was actually the one who created the show and that the lore of the show is connected to my rise outside of their jurisdiction, if that makes sense. The people who watch All Gas No Brake watched Quarter Confessions and read the book.
Lex Fridman
(01:34:05)
Well, this happens also not just financially, but just with people that part of a team, but they don’t really contribute creatively to the team and they force their opinion or pressure. Whether this comes from editors or all that stuff or from sponsors, there’s pressure they create when the creator alone should be celebrated and have all the power because they’re the ones that are creating the thing.
Andrew Callaghan
(01:34:34)
In a way, I have sympathy because I can’t relate to that because I’ve always been the front man of my own projects by design. So I’m not sure what it’s like to be someone’s owner from a content perspective. I don’t understand the challenges they face. Maybe there was something that I didn’t understand, I don’t know.
Lex Fridman
(01:34:51)
True. Well, oftentimes if you own a thing like this, like this company, you do think about brand and then maybe have a big picture idea of what brand means. And that can be at tension with the creative project, right?
Andrew Callaghan
(01:35:09)
Yeah.
Lex Fridman
(01:35:10)
But ultimately, freedom for the creators is the best brand.
Andrew Callaghan
(01:35:16)
Yeah. I remember all three of us who worked on All Gas No Brakes got fired at the same time. And we were in the RV that Tim and Eric’s company bought for us, which was a bigger RV in the parking lot of a Walmart in South Philly. And the propane had just ran out and it was 15 degrees outside, so the RV was getting really cold really fast. And I just looked at my phone and it was like, “You’re fired”, and I was just like, “God, help me.” I’ve had a couple moments like that and God does help me.
Lex Fridman
(01:35:45)
And they were always in the parking lot of Walmart, right?
Andrew Callaghan
(01:35:49)
Well, yeah. Although-
Lex Fridman
(01:35:51)
I know that Walmart, by the way.
Andrew Callaghan
(01:35:52)
The one in South Philly is great.
Lex Fridman
(01:35:53)
Yeah, that’s great.
Andrew Callaghan
(01:35:54)
But technically now, you can’t park an RV there.
Lex Fridman
(01:35:57)
Well, you’re not a man who follows the rules, if you know what I’m saying.
Andrew Callaghan
(01:36:01)
Well, the thing is though, Walmart, Cracker Barrel and Big 5 are supposed to technically all let RV campers park overnight. But if there’s a crime problem in the city where they’re at, individual Walmarts can lobby with the corporate to take that away. So all the Portland Walmarts, you can’t sleep there anymore. Any city with significant homelessness and petty property crime, the Walmarts are a no-go.
Lex Fridman
(01:36:22)
Fascinating. So that was a low point.
Andrew Callaghan
(01:36:25)
Yeah.
Lex Fridman
(01:36:28)
But from there, from the ashes, the phoenix rose.
Andrew Callaghan
(01:36:32)
Over time, yeah.
Lex Fridman
(01:36:33)
Channel 5 was born.
Andrew Callaghan
(01:36:35)
Channel 5 was born in the March of 2021 after we finished filming for the HBO Project.
Lex Fridman
(01:36:42)
Oh, really? So you went all in on the HBO project [inaudible 01:36:45]?
Andrew Callaghan
(01:36:45)
Yeah. I mean, we filmed the HBO project from November, 2020 up until April, 2021, damn near. We were just picking up the pieces, going back for individual interviews, stuff like that.

Jan 6

Lex Fridman
(01:36:55)
So let’s go to that project. It turned out to be a movie called This Place Rules.
Andrew Callaghan
(01:37:00)
It was supposed to be called America Shits Itself.
Lex Fridman
(01:37:02)
Yeah. Maybe you can tell the story of the film. You have, what’s his name? I wrote this down. Joker Gang and Gum Gang, is that correct?
Andrew Callaghan
(01:37:09)
Yeah, the opening scene.
Lex Fridman
(01:37:10)
The opening scene of two characters just talking shit and then getting into a fight. And that I think was really brilliant how you presented that as almost like a microcosm of the division between the extremes of the left and the extremes of the right.
Andrew Callaghan
(01:37:27)
That’s exactly what it was. I’m glad you picked up on it.
Lex Fridman
(01:37:29)
Yeah. And then what I really liked is that the joke, again, Joker Gang was, a little bit of a spoiler alert, I apologize, but at the end of the film was a voice of wisdom.
Andrew Callaghan
(01:37:44)
Yeah. I just realized-
Lex Fridman
(01:37:46)
He seems the most sane.
Andrew Callaghan
(01:37:47)
He was the voice of wisdom. He cut through it.
Lex Fridman
(01:37:50)
Yeah.
Andrew Callaghan
(01:37:50)
I also just realized that a lot of people are going to stream the movie after watching this podcast, which is cool.
Lex Fridman
(01:37:55)
Yeah. Where do they stream it? On HBO Max, right?
Andrew Callaghan
(01:37:58)
Yeah, HBO Max. I never got a chance to promote them.
Lex Fridman
(01:38:00)
It’s such a pain in the ass, man. I wish we could all just pay on it on YouTube or something. And HBO gets the profits or whatever, but it’s such… You have to subscribe for every single thing. But yes, if you want to watch it, it’s really, I recommend extremely, highly… Sign up to HBO, whatever the hell.
Andrew Callaghan
(01:38:16)
On the positive note, HBO is great to work with. They’re the most professional, respectful company I’ve ever worked with, pretty much.
Lex Fridman
(01:38:24)
Yeah, HBO has created some of the greatest TV ever.
Andrew Callaghan
(01:38:27)
But even in the background, they get shit done. There’s no wait time. They have some of the best heavy hitters on their team. For trailers, for posters, all the promotional apparatus they have is super solid.
Lex Fridman
(01:38:38)
Did you get good notes from people there, like how to-
Andrew Callaghan
(01:38:41)
A little bit, man, but-
Lex Fridman
(01:38:42)
It’s a truly original documentary, meaning I just haven’t seen anything like it. So there’s a humor and a lightness at the right moments. Like I said, there’s a rooster in your… That’s like, okay, that’s like a non sequitur thing as part of a storytelling. It intensifies and reveals the absurdity of the division and how ones like January 6th happens, everybody goes onto the next thing. It’s like, what happened to us? It was almost like a delirium that everybody was participating in. Some weird, just like, well, like people say, mind virus. All of a sudden, we just got captured and people were just yelling at each other and doing the most ridiculous shit. And I mean, really, January 6th, the way you presented especially just reveals the circus of it all.
Andrew Callaghan
(01:39:34)
I mean, it really broke the fourth wall. That’s how I would describe it because if you were at January 6th and the lead up, it felt like it was the beginning to a series of similar riots. But it just popped off so much that that was it, that you haven’t seen anything like it since. There was supposed to be a second one on January 20th, it was the actual inauguration. It never happened. It was a crazy time to be alive and around, and especially the relationship that I developed with Enrique Tarrio, who’s the former chairman of The Proud Boys.

(01:40:03)
He’s now facing 23 years in prison. It’s like a trip because I went to his house in Miami maybe two weeks after January 6th. And talking to him, it seemed like he didn’t think anything was going to happen. He was just like, “Yeah, man, that was crazy. I’m glad I wasn’t there. They’re dumb for doing that.” He even told me he doesn’t think the election was stolen, which is just a mindfuck. It’s like, why’d you get everyone so hyped up? It’s just weird to think about how so many people’s lives are drastically altered forever because of that just bizarre moment in time that will always live on.

QAnon

Lex Fridman
(01:40:38)
Yeah. QAnon is part of that story, what’d you learn about QAnon from that?
Andrew Callaghan
(01:40:45)
Just an all encompassing worldview. That family that I talked to, I call them the QAnon family, but it’s called the Spencer family. They were non-political up until the Stop the Steal movement began in September of 2020. And within four months, their entire life revolved around the mythology and lore of Q. And I’ve never seen in my life a psyop just devour people’s minds in such an intense way, in such a rapid period of time.
Lex Fridman
(01:41:12)
And I love how the kids in the movie are also the voices of wisdom. The Spencer family, it’s the kid who goes through the full journey of believing that whatever, Hillary Clinton is a lizard, and just believing all the worst versions of the conspiracy theories. And then waking up was like, what was the point? [inaudible 01:41:34].
Andrew Callaghan
(01:41:33)
Yeah. It was heartbreaking to see his disappointment in his dad for even following QAnon so militantly because he was like, “I felt like they let my dad down. I felt like they let our family down” because January 6th was supposed to be the day, according to QAnon, that the storm happens and that the military is supposed to mobilize and arrest the members of the deep state, Clinton, Soros, all that. Trump was supposed to go into a helicopter, you know what I mean? And take control of the country back from the swamp, and it didn’t happen. In fact, the next day, he was almost denouncing it. Now he doesn’t, but then he did. And I think it hurt people’s pride a lot. My friend, Forgiato Blow, he’s a Trump rapper, he describes it that way. He says, “A lot of people’s pride got hurt by January 6th.”
Lex Fridman
(01:42:20)
Trump rapper?
Andrew Callaghan
(01:42:21)
Oh, yeah, dude. Honestly, there’s some pretty dope Trump rap out there. I’m serious.
Lex Fridman
(01:42:27)
MAGA rap?
Andrew Callaghan
(01:42:29)
Yeah. You would think like, “Oh, yeah. MAGA, there’s no rappers there”, but there’s rappers. And they do a pretty good job.
Lex Fridman
(01:42:34)
They’re good?
Andrew Callaghan
(01:42:35)
At delivering the messaging they want to deliver, yeah. I mean, they think of stuff and I’m like, “That’s clever.”
Lex Fridman
(01:42:40)
Oh, they have some political depth to them?
Andrew Callaghan
(01:42:43)
Yeah.
Lex Fridman
(01:42:43)
Wow. I mean, is there something more you could say about how QAnon works? Who’s behind it? What’s your sense of who’s behind the whole thing?
Andrew Callaghan
(01:42:55)
I don’t want this to sound rude or anything, I just don’t care about QAnon. You know what I mean? I’ve put so much thought into it and I just can’t seem to care about it.
Lex Fridman
(01:43:12)
Was it almost a disappointment? Because to me, it was like a thing that just captured a very large number of people’s minds, and then it just faded.
Andrew Callaghan
(01:43:22)
I guess that’s why. It just seems like it’s gone, and the ideas of QAnon have just bled into mainstream standard conservative thinking.
Lex Fridman
(01:43:31)
But there has to be a retrospective. That’s the problem I have with Covid. A lot of stuff happened, everybody freaked out. There’s a lot of big drama around it. And now, everyone was like, “Okay, forgot.” Just moved away. What are the lessons learned? Has anyone learned any lessons?
Andrew Callaghan
(01:43:46)
Yeah, exactly. And what I’m saying is I don’t want QAnon adherents to see this and think I don’t care about them, but as far as who is behind it, the damage is done.
Lex Fridman
(01:43:57)
Yeah, but what are the mechanisms that made it work? I mean, that’s a really-
Andrew Callaghan
(01:44:00)
What do you think? Have you thought about that?
Lex Fridman
(01:44:04)
I think that these viral ideas can be driven by, and your film shows this, by just a handful of people. And they’re not malevolent, they just want the clout. And there’s something sexy, there’s something really sticky about conspiracy theories, especially extreme ones. Some of them can have this momentum. They capture the minds of a lot of people and you just go with it. And when I hear some conspiracy theories, there’s something like a small part of me that like, yeah, like excited.
Andrew Callaghan
(01:44:37)
It’s possible that QAnon is a psyop to distract people away from actually uncovering what the deep state is and who is truly running things behind the scenes because the deep state is just the 1%. It’s that you get people so close to any type of class consciousness, and then you totally divert everything into lizard humans who live on the moon and that Hillary Clinton is…
Andrew Callaghan
(01:45:00)
… lizard humans who live on the moon and that Hillary Clinton is eating babies on camera, and QAnon did just that. They want to convince you that, one, there’s no conservative deep state, which is even more hilarious, that Trump isn’t connected to a huge, rich corporate apparatus of propagandists. And two, that the Democratic establishment is the only deep state and that some middle-of-the-road conservatives, that there’s no grifters or manipulators outside of that three-headed snake.
Lex Fridman
(01:45:31)
There’s grifters everywhere.
Andrew Callaghan
(01:45:33)
Everywhere. Everyone wants to make money, dude. This is the world that we’re in. It’s in collapse. Everybody wants to make money, and engagement is the rule of law. That’s why these news organizations follow retention incentives. They want to make money by selling ads, so they try to create fear and constant division to enrich the corporate media establishment. And you have people who are almost realizing, “Hey, it seems like Fox and CNN might be owned by the same people and are tactically using these machines to keep us divided perfectly 50-50 to ensure that the power structure never gets disrupted.” And then, you get these people, “You know who’s going to save us? Donald Trump.” That’s the guy? How is that the guy? It’s not the guy, and I don’t have TDS. I’m not an orange man basher who thinks about the guy all the time, but I don’t think he’s the guy.

Alex Jones

Lex Fridman
(01:46:24)
You were shirtless, lifting weights while whiskey or some alcohol was poured into your mouth by Alex Jones in this movie, and then you did the same to him.
Andrew Callaghan
(01:46:36)
That’s true.
Lex Fridman
(01:46:38)
This feels like an interrogation. So Alex was a part of this film. He was throughout the narrative, and yes, you had a great interview with him. What did you learn about interacting with Alex Jones from making this film?
Andrew Callaghan
(01:46:54)
For one is that he’s the exact same off-camera as he is on camera.
Lex Fridman
(01:46:58)
Yeah.
Andrew Callaghan
(01:46:58)
It’s not an act. He told me that all real Americans die before 58. He mentioned Sean Connery and a few others, and…
Lex Fridman
(01:47:08)
How old is he?
Andrew Callaghan
(01:47:09)
Getting up there.
Lex Fridman
(01:47:10)
Yeah.
Andrew Callaghan
(01:47:11)
I think early 50s.
Lex Fridman
(01:47:12)
Yeah.
Andrew Callaghan
(01:47:13)
I just found it fascinating, how nice his studio is. The guy’s got like an MSNBC-level setup. I actually had a great time with him, you know? It’s bizarre because having him in that movie created so many problems for me, and when I interviewed him, I didn’t necessarily portray him in the best light. We joked around a bit, but it wasn’t an Alex Jones hit piece necessarily. But I like to think that I was a bit critical of him in the film, especially the ways that he antagonized his supporters to storm the Capitol or to follow that trajectory.

(01:47:49)
He told me when I met with him, he was like, “I know you think that having me in this movie is a good idea, but you’re going to have some serious backlash because of that.” At the time, I was like, “Man, it’s fine. It’s all good. We’re just hanging out, drinking whiskey, doing bench presses, drinking Jameson. It’s all good.” First of all, I had to campaign to get him in the film because the studios were like, “We don’t…” There was a bizarre time around… I think it was 2018, where deplatforming was the big thing that people were encouraging. It said giving a platform to problematic ideologies will, in turn, expand their reach. And so even extending your platform to someone who’s problematic is helping them, aka destroying humanity, whatever it was. So that was the whole thing.

(01:48:35)
And when I did this media training that was mandated by HBO, it was all training in how to defend from that exact question. They said, “When we put you on NPR, when we put you on CNN, they’re going to ask you about platforming problematic ideologies, and you’re going to have to say stuff like, ‘Sunlight is the best disinfectant. I believe that extremism only goes away when you shine a light on it because leaving it in the dark will only allow it to grow.'” They gave me like 15 pointers. I didn’t use any of those pointers because I’m not the kind of person who wants to be media-trained. I like to speak freely.

(01:49:15)
But in the promotional run for the film, when I went on CNN, this was a crazy experience. So I went on CNN and thankfully, my friend was with me, and so I’m on CNN, and-
Lex Fridman
(01:49:27)
By the way, your friend is chilling in sunglasses, laying in the cocktail.
Andrew Callaghan
(01:49:31)
That’s Larry [inaudible 01:49:32].
Lex Fridman
(01:49:34)
It’s a mix of the dude from Big Lebowski and the Brad Pitt role in True Romance, you know that reference?
Andrew Callaghan
(01:49:45)
No, I’m sure it describes Larry. He kind of looks like Brad Pitt.
Lex Fridman
(01:49:49)
[inaudible 01:49:49] Yes.
Andrew Callaghan
(01:49:51)
So HBO had a press tour set up for me, and the main ones were CNN and NPR. And so they said, “You’re going to go on CNN on the Don Lemon morning show, and he’s going to ask you about your life, what led up to the movie, what we can expect?” So I get in the studio, it’s about seven o’clock in the morning in New York. Had a show the night before at Times Square. So I’m groggy eyed, whatever. They put the lab on me, boom. I’m live on CNN, Sunday morning. And he goes, “How would you describe Enrique Tarrio’s mental state in the lead-up to the Capitol insurrection?” And I’m looking around, I’m like, “Is this guy serious? Am I sandwiched in the January 6th hit piece right now? I thought it was about me.” And so I told him, “It’s not about Enrique Tarrio. It’s about how companies like Fox, MSNBC, and even your station, CNN, use the 24-hour news cycle to enrage people to generate ad revenue and pit Americans against each other during times like that.”

(01:50:44)
And he said, “There’s nothing fake about CNN.” I said, “I didn’t say you were fake news. I’m not saying you’re lying, but you’re directly antagonizing and stirring people up against half the country because you need money to support a dying platform.”
Lex Fridman
(01:50:58)
You said that?
Andrew Callaghan
(01:50:59)
Pretty much.
Lex Fridman
(01:50:59)
Nice. Great.
Andrew Callaghan
(01:51:02)
And my mom was watching it. She was texting me. She was like, “What are you doing?” And I was like, “I don’t know.” And so he goes, “Why did you extend the platform to Alex Jones?” I go, “I don’t know. I just wanted to drink some Jameson and lift some weights with him.” At this point, I don’t support that kind of media. I don’t support CNN, so I didn’t give them much information about Alex, but it was very awkward. They never posted the segment online. When I got off of that interview, I had a handler that A24 assigned to me. So I had someone with me and you could tell she was flustered, she was furious about what I just did. And so she goes, “I just got an email from Time Warner C-Suite.” And I go, “What’s Time Warner C-Suite?” She says, “I don’t know if you know this, but the same people who own CNN own HBO, and it’s Time Warner.” And so they canceled my press tour.

(01:51:55)
So my press tour was finished. All the late night shows that I was supposed to go on, I was supposed to go on the late night shows, and that was off the table because they were worried that I was a loose cannon, I think. And then, the only remaining appearance I had left was NPR in Boston, and that was supposed to be a premiere. So it wasn’t supposed to be an interrogation. It wasn’t supposed to be anything like that. Supposed to be a premiere in front of a live audience where they watched the film and I show up after for a Q&A. So I’m like, “All right, whatever. It’s weird, they only have this one press opportunity left.” I felt bad that I ruined the entire press tour by confronting Don Lemon, but at this point, I wanted to just do this final one, especially because it was a viewing, and I was like, “Cool.”

(01:52:38)
I sat in the audience, I watched people laugh to the film. It was awesome. So I go backstage and there’s an NPR journalist waiting for me. And nothing against people who wear masks, but she had two N95s on. Two N95s is-
Lex Fridman
(01:52:51)
It’s a lot.
Andrew Callaghan
(01:52:53)
It’s over the line. So I go, “Hey, great to meet you.” She doesn’t shake my hand and I go, “Why not?” And she goes, “You’ve been around some people who I don’t want their germs.” And I’m like, “Okay, okay, this is weird. I thought this is a fun premiere for my movie.” We sit down. The first thing she asks me is, “How do you think the Sandy Hook families would feel about you platforming one of the most despicable Americans in history, Alex Jones?” In front of a live audience. NPR never published this. The only recordings of it are by a fan named Rob in Boston who put it on YouTube. It’s vertical phone footage.

(01:53:36)
And I literally am like, “Well, the Sandy Hook family’s lawyer, Mark Bankston, who represented them in court in Connecticut, told me specifically that Leonard Posner, the father of Noah Posner who died at Sandy Hook, was a huge fan of the film.” And so I said that to her and that just silenced that conversation, but the whole conversation was just about exploitation and, “Why are you platforming mentally ill people and giving a platform to conspiracies like QAnon? Don’t you feel like you’re a part of their spread? Some would call you a misinformation reporter,” all this crazy stuff. And yeah, next day hit the fan.
Lex Fridman
(01:54:13)
Fuck all those people. That film, just in case you don’t get a chance to see it, you should, you were critical of Alex Jones in the most artful way. It was the correct way to be critical. It showed him to be more interested in the grift of it. And you didn’t do it in a pointing fingers and saying in the NPR way that you just mentioned, but more like a human way. This is, tragedies happen all over the world and there’s grifters that roll in and then take advantage of it in interesting ways, and then human beings get swept up on either side of it, and it’s revealing the humor, the absurdity of it all, and it was done masterfully. For people who criticize you for platforming Alex Jones or whatever, the film, from a political perspective, probably leans very much left, heavily left, but does it without that exhausting energy of judging, two masks judging?
Andrew Callaghan
(01:55:27)
When all that was happening, when I was under fire from the mainstream press for platforming Alex Jones, I thought back to what he said to me. And doesn’t mean I agree with everything he says, but he told me, “You’re going to be in trouble with these people if you put me in your video.” And yeah, it wasn’t too bad of trouble, but definitely, I do think sometimes what the film would’ve been like without him. And I think that it was worth it because his scene is so funny to me and it brings me back to a different time in my life and I’m happy that scene’s out there.
Lex Fridman
(01:55:57)
I think it was really well done.
Andrew Callaghan
(01:55:59)
Thanks, man.
Lex Fridman
(01:55:59)
It showed the layering of it all, the entertainment plus not considering from his perspective the consequences of riling people up in this way, that it’s not just… You really highlight this in the interview. He keeps saying it’s infowars, but then there’s always a sense that infowars can turn to actual civil war, but maybe not. Maybe it’s all just a circus we play for each other.
Andrew Callaghan
(01:56:25)
If you look at the speech he did on January 5th, he said, “Tomorrow, millions of patriotic Americans will take our country back.” He eggs people on and then when it gets hot, he steps away.
Lex Fridman
(01:56:39)
But like you said, the thing he told you, he turned out to be right.
Andrew Callaghan
(01:56:43)
Oh, yeah.
Lex Fridman
(01:56:43)
And the frogs are becoming gay.
Andrew Callaghan
(01:56:46)
They’ve always been gay.
Lex Fridman
(01:56:49)
Well-
Andrew Callaghan
(01:56:50)
Saying frogs are straight is even crazier.
Lex Fridman
(01:56:52)
I’ve read stories where you kiss one and becomes a prince.
Andrew Callaghan
(01:56:55)
Yeah, that shit’s true.
Lex Fridman
(01:56:56)
100%. You think Alex believes what he says in terms of everything he says on infowars, how much of it is real?
Andrew Callaghan
(01:57:05)
He’s right about big tech censorship. I think if he’s right about anything, it would probably be the heads of big tech colluding together across company lines to deplatform certain people. He’s right about that. I think most of the things that he says follow the question everything narrative, and then everything is like a conspiracy or a plot or a false flag. I think that he’s built up a following for so long that wants him to do that. So I think he’ll question things that he probably thinks are relatively straightforward because that’s the shtick of the show. The infowar is fighting misinformation and people want to see him be that guy. To a certain extent, if you’re a creator who supports your family, you do follow economic incentives and people want you to be the character, and so you’re going to naturally gravitate toward being it.
Lex Fridman
(01:57:54)
Do you feel that pressure yourself?
Andrew Callaghan
(01:57:56)
I did years ago, not anymore. I feel like now I can speak freely and really say what I want to say in my new life, but when I was younger, I felt like I had to be this awkward, amicable, aloof guy who just didn’t think anything about anything and just was here to listen. But now I feel more confident adding some narrative and voiceover and things like that.
Lex Fridman
(01:58:18)
So for some people, especially who publish on YouTube, the YouTube algorithm, they can become a slave to the YouTube algorithm.
Andrew Callaghan
(01:58:25)
Yeah, for sure. And I definitely feel that sometimes. I know what works for me, but I like to think that my audience appreciates when I try new things, so I’m not totally enslaved to it.
Lex Fridman
(01:58:37)
Yeah, I try not to pay attention to views or any of that.
Andrew Callaghan
(01:58:40)
Well, you get some high views, so I’ll report that for you.
Lex Fridman
(01:58:45)
So I wrote a Chrome extension that hides all the views on anything I create.
Andrew Callaghan
(01:58:48)
So you took it to that level?
Lex Fridman
(01:58:50)
Yeah, just because it’s a drug, man. And I’m also a number guy, meaning if I do 30 pushups today, tomorrow I’m going to try to do 35, just enjoying number go up. That’s why I like video games like RPGs, where you’re improving your skill tree, you’re getting an extra point, and there’s some aspect of YouTube and other platforms, anything, any other platform. You’re like, “Ooh, I got more today than I got yesterday.” That’s really, really dangerous to me because it can influence how much I enjoy a thing. If nobody gives a shit about it based on the numbers, you’re like, “Oh, maybe that wasn’t such a great experience. I thought it was a great experience, but maybe it wasn’t.”
Andrew Callaghan
(01:59:33)
Yeah, honestly, I do actually feel that way sometimes. I’ll put out something that I care about a lot, but if it doesn’t get as many views, I’m like, “All right, it must have not been as good as my higher review videos or whatever.”
Lex Fridman
(01:59:47)
That’s just not true though. It might mean on YouTube that your thumbnail sucks or something like this, or whatever, however the algorithm works. But that’s the thing I’m battling against to make sure I ignore all of that.
Andrew Callaghan
(02:00:03)
Right.
Lex Fridman
(02:00:04)
It’s actually something Joe Rogan has been extremely good at. He gives zero shits.
Andrew Callaghan
(02:00:10)
I think it’s easier to do when you’re really successful.
Lex Fridman
(02:00:12)
Well, he was doing that when he wasn’t successful.
Andrew Callaghan
(02:00:14)
Really?
Lex Fridman
(02:00:14)
But anything. He just follows the stuff he enjoys doing and legitimately enjoys it. He happens to be really good at it, but he gets good because he’s doing the things he really enjoys and full-on passionate about, and that’s why he’ll have ridiculous guests and just shit he enjoys doing.
Andrew Callaghan
(02:00:33)
Yeah, that’s pretty cool. Maybe I’ll one day try to do that. For now, I’m too attached to the gratification of getting a million views in a day and stuff like that. I’m not going to lie to you and say that I’ve beat that or something.
Lex Fridman
(02:00:43)
Well, it’s a worthy enemy to be fighting because it’s a drug and it’s one that should be resisted for a creator. Because I feel like it can do negative stuff to your mind as a creator.
Andrew Callaghan
(02:00:55)
Oh yeah, for sure.
Lex Fridman
(02:00:56)
Anybody that controls you is not good.
Andrew Callaghan
(02:01:00)
A lot of people are controlled by their audience. They don’t have to have a puppet master on a corporate level. Audience incentive is a different type of… I don’t want to say slavery, but-
Lex Fridman
(02:01:11)
Yeah, it is. And that’s why variety is good, and you’re doing that, always expanding. Well, let me just zoom out on this. You made a film.
Andrew Callaghan
(02:01:20)
Yeah.
Lex Fridman
(02:01:21)
That’s pretty cool.
Andrew Callaghan
(02:01:23)
Yeah, it was a great experience, man. It was awesome working with Tim and Eric. Awesome working with Jonah Hill. I feel the same about HBO and A24. Everybody that I worked on the film with, I have a lot of love for and I appreciate the experience. It’s my first movie. It’s a big deal.
Lex Fridman
(02:01:36)
It was a good one.
Andrew Callaghan
(02:01:37)
In my head, it’s like I finally got to make the transition from YouTuber to filmmaker, and that was always this psychic barrier that I felt like I had to jump over.
Lex Fridman
(02:01:48)
Just the way it’s shot, the humor that goes throughout it, just the narration that you’re doing in a shitty director’s chair, that was really well done. Whose idea was that?
Andrew Callaghan
(02:02:01)
It was actually Tim and Eric’s idea. There was a really great editor named Clay who works for Absolutely, and they did all the editing pretty much in the office. And so it was Clay’s idea to add a retrospective director’s chair narrative arc to the whole film.
Lex Fridman
(02:02:14)
Just starting with the absurd fight and then going like, “Oh, that’s a good way to start the movie.” Just really, really well done.
Andrew Callaghan
(02:02:20)
Thanks, man.
Lex Fridman
(02:02:23)
Well, what about Jonah Hill?
Andrew Callaghan
(02:02:24)
Great guy.
Lex Fridman
(02:02:25)
He believed in this.
Andrew Callaghan
(02:02:27)
He did.
Lex Fridman
(02:02:29)
What’s that like? What do you think is behind him believing in such a wild project?
Andrew Callaghan
(02:02:33)
I think that Jonah Hill has a good eye for what’s cool amongst the younger folks. He’s into skateboarding stuff. That’s why he did that film, Mid90s. I think he probably saw a similar thing in what was going on with All Gas No Breaks and was like, “Shit, this could be big.” And so not only did he actually fund the film, he also gave me his agent. And I forgot to mention that it was Jonah Hill’s lawyers that he gave me for free that got me out of my contract eventually with Doing Things Media or freed me up to speak about what happened.
Lex Fridman
(02:03:03)
So he was also part of you gaining your freedom?
Andrew Callaghan
(02:03:06)
Yeah, in a weird way, even though him and I don’t talk that much just because he’s doing his own thing, Jonah Hill is a huge factor in my current success and just everything that I’ve been able to accomplish.

Politics

Lex Fridman
(02:03:17)
Just on your own politics, is it fair to say that your politics leans left?
Andrew Callaghan
(02:03:24)
I’m not really sure sometimes. I like to think that I am socially left. I think people should be able to dress and act however they want. I don’t believe in restricting people’s social freedoms. Economics-wise, it doesn’t seem like leftist economic policy works very well on a city funding level. Like if you see what’s going on in California, it seems like the city leadership is mishandling the funds in California too. So I don’t know about that, but… I don’t know. I don’t really see myself as left or right. I just never have.
Lex Fridman
(02:03:58)
Well, if you just objectively zoom out and don’t have an insane standard of the extremes, it feels like a lot of your work leans left.
Andrew Callaghan
(02:04:08)
I tend to lean toward the empathetic perspective, which I do think is more on the left than the right. But also, I’m not into super PC stuff. I don’t believe in limiting free speech either. I believe in a free internet, which I think is more embraced now by conservatives.
Lex Fridman
(02:04:33)
But it does seem that… Maybe you can correct me, but I get a sense sometimes that the left attack their own very intensely.
Andrew Callaghan
(02:04:42)
It does happen, but every community has terms of exile. Think about what happens in the conservative realm, like when Black Rifle Coffee Company denounced Kyle Rittenhouse. They lost a lot of money, too. The right attacks its own, too. Think about Bud Light and stuff like that.
Lex Fridman
(02:05:01)
[inaudible 02:05:01].
Andrew Callaghan
(02:05:01)
Every community has terms of exile. You just got to know who you’re engaging with and you got to make that decision carefully.
Lex Fridman
(02:05:10)
It’d be nice if there’s an actual write-up of the things you’re not allowed to say for each thing. And then, I wonder whose list would be longer? It just does feel like the left’s list is a little longer.
Andrew Callaghan
(02:05:19)
Right. If you’re a conservative and you have a T-shirt with a demon on it, say goodbye. You know what I mean? There’s certain stuff that they freak the hell out about.
Lex Fridman
(02:05:30)
And conservatives are really concerned about pedophiles.
Andrew Callaghan
(02:05:35)
Yeah, I don’t like pedophiles either, but I don’t think about it all the time.
Lex Fridman
(02:05:39)
It’s one of the things you do in the film is confront one of the QAnon folks, where his concern is that everybody’s a pedophile and you showed to him-
Andrew Callaghan
(02:05:48)
Well, he calls himself a pedophile hunter and makes videos exposing Democratic elite pedophile cabals, and he’s himself a convicted child molester. There’s an old thing that people say that every accusation is a confession to a certain extent. So it’s bizarre that some people’s whole life after a big mistake will revolve around trying to seem like the good guy instead of taking accountability for themselves. It’s a common thing you see all the time. Like Neighborhood Watch people, you know what I mean? What made you that? What did you do, bro? That you feel like you have to get karmic retribution by doing the reverse? I don’t get it.
Lex Fridman
(02:06:25)
Yeah. Do you think to the degree you have bias, it affects your journalism?
Andrew Callaghan
(02:06:30)
No, but with the migrant situation, I don’t know.
Lex Fridman
(02:06:35)
What was that covering that like?
Andrew Callaghan
(02:06:37)
I just got a lot of hate from conservatives for letting the migrants tell their stories about their journey and stuff.
Lex Fridman
(02:06:43)
What did you learn from just going to the border?
Andrew Callaghan
(02:06:47)
just the sheer desperation that the citizens of the world are in. There’s people who truly believe that America is the only hope for their success and to feed their family, and I think a lot of them are getting catfished.
Lex Fridman
(02:07:01)
Meaning America has its problems too?
Andrew Callaghan
(02:07:03)
It has severe problems. There’s extreme poverty here.
Lex Fridman
(02:07:07)
But in America, if you just compare to other nations, the level of corruption is much lower to where the opportunity for a person to succeed, to rise is higher.
Andrew Callaghan
(02:07:18)
I wish success on everybody who comes here, but my thing is the expectation that they have and the American dream propaganda they’ve been installed with isn’t necessarily a reflection of contemporary American reality. So I’m talking to people who speak no English and say, “I’m here for a better life.” I go, “Where are you going to go?” They say, “I have no idea.” And I’m like, “Man, that’s tough.” And you almost think, how bad are things elsewhere for someone to abandon their family, make this journey across multiple continents and end up here with no plan? And it just made me realize how sheltered I am to a certain extent as an American.

(02:07:55)
And walking back what I said a little bit, because I was just trying to make a point, but what I think of as bad poverty, let’s say West Baltimore or 9th Ward, New Orleans is nothing compared to what’s going on in almost half of the world, if not more. And so it just made me zoom out a little bit, and sometimes you forget about third world poverty when you live here for so long. And you get programmed to believe the worst things that are out there is like Kensington, Philadelphia or Tenderloin, San Francisco, but those are just microcosms of more or less functioning cities. Despite what they might lead you to believe, Philadelphia is a great place. So is San Francisco, but there’s places where everywhere is really run down.
Lex Fridman
(02:08:39)
People focus on in major cities in the United States, like homelessness, somehow that’s a sign of a fallen empire.
Andrew Callaghan
(02:08:47)
Right.
Lex Fridman
(02:08:47)
But that’s a problem. It reveals some mismanagement of cities and government [inaudible 02:08:55].
Andrew Callaghan
(02:08:54)
Homelessness in Seattle and San Francisco is for sure a result of the housing crisis, especially post- COVID and all the gentrification that preceded it. And it’s unfortunate now that the conservative media is saying, “Look at Biden’s America,” as if Biden created homeless people. And it’s just disappointing because once again, you’re seeing the media use real issues that should concern every US citizen and causing people to point fingers at a different political party as responsible for the suffering of others.
Lex Fridman
(02:09:30)
Do you think January 6th can happen again?
Andrew Callaghan
(02:09:33)
No. I don’t think so.
Lex Fridman
(02:09:35)
So all the lessons were learned?
Andrew Callaghan
(02:09:37)
Yeah, for sure. People got really screwed over.
Lex Fridman
(02:09:42)
Don’t you have a sense that there’s a greater and greater growing questioning of the electoral process and all this kind of stuff?
Andrew Callaghan
(02:09:50)
I think that Americans overall are very comfortable with our standard of living. I think people like going to Sonic and waiting in their car and getting milkshakes, and people like going to the AMC theaters and they like going ice skating and mini golfing and going to the bar after work. I don’t think that anyone wants a collapse of the basic structure of the country. Even the most politically divided don’t want to see 7-Eleven go away. We are so comfortable.

(02:10:14)
If you look at other countries, even Europe, look at how they protest. And look at the Arab Spring. Those guys were talking like January 6ers, and they actually took control of the government. Think about even if the MAGA crowd took over the Capitol building, it’s just a building. I don’t know. I just think that Americans, they talk about civil war stuff, we’re so far from that. Even if the rhetoric is as divided as it was in 2020, it won’t happen again.
Lex Fridman
(02:10:45)
For it to really happen, there has to be a level of desperation.
Andrew Callaghan
(02:10:49)
There has to be a level of economic desperation that’s causing people to starve or some basic resource going away, water, something like that.
Lex Fridman
(02:10:59)
Who do you think wins, Trump or Biden?
Andrew Callaghan
(02:11:02)
In the civil war? Well, we know who has the guns.
Lex Fridman
(02:11:05)
No, in a game of Mario Kart? No, in the election 2024.
Andrew Callaghan
(02:11:10)
Oh. Man, I have no idea, man. I don’t even know if I’m going to vote.
Lex Fridman
(02:11:13)
It’s weird that this is our choice.
Andrew Callaghan
(02:11:15)
I know. I wish people were more focused on city politics. I’d rather vote yes or no for a bike lane in my neighborhood than I would for the president.
Lex Fridman
(02:11:24)
So local politics to you is where it is. And you feel [inaudible 02:11:26].
Andrew Callaghan
(02:11:26)
Oh, your vote actually matters. Let’s say you have a community of 500 people and you live in Henderson, Nevada. You can influence whether or not there’s a bike lane or if this is going to be a playground or an AMPM. You get to choose and you can influence 100 people to choose and boom, this is your community. You can’t influence the result of an election.
Lex Fridman
(02:11:47)
Still, those at the presidential level, it sets the tone of the country. And Trump running again and Biden running again, it just feels like there’s going to be a lot of questioning of election results.
Andrew Callaghan
(02:12:03)
I just can’t believe those are our guys.
Lex Fridman
(02:12:04)
Yeah.
Andrew Callaghan
(02:12:06)
That’s really our guys? That’s where we’re at? All these smart people we have in this country, the great history.
Lex Fridman
(02:12:13)
We got Joker Gang versus Gum Gang. Where’d you find Joker Gang?
Andrew Callaghan
(02:12:20)
Well-
Lex Fridman
(02:12:20)
Is he a legit juggler or is he just-
Andrew Callaghan
(02:12:22)
No, no, no, no. Joker Gang is like a Miami Cuban guy.
Lex Fridman
(02:12:26)
Oh.
Andrew Callaghan
(02:12:26)
Is Joker 305 rawest Chico alive? I had been following him for a long time on Instagram because he used to post videos of himself popping Percocets and smoking blunts on the toilet freestyling. So I had followed him for a while. And then I finally got this platform and I said, “Oh my God, I bet you now that we have a million followers, Joker Gang will sit down with us.” And lo and behold, the clout did its thing and there I was, face to face with the man.

Response to allegations

Lex Fridman
(02:12:53)
There was a controversy a year ago where a woman came forward and said that you were pushy with her. You respected to know, you got the consent, but you were pushy about it. Looking back, can you tell the story of that? What are the lessons you learned from it?
Andrew Callaghan
(02:13:08)
Yeah, I’ve yet to speak on this for a lot of reasons. Mostly because it was a hard time and it’s a sensitive subject. And I’ve wanted to prioritize the reporting, but I think that now I’m ready and able to do so. Everything started on December 30th, 2022, and that was the release date of the HBO project. Like I told you, we didn’t know when the movie was going to come out. We weren’t told that it was going to come out on that date until early November. And so it was like, “Oh my God, here we go. We got a movie coming out.” I didn’t even know it was going to be them.

(02:13:42)
So every day for those 50 days to where I received word and to the movie announcement or to the movie release was like, I was like a kid waiting for Christmas morning. You know what I mean? Every day I saw the movie release date as the first day of the rest of my life. And so I remember the week of the movie release, it was like every day I was like, “Oh my God. Six days, five days, four days.” And when it became two days, I was so excited and so, honestly, anxiety riddled because it was such a massive platform that I went out to the desert by myself out in the Mojave, got a hotel and just sat there.

(02:14:23)
And then, movie release day comes. It was supposed to come out at 8:00 PM Pacific standard time. I remember it was like 12 hours left, 10 hours left. And then, eight minutes before the movie at 7:52, or I guess it was sent at 10:52 East Coast time, I got a text message requesting a portion of my fat HBO check to contribute toward apparently years of therapy bills that this person had accrued after she says that she felt that I pressured her into giving consent years prior. And I was confused, not only because of the timing, but because this is someone that I hadn’t seen in years or spoken to in years and I presumed that I was on good terms with. So I didn’t respond to the text message. And then, when I didn’t respond, about seven days later, this person made some TikTok videos and with the help of some friends launched an online campaign that got picked up by the press pretty quickly.
Lex Fridman
(02:15:21)
So what did you feel like when you got that text?
Andrew Callaghan
(02:15:24)
Well, it’s tough because on one hand, I’m not opposed to restitution being part of a private accountability process for real abuse. If you’ve hurt someone to an extent that it took them out of work or something, I think they’re entitled to some money. But unfortunately, as I later learned, this person had legal counsel, and this was an attempt to basically create evidence by extracting a confession from me to use as precedent for a civil lawsuit to the tune of a couple of million dollars.
Lex Fridman
(02:15:56)
It’s dark.
Andrew Callaghan
(02:15:58)
Yeah.
Lex Fridman
(02:16:00)
How did you meet this person?
Andrew Callaghan
(02:16:01)
Well, I met them when I was 22. Like I told you, I was living in an RV, making this show called All Gas No Breaks. And I would travel between cities every other day. And so I would basically pick a new city, and I got in this pretty bad habit of what I would say is essentially treating Instagram like a dating app. I would go to a new place, I’d post my location, I’d surf the DMs, and I would look for fans to meet up with. It wasn’t always girls, it was just people to party with because I was also partying every night, but a lot of times ended up being girls and stuff. And so that’s how this situation was.

(02:16:38)
I didn’t have sex with this person, had a consensual encounter that they reached out to me about two weeks after saying, “Hey, I don’t want you to take this the wrong way.” But looking back, I felt a lot more pressure to agree than I realized in the moment. “I don’t think this is any fault of yours. I just think that you came on a bit too strong and I didn’t want to let you down. So I gave in,” and that language made me feel horrible, mainly because if this person had told me, “Hey, I don’t want to hook up,” I would’ve said, “Yeah, of course not. I don’t want to hook up with someone who doesn’t want to hook up with me.” And I think that as fame increased during that time, I think I was just oblivious to how people were seeing me, especially those who had a digital relationship with me prior to me knowing them. And I don’t think that I handled that the right way.
Lex Fridman
(02:17:29)
Well, thank you for taking accountability, but just to clarify, you got consent?
Andrew Callaghan
(02:17:36)
Yeah, I was the initiatory party in an interaction with a fan who felt it she had to say yes because of… I’m not sure why. I don’t know why, but like I said, this person also disclosed to me they had a history of childhood trauma and were actively being treated for PTSD and that they felt things moved too fast for them given their situation. And so I told her, I said, “Hey, if you want to reach out, if you want to talk on the phone, I’m always here for you. I’m sorry to hear that. Let me know if we can talk further.”

(02:18:07)
About six months after that, I was at Sturgis Bike Week, and I remember this day, this was the hardest day. I was just chilling and I got a text from my friend and it said, “Hey, man, you’re getting canceled right now.” I was like, “What do you mean? Did someone find an old tweet or something? What are you talking about?” I opened my phone and it was this Instagram story of me. It was like the ugliest picture of me you can find. It was like my face open. It was screenshotted, and it said… I remember this specifically because I just couldn’t believe it. It said, “The ugly loser who hosts All Gas No Breaks is a piece of shit. He knowingly abused my friend and got away with it. If you follow him, I’m going to message you and ask you why?”

(02:18:46)
So this person who I don’t know, I didn’t even know who the accusation was coming from, they emailed every production company that I was working with, DMd hundreds, if not thousands of people, just saying that I was this piece of shit. And I didn’t even know who this person was. So I was frantically calling and texting every person that I’d seen intimately for the past year and being like, “Hey, are we on good terms? Is everything okay?” And then, I figured out that the person was coming from Florida, and I knew who it was. And so, thankfully, I reached out to the original person who I had the communication with, and I said, “Hey, I think this might’ve been you. This might’ve been your friend who posted this. Are we good? I’m sorry.” I apologized again. I was like, “Listen, I feel bad that you feel this way. I want to do anything that I can to help you. Again, I apologize.”

(02:19:40)
And she said, “Apology accepted. I’m sorry. My friend asked if she could post on my behalf, and I’m sorry. I was going through a lot mentally, and I saw your fame increasing. And so I agreed to let her speak on my behalf,” and we made amends in private. I said, “Okay, I’m here for you. Let me know.” And she said, “Apology is enough. Thank you for taking the time to speak with me.” And that was two years prior to this…
Andrew Callaghan
(02:20:00)
… “Thank you for taking the time to speak with me.” And that was two years prior to this text message being sent to my phone eight minutes before the movie. So naturally, I wanted to go on my platforms and talk about what was happening, but I also didn’t want to mess up the rollout of the movie. And so the PR firm was like, “We got this, we’ll handle this for you.” And that was, I guess by way of a TMZ thing that said, “Andrew Callaghan is devastated.” I’m not sure why they thought that that was going to make people be in my favor, but it was just a picture of me on NBC that said, “Andrew Callaghan devastated by allegations.” That that was their plan, I guess, to show that I was remorseful or something.
Lex Fridman
(02:20:45)
How much of this do you think lawyers pushing this when money and fame are involved?
Andrew Callaghan
(02:20:54)
Well, I wish I could say the lawyer, but I just can’t, that was involved in this. But I will tell you that I try to lean away from resentment and toward accountability completely. What was my role in the situation? How can I never make someone feel like that again? What can I do? What changes can I make to make sure that, one, I never treat someone this way, and two, to never be in that position again?
Lex Fridman
(02:21:18)
Well, again, thank you for taking accountability.
Andrew Callaghan
(02:21:21)
And the main reason I talk about that is because it wasn’t just that person. There was multiple people who made videos reporting similar behavior. And so it’s obvious that that was a pattern of behavior of mine. And so I made the apology video to announce that I was taking some time away because I just needed time away. My entire support system collapsed. My friends at the time disappeared. I was getting obituaries texted to my phone that were like, “Hey, it’s been nice knowing you. It was great to see you grow. Good luck,” like I was dead. And yeah, got dropped from my agency. No one gave me tough love. No one called me to ask me if I was all right. It was just only… Everyone disappeared in a week.
Lex Fridman
(02:22:06)
Again, thank you for taking accountability, but I just hate how many cowards there are out there. When people hit low points is when you should help, when you should stand with them if you know their character.
Andrew Callaghan
(02:22:25)
Yeah. And it was hard to separate the initial situation that I knew was more or less a setup and the possibly genuine other accounts. And so it was like, “All right, you know what? At this point in my life, I want to be on the right side of history. I don’t want to be the anti-cancel culture mouthpiece. I don’t have the mental strength to fight this,” especially because I was envisioning the HBO drop to be this, the world opens up to me moment and it was just the reverse, but it wasn’t so much the media reporting on it that hurt me. It was just little stuff like a childhood friend that you love, seeing they unfollowed you on Instagram, or just seeing someone on the street that you grew up with and waving at them and they don’t do anything back and you’re just like, “Oh my God, man. This is my new life,” but what are you supposed to do?

(02:23:24)
Thankfully, somehow, two weeks after, I met an amazing partner who I’m still with to this day, and I was able to conquer my two biggest fears, which is monogamy and dogs. I was terrified of dogs and terrified of having a girlfriend. Now I have a girlfriend who I love and two dogs.
Lex Fridman
(02:23:46)
What was the lowest point?
Andrew Callaghan
(02:23:48)
Well, right after this happened, I entered recovery programs. Started with AA, but then I found a more specialized program that dealt with the issues that I was dealing with. I’d say the hardest point was logically deducing that the lives of my loved ones would be better off if I was gone, you know what I mean? And thinking that my mom and my friends, that their life would be better if I took myself out of the picture. And for one, I just figured their friends canceled. “Her son is a disgrace.” My family’s going to think they raised me wrong, and my friends, I’m a social pariah now I’m a burden. I’m better off dead. And the hard part was I would read stories and books written by parents who lost their kids to suicide, and they reported feeling a lot of anger after the suicide.

(02:24:49)
So I tried to think of what’s the way I can do it to get the least amount of anger on behalf of the people who would grieve? Because the hanging, someone will discover you. So I figured drinking myself to death would be the way to do it, and I wasn’t able to. Yeah, that was just a dark place. I remember hating the people who loved me because I knew they would grieve, and that made me mad, if that makes sense. I was ready to go. I had no will to live. But their grief was like… I didn’t want to cause that because I didn’t want to hurt them. So I was like, I hated the people who loved me because they were stopping me from taking my own life.

(02:25:34)
And it’s weird to think that when I was going through that, if you walk by me in the street, I look like a normal guy. And so now when I walk around and I see people, I think to myself, “You have no idea what that person is going through.” It’s crazy that so many people are suffering in complete silence and they don’t wear it on them.
Lex Fridman
(02:26:03)
Many of the people you talk to are probably that.
Andrew Callaghan
(02:26:06)
Yeah.
Lex Fridman
(02:26:06)
Many people you’ve interviewed before, all this and after are probably going through some shit.
Andrew Callaghan
(02:26:11)
I also thought if I could write down what I just told you on a piece of paper and I was to do it, and then they found the note, they would take it more seriously because they would know that I wasn’t lying.
Lex Fridman
(02:26:24)
Yeah.
Andrew Callaghan
(02:26:25)
But then you know if you do it, it reduces the lifespan of your parents by 15 years. So I looked at it like I was taking time away from them.
Lex Fridman
(02:26:38)
Well, thank you, for the most part, leaning towards accountability. That’s the right path to take. What advice would you give to young men that look up to you on how they can be good men, especially in regard to women?
Andrew Callaghan
(02:26:53)
If you have any kind of platform, it doesn’t have to be famous on Instagram. It could be like if you’re a pillar of your community in the culinary world or whatever it is, just be hyper aware of that and remember that you are inheriting a power dynamic that can create situations where there might be some pressure that you don’t even realize is there, but it’s definitely there and you just have to be aware of that. And two, when meeting new partners, having hookups and stuff like that, just try to have a trauma-informed conversation about their past. Really know the experiences and the backstory of what a new partner has gone through in that world of intimacy. Whatever they’re comfortable to share, obviously. But I would advise against one-night-stands. I would advise against hooking up with someone that you’re meeting for the first time. Have those conversations prior because even though it might sound like a vibe killer, it’s not.

(02:27:55)
And if you think that that conversation is a vibe killer, you probably shouldn’t be in that situation in the first place, especially now, how hyper sexualized things are and how common that type of violence is. You need to be able to have those conversations and stop and say, “Hey, tell me a little bit about your past? Is there any triggers that make you uncomfortable? Let me know how I can be the best partner to you.” And I’m sure that college-age people are not having those conversations, but I’m sure that it would go a long way.
Lex Fridman
(02:28:21)
So especially when you’re young, college-aged, you don’t have enough experience to be able to read a person without having that conversation because a lot of times you can see the trauma without explicitly talking about it, but that takes experience and knowledge and seeing the world. When you’re young and you really don’t know shit, making things a bit more explicit is probably better.
Andrew Callaghan
(02:28:41)
And also, as men, were trained to believe that it’s our duty to be the initiatory party in any type of sexual encounter. Like, oh, man chases woman. You know what I mean? You have to be the one to make the move, or she’s playing hard to get if she’s resistant to your first compliment or something. I think that that’s not always how it has to be. And that extra caution needs to be placed if you’re taking the initiatory role in an interaction, especially if someone has a traumatic background. They might agree to do something with you because they’re scared and you might not realize that’s what’s going on because you don’t see yourself as a predatory person, you don’t see yourself as someone who would ever consciously make someone uncomfortable or cross a boundary, but people have histories that you might not understand.

(02:29:26)
And for me, as someone who doesn’t have much, honestly, childhood trauma or anything like that, it’s been an interesting year for me working in therapy and elsewhere, understanding how that affects the mind. And also, I understand that hurt people, hurt people, and that someone with a traumatic background isn’t going to have sympathy for applying that traumatic pain to someone else, even if that person isn’t the cause of what put them in that spot.

Channel 5

Lex Fridman
(02:29:53)
If we can go back to Channel 5, can you tell the origin story of that?
Andrew Callaghan
(02:29:56)
Yeah. Channel 5, during the All Gas No Breaks days, we used to tell people that we were called Channel 5 if we wanted them to stop antagonizing us while we were filming, because every town has a Channel 5. So when people were like, “What’s this for?” If they were being super rude and trying to get in the camera and be hell of obnoxious, we would just say, “Oh, we’re Channel 5.” And they would be like, “Oh, my grandma’s going to see that,” and they would leave us alone. So Channel 5 was a diversion tactic during All Gas No Breaks.

(02:30:22)
And it just so happened that we were in Miami Beach one time and this kid came up drinking liquor, trying to yell about whatever they yell about in Miami Beach, like titties or whatever, and we’re like, “Bro, this is Channel 5. Be careful what you say.” And he was like, “For real?” And he just walked off. And I said to my friend at the time, I was like, “That sounded pretty good, right? Channel 5.” And he goes, “That does sound pretty good.” He’s like, “That’s got to be trademarked though.” No, it’s not trademarked.

(02:30:50)
It’s crazy, right? There’s a Channel 5 in every city, Channel 5 KTLA, Channel 5 Seattle, Como News, dude, Channel 5 itself, we own it, because no one’s thought of something that simple, because you’d think you’d have to specify. We own channel5.com, channel5.news. Dude, we own it. It’s awesome.
Lex Fridman
(02:31:12)
So it was the same kind of spirit as the previous thing.
Andrew Callaghan
(02:31:17)
Yeah.
Lex Fridman
(02:31:17)
What was the first one you did under the Channel 5 flag?
Andrew Callaghan
(02:31:20)
Miami Beach Spring Break.
Lex Fridman
(02:31:22)
I think I’ve seen that and it’s going to be a callback. I think somebody mentioning eating ass there too.
Andrew Callaghan
(02:31:31)
That would be the place.
Lex Fridman
(02:31:32)
I believe that was-
Andrew Callaghan
(02:31:33)
There’s only about five places in the US where people yell about eating ass all the time, Bourbon Street, South Beach Miami, 6th Street in Austin, Broadway in Nashville. And I’m just going to go ahead and say Times Square, you might not think it, but-
Lex Fridman
(02:31:46)
Times Square, really?
Andrew Callaghan
(02:31:47)
Yeah, they yell about ass there.
Lex Fridman
(02:31:49)
Times Square.
Andrew Callaghan
(02:31:51)
I would say Beale Street in Memphis, but it’s not good.
Lex Fridman
(02:31:55)
Oh, yeah.
Andrew Callaghan
(02:31:58)
The median age is too high on Beale Street for anyone to yell about ass.
Lex Fridman
(02:32:03)
Oh, this is a fascinating portrait of America, through that specific lens. So Miami Beach. And then how would you describe your style of interviewing, just now that you’ve collected so many? If you had a style, how would you describe your style?
Andrew Callaghan
(02:32:20)
I guess before especially, it used to be like deadpan. Now I would describe it as more directed, but still relatively affable, agreeable, deadpan interview style.
Lex Fridman
(02:32:31)
Yeah, like in the face of absurdity, you’re just there with a microphone. There’s a comic aspect to it, and that’s intentional.
Andrew Callaghan
(02:32:42)
Yeah, I used to look at the camera like Jim from the office back in the day. I don’t do that anymore.
Lex Fridman
(02:32:48)
What about the editing? How do you think about the editing?
Andrew Callaghan
(02:32:52)
I still do most of it, but Susan helps a lot too. It’s my associate. Yeah, the editing style, like I said, we pioneered this editing style that honestly was inspired a bit by Vic Berger, but we took it to real life, crash zooms, chopping up vocals a bit to add comedic timing where it didn’t necessarily exist. You might add two seconds of awkward silence that are built with room tone, or you might make everything really fast by cutting silence and switching camera angles. But now, we try to be pretty straightforward because we want to be taken more seriously.
Lex Fridman
(02:33:29)
Yeah, sure. What’s crash Zoom, by the way?
Andrew Callaghan
(02:33:31)
A crash zoom is when it’s artificial zoom that you might add in Adobe Premiere where the camera zooms in on someone’s face.
Lex Fridman
(02:33:39)
Where the resolution is not there?
Andrew Callaghan
(02:33:41)
The resolution is not there, unless you have a Blackmagic Cinema Camera.
Lex Fridman
(02:33:45)
Which you don’t.
Andrew Callaghan
(02:33:45)
We don’t use those. The file size is too big.
Lex Fridman
(02:33:48)
That’s the only constraint?
Andrew Callaghan
(02:33:50)
Yeah.
Lex Fridman
(02:33:50)
Okay.
Andrew Callaghan
(02:33:50)
100%.
Lex Fridman
(02:33:51)
All right. And you also do voiceover storytelling.
Andrew Callaghan
(02:33:54)
I think the first time I really did that was in the San Francisco Streets video because there’s so much content about San Francisco homelessness, tenderloin shoplifting, but there’s not that much context in those videos about the history of San Francisco, the housing crisis, NIMBYism, random zoning stuff that sounds boring, but has a major role in the current situation on the streets there as to why the tenderloin is neglected by police and by the City Council and the other neighborhoods like Knob Hill and North Beach was so nice. So I added that purposely to the San Francisco video. And then also, to the Philadelphia Streets video to accentuate the reporting and add some historical analysis.
Lex Fridman
(02:34:33)
What’s your goal with some of these videos, like the Philadelphia Streets one? Is it to reveal the full spectrum of humanity, or is it also tell a story that’s almost political about the state?
Andrew Callaghan
(02:34:43)
Number one is always humanization. That’s the primary goal, is to take people in circumstances where they’re often news items and remind the public that these are people with lives and concerns and dreams just like you. But secondly, we also want to start introducing more solution-oriented journalism. So not just, “Oh my God, I’m becoming aware of how horrible this is,” but what can you actually do to help? And as you could see with the Vegas Tunnels video, people are responding pretty positively to it like here’s how you can maybe help a homeless neighbor, help get them an ID, help them qualify for housing or get a job at the scrap yard. There’s always ways to help, but so much of the YouTube world is over-saturated by just endless videos of people suffering, and the comments are always like, “Wow, so horrible.” But what does that really do for somebody?

Rap

Lex Fridman
(02:35:29)
You’ve interviewed many rappers.
Andrew Callaghan
(02:35:32)
Yes.
Lex Fridman
(02:35:33)
Educate me?
Andrew Callaghan
(02:35:34)
There’s a lot to it.
Lex Fridman
(02:35:35)
Yeah. Can you explain this drill rap situation? What is drill rap?
Andrew Callaghan
(02:35:41)
It’s an evolving situation. Drill began in 2010. Some people say it was Chief Keef in Chicago. I think it was King Louie in Chicago, but I think all of it was very influenced by Waka Flocka Flame who dropped an album called Flockaveli in 2010 that was hyper violent, adrenaline-boosting, rap music made by people who were actually in the streets. So in the 90s, you had 50 Cent, you had rappers rapping about whatever, gangster shit, selling crack and beating people up, but they weren’t actually doing it.

(02:36:12)
Drill has a true crime component to where drill fans want to know that the person rapping about catching bodies does in fact kill people. So drill, it’s pretty horrifying. It sounds great, but it started in Chicago, then it spread to England, and now it’s bounced back to New York, the Bronx and Brooklyn specifically, and spread from New York to the rest of the country. So now there’s probably a drill rapper every 10 square miles.
Lex Fridman
(02:36:41)
So as opposed to pretending to be a gangster and killing people, you get some credibility by actually doing it?
Andrew Callaghan
(02:36:51)
Yes. And the fans are typically not in the communities that are affected by poverty, so they’re like superheroes to white kids.
Lex Fridman
(02:37:01)
It’s dark.
Andrew Callaghan
(02:37:02)
And not just white kids, but just anyone who’s not in the hood. It’s not necessarily a race thing. There’s white drill rappers too. Slim Jesus was a big one. He’s out of the picture now, but there’s white drill rappers.

O Block

Lex Fridman
(02:37:14)
Slim Jesus. You made a video on O Block.
Andrew Callaghan
(02:37:18)
Yeah.
Lex Fridman
(02:37:19)
What is O Block? The place, the culture, the people [inaudible 02:37:22]?
Andrew Callaghan
(02:37:22)
O Block is a housing project in South Chicago in the Englewood area where Michelle Obama grew up. It’s also where Chief Keef was born and raised. I don’t know if he was born there, but he was raised there and he is the forefather of modern drill music as we know it. So these are the projects where drill began. It’s also the first place where you have that intersection of drill music and true crime because O Block has a lot of rappers, and then nearby is an area called St. Lawrence, aka Tookaville, which has a lot of rappers as well. And so these two rival drill gangs basically have a lot of history and it connects to music at large.
Lex Fridman
(02:38:04)
So you’ve interviewed people there. Was there any concern for your safety?
Andrew Callaghan
(02:38:10)
No. I think that O Block has calmed down a lot. For one, it has security, so you can’t even really get in and out. But two, I think that O Block’s trying to rebrand itself a lot. It could be because Lil Durk’s avoiding a RICO charge, could be for a variety of reasons. I know you don’t know exactly what that means, but-
Lex Fridman
(02:38:31)
Lil Durk or RICO charge?
Andrew Callaghan
(02:38:33)
Rapper Lil Durk is affiliated with O Block, and a lot of people have been murdered and retribution for killings that Lil Durk may or may not have influenced the ordering of. But anyways-
Lex Fridman
(02:38:45)
And Lil Durk documented the killings via rap music probably.
Andrew Callaghan
(02:38:51)
Okay. I know you don’t know about drill, but Lil Durk was associated with a rapper named King Von, and King Von perhaps paid for the assassination of a rapper named FBG Duck, who got killed in Chicago’s Gold Coast neighborhood. It’s possible. The O-Block 6 are drill-associated, not rappers, but just shooters, and they, perhaps operating on King Von’s behalf, went and killed FBG Duck. King Von was Lil Durk’s artist. King Von’s now dead. So there’s definitely a concern that some of the Fed charges will fall on Durk. I’m not sure if that’s true, but it’s rumors in the hip-hop community.

(02:39:27)
So O Block right now, and when I filmed the video, is trying to go through a major image rehab. If you go on any Instagram of anyone in O Block, they’ve all converted to Islam. And so they post pictures of themselves praying in the morning and have captions like, “Put the guns down, let’s pray.” So I think when I went there, they saw it as a good opportunity to do a positive rebrand. And so I interviewed a rapper named Boss Top, who was there all the way back in 2011 when Chief Keef was coming up. And so he basically ensured my safe protection, but he didn’t even need to. They’re all very friendly and they know exactly what’s up with YouTube stuff.
Lex Fridman
(02:40:03)
I like how 2011 is the old days, like the ancient-
Andrew Callaghan
(02:40:06)
Oh yeah.
Lex Fridman
(02:40:07)
The founding fathers.
Andrew Callaghan
(02:40:09)
I was in eighth grade.
Lex Fridman
(02:40:14)
Oh, man. Time flies when you’re having fun.
Andrew Callaghan
(02:40:18)
It sure does.
Lex Fridman
(02:40:19)
Lil Durk. Where’s Lil Durk now?
Andrew Callaghan
(02:40:21)
Atlanta.
Lex Fridman
(02:40:23)
So he left Chicago, not safe.
Andrew Callaghan
(02:40:25)
Yeah, every rapper has to leave their hometown. It’s what I did.
Lex Fridman
(02:40:28)
It’s a journey.
Andrew Callaghan
(02:40:32)
Seattle would’ve taken me out, bro.
Lex Fridman
(02:40:35)
You do interview a lot of people. That’s a top comment, but it speaks to the reality of the fact that you always find somebody rapping or you create the space for people to rap. What’s that about?
Andrew Callaghan
(02:40:47)
I don’t know, man.
Lex Fridman
(02:40:48)
Well, they’re usually really good.
Andrew Callaghan
(02:40:50)
You think so?
Lex Fridman
(02:40:51)
I appreciate it.
Andrew Callaghan
(02:40:52)
Well, hell yeah, man. Rappers-
Lex Fridman
(02:40:54)
In their own way.
Andrew Callaghan
(02:40:55)
Since I touched a microphone, rappers have gravitated toward me. I think there’s something happening.
Lex Fridman
(02:41:01)
You’re a rapper whisperer?
Andrew Callaghan
(02:41:02)
I think there’s something happening on a deeper cosmic spiritual level that lets the mind of rappers know that they have a safe place in front of our camera crew.

Crip Mac

Lex Fridman
(02:41:11)
You have an interview with Crip Mac?
Andrew Callaghan
(02:41:13)
I do. Free Crip Mac. He’s in VO right now.
Lex Fridman
(02:41:16)
Oh, he is?
Andrew Callaghan
(02:41:17)
Yeah. Is that a hashtag?
Lex Fridman
(02:41:19)
Yeah, for sure.
Andrew Callaghan
(02:41:21)
That’s an intense interview. People should go watch it. People should go watch all your interviews, but that one is pretty intense.
Lex Fridman
(02:41:27)
Thanks.
Andrew Callaghan
(02:41:29)
I was a little afraid for your life.
Andrew Callaghan
(02:41:31)
Oh, Crip Mac’s the safest guy in the world.
Lex Fridman
(02:41:34)
He’s a sweetheart?
Andrew Callaghan
(02:41:34)
Oh, definitely dude.
Lex Fridman
(02:41:35)
Yeah, thought it was fun.
Andrew Callaghan
(02:41:36)
I feel more safer on Crip Mac than I do with any given pedestrian.
Lex Fridman
(02:41:40)
Yeah, he was loud and flavorful.
Andrew Callaghan
(02:41:43)
Yeah.
Lex Fridman
(02:41:43)
I should say. So who’s he? What’s his story?
Andrew Callaghan
(02:41:47)
Well, his name’s Trevor. He grew up in Ontario, California in the Inland empire, moved to Texas with his mom after his dad left. His mom started dating a cop from Houston named Mr. Gary. His mom found Mr. Gary getting anally penetrated by a co-worker, and so she booked Crip Mac a one-way Greyhound ticket to LA where he joined the Crips.
Lex Fridman
(02:42:13)
That’s a good story.
Speaker 1
(02:42:14)
[inaudible 02:42:14].
Andrew Callaghan
(02:42:14)
It’s true.
Speaker 1
(02:42:21)
Oh, you jumped right to Mr. Gary.
Andrew Callaghan
(02:42:22)
Yeah. Of course.
Speaker 1
(02:42:25)
[inaudible 02:42:25].
Andrew Callaghan
(02:42:25)
I’m just saying that he’s a classic case of somebody without a father figure who found camaraderie and sense of belonging and purpose in a street gang, which in LA is like a rule of law in most of the city.
Lex Fridman
(02:42:38)
We were, I forget in what context earlier, talking about martial arts and fighting and he’s got to work on his punching form.
Andrew Callaghan
(02:42:44)
Yeah, I think so. He gets into a lot of fights in jail though, and from what I’ve heard, he wins-
Lex Fridman
(02:42:49)
He does that?
Andrew Callaghan
(02:42:49)
About half of them. So it’s good.
Lex Fridman
(02:42:51)
What did he go to jail for now?
Andrew Callaghan
(02:42:52)
Firearm possession. It was a probation violation.
Lex Fridman
(02:42:55)
Oh.
Andrew Callaghan
(02:42:56)
It’s too bad.
Lex Fridman
(02:42:58)
All right. So Philly, you went to the border, Occupy Seattle protests. You went to Ukraine.
Andrew Callaghan
(02:43:09)
Yeah.
Lex Fridman
(02:43:11)
What are some interesting things that stand out to you from memory? Just as I asked the question, some interesting-
Andrew Callaghan
(02:43:17)
I was in jail at the border for a while. That was horrible.
Lex Fridman
(02:43:20)
What was that like? Was that your first time?
Andrew Callaghan
(02:43:23)
Yeah, well, I didn’t know that I couldn’t hop my own border as an American. I’m thinking, “This is my country. I can get in any way that I want.” Wrong. You can only enter the US through an official port of entry, which I learned the hard way because I got arrested by border patrol and held as a detainee at a Migrant Center for a few days.
Lex Fridman
(02:43:42)
What was that like?
Andrew Callaghan
(02:43:44)
Horrible.
Lex Fridman
(02:43:45)
Which aspect?
Andrew Callaghan
(02:43:47)
Well, I don’t know. It was just to be in a place like that, and I probably sound like such a wimp right now because I know someone’s watching this who’s done some hard time, but we thought we were going to do at least six months in jail because the guards freaked us out and were like, “You’re being charged with a federal crime. You know what you boys did is serious. We’re waiting on word from San Antonio about whether or not we’re going to extradite you.” So we’re just sitting in these cells alone, most of the time in solitary, with no pillows.
Lex Fridman
(02:44:16)
No pillows.
Andrew Callaghan
(02:44:17)
No pillows, no mat, nothing. Just a space blanket, and I was sleeping on my shoes, stinking up the place. It was no good.

Aliens

Lex Fridman
(02:44:24)
You mentioned the UFO Convention.
Andrew Callaghan
(02:44:26)
Yeah.
Lex Fridman
(02:44:29)
What have you learned from those guys, the UFOlogists?
Andrew Callaghan
(02:44:32)
I really want to know what you think about that. That’s the one question that I want to reverse on you because you’ve talked to so many people. Do you think that aliens have actually visited earth?
Lex Fridman
(02:44:42)
Yeah.
Andrew Callaghan
(02:44:43)
When?
Lex Fridman
(02:44:45)
Exact dates? I think there’s alien civilizations everywhere. I talk to a lot of people that have doubts about it. I just think I even suspect there’s an intelligent alien civilization in our galaxy and I just can’t imagine them not having visited us. So I lean on that. What that actually looks like, I don’t know. The stuff we’re seeing in terms of UFO sightings, I think to the degree it’s real, it’s much more likely government projects. So military, Lockheed Martin, this kind of stuff.
Andrew Callaghan
(02:45:24)
So you think that they have knowledge of it?
Lex Fridman
(02:45:27)
Yeah.
Andrew Callaghan
(02:45:28)
One thing I think about with aliens is scale. So we have this idea that an alien would be a gray alien or a almost humanoid lookalike that would visit us in human form, arms, legs, head. But who’s to say that they’re not able to shrink down to microscopic size with the same neural capacity?
Lex Fridman
(02:45:45)
Yeah. Or just have a very difficult to perceive form.
Andrew Callaghan
(02:45:49)
But they would go small, not big.
Lex Fridman
(02:45:52)
No, I think that would take a humanoid-like form just to be able to communicate with humans. I think that the big challenge with aliens is to be able to find a common language. So if you come to another planet and you suspect that there’s some kind of complexity going on, but it looks nothing like humans, you have to find a common language. And I think aliens would try to take physical form that’s similar that us dumb humans would understand.
Andrew Callaghan
(02:46:16)
Language is really interesting too. I have this series that I’m going to announce for the first time on here, but I’m really interested in endangered languages in the US. There’s like 150 languages in the US with less than 1,000 speakers.
Lex Fridman
(02:46:27)
Wow.
Andrew Callaghan
(02:46:28)
And I want to help spearhead efforts to preserve some of these. For example, Hawaiian Sign language, 15 of those people left.
Lex Fridman
(02:46:35)
Holy shit.
Andrew Callaghan
(02:46:36)
Because when Hawaii got annexed, the ASL community tried to make it so the deaf native Hawaiians wouldn’t be able to speak their native sign language. And so they would do it under the desks at schools for the deaf and blind, and they would get their mouth washed out, washed out with soap and stuff if they so much as did the Hawaiian hand signs. Also, the Gullah Geechee language and the South Carolina Sea Islands. Hilton Head Island and stuff, that’s almost a Creole language that’s been in the US for hundreds of years existing in isolation. That’s being threatened by golf course developments. I don’t know how into language you are, but I’ve been getting super nerded out about it.
Lex Fridman
(02:47:14)
Actually, I’m interviewing somebody tomorrow who’s an expert in human language. He’s from MIT, studying the syntax of a lot of languages, including in the Amazon jungle, the peoples that live in the Amazon jungle region. Yeah, it’s fascinating. Human language is fascinating, and also the barriers that creates, and also how the games are played, to what you’re speaking, by governments. This is part of the story of Russia, and Ukraine, is a battle over language. The Ukrainian language is a symbol of independence, which is why they were trying to make it the primary language of the nation. And so sometimes the language represents the culture and the peoples, and it’s intricately tied to the culture of the people.
Andrew Callaghan
(02:48:04)
I’ve been trying to learn Navajo.
Lex Fridman
(02:48:06)
Which languages do you know?
Andrew Callaghan
(02:48:08)
Spanish and English.
Lex Fridman
(02:48:11)
Spanish well?
Andrew Callaghan
(02:48:12)
Si.
Lex Fridman
(02:48:14)
I don’t know Spanish that well. So that passes me. You’re fluent.
Andrew Callaghan
(02:48:19)
It means yes.
Lex Fridman
(02:48:19)
Oh, it doesn’t. Ola.
Andrew Callaghan
(02:48:22)
That was good. That was real Cancun Spring break.
Lex Fridman
(02:48:25)
Well, I actually speak fluent Spanish according to Spotify because every episode is translated, overdubbed by AI in Spanish.
Andrew Callaghan
(02:48:34)
Oh my God.
Lex Fridman
(02:48:34)
Yeah. There’s a very-
Andrew Callaghan
(02:48:35)
You have a Spanish robot assigned to you?
Lex Fridman
(02:48:37)
I have a Spanish robot. I sound incredibly intelligent and intellectual in Spanish.
Andrew Callaghan
(02:48:42)
Senor Fridman.
Lex Fridman
(02:48:44)
Exactly. From everything you’ve done, all the people you’ve seen, do you think most people are good, underneath it all?
Andrew Callaghan
(02:48:56)
Yeah.
Lex Fridman
(02:48:59)
So the ones that do all the extreme shit?
Andrew Callaghan
(02:49:01)
Okay, I’ll put it like this. Most people think they’re doing the best thing for the world. I don’t think anyone, except for maybe a small fraction of sociopaths, wakes up every day and says, “I’m going to fuck somebody’s life up today.” I think the far majority of people are fighting for what they think is right and do want to see America succeed and want us to be in a happy place where no one is subjugated. I just think people have drastically different ideas of what means will get us there. And unfortunately, that’s leading to a lot of misunderstandings between cultures.

(02:49:32)
And yeah, I think that most people are good. I’ve been through some things that leads me to believe that a lot of people though are primarily motivated by self-interest, and that in a fight or flight situation, most people will choose flight. So I don’t know if people are courageous as a whole, but I think generally good, but the energy to stand up for what’s right, not sure about that.
Lex Fridman
(02:49:54)
They have the capacity though to do good.
Andrew Callaghan
(02:49:57)
I think human beings are inherently selfish as well, but I don’t think that selfish is inherently bad. I think humans are primarily motivated by self-interest, but generally have positive intentions.
Lex Fridman
(02:50:12)
I do hope more humans rise to the occasion and have courage, courage of their convictions, courage to have integrity. But yeah, I think that most people are good and they want to do good, and they have the capacity to do a lot of good. That’s why I have hope for this whole thing we’ve got going on. How do you heal the misunderstandings between people you think?
Andrew Callaghan
(02:50:36)
Listening. It’s the only option we have. No forced education, no forced meetings or mediations between political opponents. Just listen to more people and really listen. Try to get rid of whatever preconceived notions you might have about how you should feel about someone you are supposed to disagree with, and just keep your ears and your heart open to people that you don’t know and your life will change.
Lex Fridman
(02:51:00)
Keep your heart open.
Andrew Callaghan
(02:51:01)
A lot of people are scared to listen.
Lex Fridman
(02:51:04)
Well, Andrew, I’m a big fan and thank you for being one of the best listeners in the world.
Andrew Callaghan
(02:51:10)
Amen.
Lex Fridman
(02:51:11)
And showing the full spectrum of humanity to us so we can listen as well and learn. And just thank you for doing everything you’re doing. Keep doing it.
Andrew Callaghan
(02:51:20)
Hey man, thanks so much for having me on. You’re a great man.
Lex Fridman
(02:51:23)
Thank you, brother. I appreciate it. Thanks for listening to this conversation with Andrew Callaghan. To support this podcast, please check out our sponsors in the description. And now let me leave you some words from Hunter. S. Thompson, “The Edge, there is no honest way to explain it because the only people who really know where it is are the ones who have gone over.” Thank you for listening and hope to see you next time.

Transcript for Bassem Youssef: Israel-Palestine, Gaza, Hamas, Middle East, Satire & Fame | Lex Fridman Podcast #424

This is a transcript of Lex Fridman Podcast #424 with Bassem Youssef.
The timestamps in the transcript are clickable links that take you directly to that point in
the main video. Please note that the transcript is human generated, and may have errors.
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Table of Contents

Here are the loose “chapters” in the conversation.
Click link to jump approximately to that part in the transcript:

Introduction

Bassem Youssef
(00:00:00)
If I hate you, that’s great, but if I have a story to support that hate, that’s even better.
Lex Fridman
(00:00:04)
One of your favorite words, “Jihad.”
Bassem Youssef
(00:00:09)
That’s my favorite hobbies. It doesn’t matter now, who do you vote into power; they will not listen to you, they would listen to the people who paid them to be there. When the military came in, people were walking to me, pointing their fingers like, “Don’t speak about [inaudible 00:00:24], don’t speak about the army. We love you now, but don’t you…” They would, like that. So I called John Stewart, I was like, “I don’t know what to do.” And he said the most interesting thing ever. And say, “If you’re afraid of something, make fun about the fact that you’re afraid of it.”
Lex Fridman
(00:00:43)
The following is a conversation with Bassem Youssef, a legendary Egyptian-American comedian, the so-called John Stewart of the Middle East, who fearlessly satirized those in power even when his job and life were on the line. Bassem is a beautiful human being. It was truly a pleasure for me to get to know him and to have this fun, fascinating, and challenging conversation. This is the Lex Fridman podcast. To support it, please check out our sponsors in the description. And now, dear friends, here’s Bassem Youssef.

Oct 7


(00:01:21)
Your wife is half Palestinian, and I’ve heard you say that you’ve been trying to kill her, but she keeps using the kids as human shields. So have you considered negotiating a ceasefire?
Bassem Youssef
(00:01:31)
Well, the thing is, every day, every minute of the day in a married life is a negotiation. Everything can blow up into a full-scale war. Starting from a simple sentence like, “Good morning, what should we do with the kids today? What should we do with that piece of furniture?” Any sentence can lead you to heaven or to hell in the same time.
Lex Fridman
(00:01:54)
So, you do negotiate with terrorists.
Bassem Youssef
(00:01:56)
Oh yeah. Yeah, 100%. You must. Yeah. And for her, I’m her terrorist too. So it’s equal.
Lex Fridman
(00:02:01)
Terrorists on both sides. On a more serious note, when you found out about the attacks of October 7th, what went through your mind?
Bassem Youssef
(00:02:08)
If I’m allowed to use a curse word, I was like-
Lex Fridman
(00:02:11)
As many as possible.
Bassem Youssef
(00:02:12)
I was like, “Oh shit.” Part of my stand-up comedy is I describe a situation where I was in a restaurant with producers and there was a bombing two blocks away in Chelsea, New York in 2016. And of course, this is the like, “Damn, what’s going to happen to us now?” And there’s two different reactions, the white reaction, which is like, “Oh my God, I hope nobody is hurt. This is terrible. I hope everybody’s okay.” And there’s the Arab reaction. “What’s his name? What’s his name? What is the name?” Because you know what’s going to come. I was scared what’s going to really happened in that area, and I said like, “Oh my God, it’s going to be horrible.” And the way that it was reported, I didn’t know how to handle this. So I went into hiding for a few days, three or four days, and I talked about Piers Morgan team talking to me two times, three times. I was like, “No, I can’t. How can you defend that? How can you defend the rape, the decapitated babies and whatever?”

(00:03:12)
And then I started kind of looking in the news a little bit, and then I started seeing people coming on the shows and saying things that I know as an Arab, as a Muslim, as someone from that region, that it’s not true. But I didn’t know what to say, how to say it. So by the third time when they asked me, I said, “Fine, put me on.” And I went there, it was [inaudible 00:03:36], figuratively speaking, a suicide mission because it’s a lose-lose situation. I can lose stuff in Hollywood. I remember my managers like, “Bessem, be careful. I mean, are you sure you want to do it?” My managers was like, “Please don’t do it. Please don’t do it.” And on the other side, if I don’t perform well, whatever, “Well” means, I’m going to be rejected by my own people. So it was a lose-lose situation because whatever I say, it’ll never be enough, and whatever I say will not be good enough. And I was going into there, and I felt that I was going into a trance for the 33 minutes that I was on that interview for the first time.
Lex Fridman
(00:04:20)
You blacked out?
Bassem Youssef
(00:04:21)
I blacked out. I blacked out. And a lot of people ask me, “Was that a bit when the earpiece kept falling?” It’s like, “No, it was really falling off and it disconnected and I had to save it because I cannot see them, I can just hear them and I could expecting at any time, “Okay, Bessem, thank you.”” I was fighting for every second, to say words, to put stuff in there.
Lex Fridman
(00:04:45)
For people who don’t know, this is your conversation, interview with Piers Morgan and you couldn’t see.
Bassem Youssef
(00:04:51)
I couldn’t see. I was just like, the lens of the camera and-
Lex Fridman
(00:04:54)
It was like a surreal dream or nightmare.
Bassem Youssef
(00:04:56)
Yeah. “Hello, Bessem.” It was like, “Hello, Bessem,” I was like, “Hi.”
Lex Fridman
(00:04:59)
And it could end at any moment, your career and everything.
Bassem Youssef
(00:05:02)
Everything. Yeah. Yeah.
Lex Fridman
(00:05:04)
So what was the drive that got you to actually do it, to overcome that fear?
Bassem Youssef
(00:05:10)
Multiple things. First of all, I don’t want to say it’s just my wife’s family because my wife’s family has always been there, but this time was different. The bombing, the attack, they’re usually one of those people that they’re aware of everything. When whatever happened in Gaza, they are always in safe places. But this time, it seems that there was no place safe. And already we heard about two, three of the cousins, and the uncles already lost their home. So this was too much. So I wanted to say something for those people, because I know that… One of the jokes that I made about like, “Oh, it’s Hasan, her cousin, he’s a loser, he’s a doctor. He’s a doctor.” And every time a hospital was bombed, we were worried about him. So I wanted to say that because I felt that this is a family that I have never seen in my life. She actually hardly saw an uncle or two, because they cannot leave. But I said, “I need to speak, at least I do something for those extended family that I have never known.”

(00:06:17)
But also because when Piers Morgan team called me a couple of times and said, “Okay, let’s see what’s going on in the show,” and I just watched the stuff, and the lies, and the one-sided reporting that made my blood boil. And then I thought, “What am I afraid of? I’m afraid of if I say something, I can lose my career. Wait a minute, but that was the reason why I left Egypt.” I said, “Wait, I left Egypt, I came to United States, I came to the Land of the Free where I can say anything I want. And yet I have limitation of what to say. I mean, I thought we left that shit behind. I mean, what’s happening?”

(00:06:57)
And I understand the connection of how sensitive it is when you speak about Israel and all of the ready-made accusations. But as an Arab, as a Muslim, I don’t react the same when you talk about Saudi Arabia, or Iran, or Egypt or any of them, it’s like, “Hey, you want to dis some of these countries, I’ll do that with you because I have strong opinions about what happened and I already been expressing them.” But that’s why, and there’s a lot of Jewish people who come to my show and they understand that. They understand the separation, but that kind of a grouping of blackmailing people and saying, and not saying what they have in their mind, it is that one of the things that kind of pushed me to go on the show.
Lex Fridman
(00:07:40)
The thing that was bothering you, was that what was being said or how it was being said?
Bassem Youssef
(00:07:46)
Both. Because there are lies, which is usually in the media, but there was the total disregard of humanity. You talk a lot on your show about human suffering, and I felt that here the human suffering was not equal. I felt that’s why I came up with this like, “What’s the exchange rate today? What’s the exchange rate today?” Of course, it’s terrible to see anybody die, but I feel that like, isn’t our life not worth anything?
Lex Fridman
(00:08:20)
Yeah. You had a chart akin to crypto, you analyzed it from an investing perspective, of course, in a dark human economy-
Bassem Youssef
(00:08:27)
The ROI on-
Lex Fridman
(00:08:30)
The ROI. And you were saying that a certain year was a good year.
Bassem Youssef
(00:08:34)
Yeah, 2014.
Lex Fridman
(00:08:34)
2014 was a good year for investment purposes and also to refer to family member that you called a loser, you were saying that you called him, had a conversation with him, and he keeps saying that he’s not using anybody for human shields, and you called him a loser. What do you do? He can’t even keep a job.
Bassem Youssef
(00:08:51)
Liar. He lied to us because I have to believe. It’s also one of the things, like how it was said, it was stuff that I’ve been hearing. I don’t know what turned on in my head, but it’s stuff that I’ve been hearing all my life from the media, “Israel warns civilians before bombing them, and that’s okay,” but that’s not okay. Israel is trying to minimize the civilians, but killing them anyway. And that’s okay, but that’s not okay. So it is kind of like the indoctrination that we’ve been hearing, as if it is okay, and then suddenly it’s not.
Lex Fridman
(00:09:27)
Yeah, there’s a kind of several layers of bullshit, almost sometimes hiding the obvious horror of the situation with kind of politeness and all this kind of stuff. Just the basic value of human life. That said, it’s a difficult situation.
Bassem Youssef
(00:09:44)
It is.
Lex Fridman
(00:09:45)
What would you do if you were Israel? Bibi called you, awesome, big fan, big fan of your comedy. First of all, would you hang up right away? Would you hear him out?
Bassem Youssef
(00:09:54)
Oh, I’ll definitely hear him out. That was like, “Wait a minute. That’s material. That’s material, man.” It was like, “So Netanyahu called me. I was sitting with my family. Just like, I’m on my phone, and it was like, “Oh, Netanyahu.”
Lex Fridman
(00:10:05)
Yeah, it just shows up that way. I mean, what would you do? What would you do in this situation?
Bassem Youssef
(00:10:13)
To answer this question, we need to understand how Israel thinks. There is an incredible speech given by Gideon Levy, the famous Israeli reporter [inaudible 00:10:23]. He describes a situation where he was in the West Bank and there was a checkpoint. And in that checkpoint there was an ambulance with a Palestinian patient and it was there, sitting for an hour and a half, not moving. And then he went to talk to the soldiers, like, “Guys, why are you not letting them go?” It’s like, “Ah, let them go.” And then he told them, “Imagine if he was your father.” And the soldiers stood up, it was like, “What? These are pigs. These are not humans.”

(00:10:58)
So when you tell me what would you do if Israel would do, we need to ask how does Israel look at the Palestinian and view the Palestinians? Because they do look at them less than human. And there is an incredible talk by [inaudible 00:11:12] Meyer. He was a Holocaust survivor, and he said, “I learned in Auschwitz when I was there in the Concentration Camp that in order for a dominant group of people to dehumanize another group, they need first, to dehumanize themselves. And Israel looks at Palestinians as lesser people, as lesser beings, as some people who are dispensable. And the way that they treat them is that, they don’t really care about… That’s why that the exchange rate thing.

(00:11:42)
So for me, if I am Israel, it’ll be like, “What would you do if you’re the United States in the time of the Native Americans? They were killing people with the millions.” When you dehumanize a group of people, you really don’t care. So if I was Israel, I would do exactly what Israel is doing right now, because there’s no one is holding me accountable. There is no one stopping me, and I can get whatever I want, throughout my history, through violence.
Lex Fridman
(00:12:08)
I think a lot of the things you just said are a tiny bit slightly exaggerated. So let me try.
Bassem Youssef
(00:12:14)
Please, please.
Lex Fridman
(00:12:14)
Let’s try. So not everybody in Israel.
Bassem Youssef
(00:12:17)
Of course.
Lex Fridman
(00:12:17)
So let’s look at several groups. So people in government, IDF soldiers and citizens that are neither of those. And not everybody of any of those sees Palestinians as less than human, just some percentage. So what percentage is that in your sense?
Bassem Youssef
(00:12:39)
It’s the people who have the power.
Lex Fridman
(00:12:41)
So it’s mostly the focus of your commentary, when you say, “People in Israel,” you really mean the people in power.
Bassem Youssef
(00:12:47)
The people who have the power, but as much as, of course, I mean the people in power, because even when I speak about America, I speak about people in power. When I speak about Egypt, I speak the people about power, because you can’t really talk about the 100 million people in Egypt, or the 11 million people in Israel. Of course not. There are people who go in, and they demonstrate against Netanyahu and they want him out of the government. But we have to admit that the Israeli society at a whole have moved quite bit to the right and has been many extreme. And you know what happens when you go to the right or you go to the most extreme, the other person go to the most extreme, and extremism breeds extremism. So thank you for the clarification, but I really meant, with the people of power. When people criticize the United States for going in Iraq, of course I’m not criticizing citizens.
Lex Fridman
(00:13:32)
But you made another point, which is an interesting point and it’s very difficult to see in the heart of people. But I wonder if you look at the average Palestinian and the average Israeli, and when they look at the other, do they have some hate in their heart? Well, everybody probably has some. What is that amount? When you look at a person that looks different than you, how much hate is there?
Bassem Youssef
(00:13:57)
It depends on what is the living situation of each person. So in the Berlin Film Festival, just like a few couple of weeks ago, there was an Israeli and a Palestinian receiving an award together. And the Israeli director said, “We are going to go back to Israel. He’s going to go to the West Bank, he will have no rights, and I’ll have full living rights.” These people managed to work together and be friends, and they have empathy to each other. Now, the average Palestinian, it’s a very difficult question because is it the Palestinian in the diaspora or the Palestinian in Gaza? Or the diaspora in the West Bank or the one as a citizen of Israel, who still have less right than a normal citizen of Israel, a Jew?” And it really depends. There are Arabs in Israel who are having a great life, and there are people, Arabs, who are having a miserable life, but definitely people that living in Gaza or in the West Bank is kind of like on the lower tier of the living conditions. Now, let’s talk about the hate. What does that Palestinian see from an Israeli? The Palestinian see oppression, limitation of movement, limitation of freedom. And then when there’s something happens, you see the full force coming in, destroying their home, taking away members of his family. There would be absolutely no reason for him to love the other. The Israeli, because he doesn’t have the power, but he lives under his government, all he sees is the rockets or whatever, but he sees the reaction and he doesn’t see what happened to those humans. And as humans, we are selfish. We see what really affects us as humans. And I cannot even imagine what it would be like to live as a Palestinian, and I’m not even talk about Gaza because everybody talks about Gaza. But let me give you an example, and I’m not going to talk about the 12,000 kids killed in Gaza, let’s talk about just the four weeks in the West Bank.

(00:15:57)
March 4th, Amir al-Najjar, age 10, sitting next to his father, shot in while he’s sitting in the car next to his father by the IDF soldiers. Mohammed Ziyad, 13 years old, March 3rd, shot in front of a UN school while sitting with his friends. Mohammed Ghanem, age 15, March 2nd, he shot while standing in front of a storefront during a night raid. February 23rd, Saeed Jardal, he was killed by a drone fire. February 22nd, Fadi Suleiman killed while standing in front of a top of a red cross building. Nihil Ziyad, February 14th, Valentine’s Day, killed and shot in the head while leaving school. February 11th, Mohammed Khattour, US citizens killed while being in a parked car. And [inaudible 00:16:54], February 9th, killed right in front of his home because a military car came reversing back to him, and then somebody opened the door, shot him and leave. This is a daily life of people in the West Bank.
Lex Fridman
(00:17:07)
What is the justification the IDF provides?
Bassem Youssef
(00:17:11)
Terrorism.
Lex Fridman
(00:17:13)
Terrorism?
Bassem Youssef
(00:17:14)
Or I don’t know. I mean you cannot really say, “Human shields,” but they would say they were throwing rocks. There was a guy who went on Chris Rock and he said his son, a US citizen was killed, and they were throwing rocks, so we killed him. Even when they were throwing rocks, you killed him? But the thing is, you see, this is how easy for them to get rid of Palestinians. I mean, I had to say, I prepared a little bit for the podcast because you are in tech and I am ignorant in tech. There is a movie called The Lab. It is directed by an Israeli director called Yotam Feldman. And he talks about how the military industry in Israel is very advanced. And what is really mind-boggling is in that movie, he shows how the military tests its weapons in the field, in urban areas, on Palestinians.

(00:18:08)
It is heartbreaking, as a doctor, there’s five stages of trials. There is discovery, pre-clinical, clinical, and then market, and then post-market evaluation by the FDA, the FDA approve, and then the FDA post-market. Five just to take a pill. And you go in and he interviews people as like, “Where did you test this?” They tested in the field.

(00:18:35)
So when human life is so cheap, and it is so indispensable, it gave me a visceral reaction because this has been actually the state of humanity. Humanity lived, and survived and thrive by actually killing each other. But there was kind of a, we were remotely, we are removed from it. People in Greece didn’t know what the Alexander the Great was doing. He was killing and pillaging. We call him, “The Great,” but he was killing. He was conquering, he was invading. Julius Caesar, all of the greats, he would do it, but killing was difficult. Killing had to have some sort of… You have to be with your enemy. Then you go back, catapults, then cannons, then a little bit back, and then you are kind of starting remotely. Now you’re killing people behind the screen with a push of a button. A lot of people say, “Terrorism, they killed you with a knife, killed one person with a knife, shot you. That’s terrorism.” But if you fly a $64 million F-16 and you drop up in an A-84 bomb that costs $16,000, that’s not terrorism because it’s remote. You’re behind the screen.

(00:19:49)
So what happened, what Israel is doing, it is removing itself, like America too, drones [inaudible 00:19:55]. And then when you push someone to be, they always brag about bombing them to the Stone Ages. What happens when the screens, and all of the obstacles that you have been put between you and those people, that you have treated them this way, when this is a breach and you come face to face, you will come face to face with what you have created.
Lex Fridman
(00:20:17)
Yeah, there’s a lot of interesting things you just said. So one is the methodology of killing. If you want to look at some horrific, hard-scaled killing, people often talk about the Holocaust, but that’s visceral. You can look at Holodomor by Stalin, where the murders through starvation.
Bassem Youssef
(00:20:37)
By Churchill in India.
Lex Fridman
(00:20:39)
Churchill, in India, and the Great Leap Forward by Mao. So starvation is a thing we don’t often think of it as murder because it’s quiet, it’s slow. And the interesting thing about starvation is that the people don’t complain as they’re dying because they’re exhausted. That’s one. And the other is the value of human life, it does seem that every culture has an unequal valuation of human life. So those two things combined create a complicated military landscape of the world.
Bassem Youssef
(00:21:22)
Yes, but the thing is that how we would look at technology as the savior, as if we talk about how, “AI will disrupt, will disrupt, will disrupt.” And now if you talk about going to the West Bank, the people in the West Bank walk, and they don’t see humans, they see people shouting them from towers or behind the screens and they have biometrics that is developed by Basel System, that’s done by HP or Google and Amazon who are part of Project Nimbus. And you see indivision developing all of this metric, and surveillance and all of that stuff. And then, you have something like the gospel that people have actually said that the gospel can actually create a target list using AI and give you a green, yellow, or a red to go ahead. And now AI is not just disrupting the market, it’s disrupting our humanity. And we became so comfortable killing people from afar, killing people with a push of the button. And now it is like dating apps when you swipe left and right, it’s like, “Oh, right,” it becomes so cheap. It’s not meeting someone. It’s like, “Oh, [inaudible 00:22:36],” it’s like a lot of fish in the sea. Same with AI. Boom, 500 people killed. Boom, get killed. It’s so easy, it’s so easy, it’s so easy. And then it’s so far removed from you.

(00:22:46)
So when you put these people in this condition, you have literally put them in a different universe than yours. You are behind in your air conditioned screens, pushing them, blowing up a university. It’s amazing. But then you meet what you have done, you meet the Frankenstein that you have created, and then people are like, “Oh, look what they did to us.”
Lex Fridman
(00:23:07)
You just gave me this image of a dating app from hell. Where leaders are just sitting there and swiping left, right.
Bassem Youssef
(00:23:15)
Like, “Invade,” “Destroy.” “Puppet government.”
Lex Fridman
(00:23:21)
Yeah. And then, turn off the phone and go to sleep. So I traveled to the West Bank and I mentioned to you offline that I really loved the people there. I’ve met a bunch of people like that in Eastern Europe where I grew up. Yeah, like the flamboyant, the big personalities, all of that. I also met a person who’s in charge of a refugee camp who was shot by an IDF soldier. And I’m not sure the words he said are important as the consequences of the thing that you mentioned, which is the deep hate in his eyes. That didn’t feel repairable at all. It was pain, it was like a foundation of pain, and on top of that, a hatred. And I was like, “Wow, you kill one person. This is what you create.”
Bassem Youssef
(00:24:19)
Mm-hmm. Because we have kind of like a front row seat to what’s happening. We think we are in it, but we can’t really grasp it. I mean people’s like, ” Oh, we’re just going to go in, get Hamas out and we are going to get them back in.” And what about the people get back in? How do you think they would look at you? What have you created? What have you done?

(00:24:44)
My show in Egypt was all about propaganda. It’s all about the use of words. Words are very important. The decapitated babies were not chosen randomly. Because you see, it plants a certain image in your brain. Imagine if you’re going in what a baby can do; it can smile, cry and poop, that’s it. It is absolutely no threat. So when you tell people, “40 decapitated babies, they’re so animalistic, they didn’t see the babies. Women raped. Of course, he’s an animal to do that.” And they would go through that and what was very frustrating about the conversation is the Gish galloping. The gish galloping. You see the distractions? You see what happens? ” What’s the proportionate response?” “Can Israel defend itself?” “Do you condemn Hamas?” “Does Israel have the right to exist?” “Decapitated babies.” “Raped women.” “Why don’t the Arab countries take them?” “Muslims kill Muslims.” “Look what happened in Yemen, in Syria, in Iraq.” See how they kind of distract you? They throw little things at you so you don’t know what to do. Or the honor war, “The UNN,” “Anti-Semitic.” “October 7th,” “October 7th,” “October 7th,” and then suddenly you are distracted and pulled into discussing all of these little things and you’re not discussing what’s happening right now. It is basically stalling, giving them time to do what they do.
Lex Fridman
(00:26:06)
So there’s some degree to the propaganda though. So the beheaded babies and all this kind of stuff that is so over the top that it shuts down actual conversation about actual wrongs, war crimes on both sides. So it’s overstating it to where everyone on social media and everywhere in the press and everywhere is arguing, almost become desensitized to actual horrors of death, which are more mundane. They’re not so dramatic as beheaded babies.
Bassem Youssef
(00:26:35)
Yeah, because may be shot, but decapitated babies, there’s like a knife blade that goes into the skin, the trachea, the flesh, the spine. Decapitated. You can just, like, “He’s dead.” No, you go in. This is the hate. So much hate. And that’s why you-
Lex Fridman
(00:26:51)
You have made me laugh at the darkest shit. You’re such a beautiful person. Your dark humor is just wonderful.
Bassem Youssef
(00:27:01)
But you see this happened to Jews before. Remember blood libel? Where did the blood libel come from? It come from these rumors that Jews suck baby’s blood. This is what they did to them.
Lex Fridman
(00:27:11)
Yeah, it’s in the cup.
Bassem Youssef
(00:27:12)
Exactly. That’s a very delicious baby cup.
Lex Fridman
(00:27:15)
Delicious baby blood.
Bassem Youssef
(00:27:16)
But this is what you do. You tell people something. And it happened with the Native Americans when they were here, when they went in and they wipe a whole tribe. And Jewish people, one of the minorities that were persecuted and had this used against them for a very long time, and it is terrible, and it’s terrifying that’ it’s been used again.
Lex Fridman
(00:27:35)
So I just did a very lengthy debate on Israel and Palestine and the really painful thing from that, those two historians, and it was deep, it was thorough, it was fascinating. But in constantly asking about sources of hope or solutions, there was none. There was a really dark sense of, it’s hopeless, from both sides. It’s hopeless. So I look to you for a source hope. For a source of hope. Is there any hope here? Solutions? Short term, long term?
Bassem Youssef
(00:28:22)
Obama have kind of summarized this beautifully in his book. He said, the reason why the Israeli-Palestinian conflict is so chronic is one side have so much power and the other side have absolutely no power. And that’s what Obama said, he said, you have Israel, that basically don’t listen to us because they’re supported by people who are bigger than the president, bigger than administration. They know that they can. I mean, Netanyahu was quoted on tape many times saying like, he’s basically belittling Americans like, “We control 80% of the population. We don’t care.” This has nonchalant, kind of like, “We have them.” And there’s nothing really that compels Israel to give up anything because at the end of the day, what is compromise? Compromise is like, “I give something, you give something.” Israel’s giving anything, and they project that on you.

(00:29:15)
So for example, how many times have we heard, “Oh, Palestinians were giving four, five, six, seven, 15 chances and they said no to them.” And yet when you read the history, that’s not the case at all. For example, in the whole idea about Arafat walked away from Oslo, that didn’t happen. And there is an incredible video by, what’s his name? Joe Scarborough with Misha. And they were hosting her father Brzezinski. He was the national security advisor. And Joe Scarborough was like, “Well, Arafat left the Oslo Accord and the Palestinians left.” And then Brzezinski said, “This is like embarrassingly shallow.” It’s like, “Listen, what happened was there was a lot of catches on the Oslo Accord. It was very unfair to the Palestinians. So Arafat said, “I agree, but I need to take it to the Arab capitals.”” And they went to Sharm el-Sheikh, they came to Egypt, and he and Ehud Barak went to there. And then Ehud Barak left because there was election and he lost the Ariel Sharon game and it was destroyed. This is one of the reason why people… It’s kind of like facts don’t matter as much as what is the narrative that has been controlled.
Lex Fridman
(00:30:32)
But what were the biggest barriers to peace there? Do you think it’s, fundamentally leaders don’t want a two-state solution? Or was there nuanced small differences that, if solved, could lead to a two-state solution?
Bassem Youssef
(00:30:46)
I mean, maybe there was a certain point when the Israeli leaders were more open to compromise. But I can’t say that because each time Israel gives back land, it has to be after some use of force. The 1973 war, the first and second, the casualties in Gaza, they never give up land willingly and because of peace. Because if I have that much military, I can do whatever I want, why would I give up anything? I have that much power. Why would America or China give everything if they’re so powerful? And especially if they have this kind of open check from the United States. So it is really about what can push Israel to give up something? Because you are so much stronger than me, what could compel you to give up something? And this is why the whole thing about trying to equalize Palestinians and the Israeli state and government, it doesn’t make any sense.

Two-state solution

Lex Fridman
(00:31:49)
So what is the source of hope? John Stewart, who will talk about it from many angles, somebody you admire, a friend, he proposed a two-state solution.
Bassem Youssef
(00:32:03)
Of course.
Lex Fridman
(00:32:07)
Look to the comedians for hope.
Bassem Youssef
(00:32:09)
Yes. Well, everybody’s talking about the two-state solution, but Israel has said many times, or Netanyahu and [inaudible 00:32:15], “There’s going to be no state solutions.” In the past, it’s like even Naftali Bennett, he came in on [inaudible 00:32:23] like, “Yeah, maybe in the past we wanted two-state solutions, but look, every time we give them land, they kill us. So no state solutions.” And they are openly saying it.
Lex Fridman
(00:32:29)
But that’s, perhaps rhetoric?
Bassem Youssef
(00:32:31)
The rhetoric that is supported by action. Because look at what they’re doing in the West Bank, as you said. They are cutting it, illegal settlement, piecemealing it. So if you have an intention at all to give them anything, why do you keep doing this?
Lex Fridman
(00:32:48)
And you’ve called it, “A bunch of little Gazas.”
Bassem Youssef
(00:32:51)
Yeah.
Lex Fridman
(00:32:51)
It’s a nice little picture of what’s happening.
Bassem Youssef
(00:32:56)
Piecemealing it. Because what happened in the past four months, the Palestinians have been micro-dosing on it for a very long time.
Bassem Youssef
(00:33:00)
The Palestinians have been micro-dosing on it for a very long time. Little by little, little by little. And we would shout every time when it gets too much and then we’ll shut down, and then little by little. But this time it was hard. It was hard to see the blatant oppression. And the world said, “Maybe the Hamas Ministry of Health are giving us the bad numbers. Maybe these are human shields.” And I laughed. There’s 13,000 babies killed. Does that mean that there are 13,000 military target hiding in their diapers? Because it doesn’t make any sense to kill that many babies it’s just like, “Oops, it’s out of our hands.”
Lex Fridman
(00:33:45)
It’s hard to know what to do with those numbers. Just one baby is enough.
Bassem Youssef
(00:33:51)
But you know what happens when you hear so many numbers? Numbers become numbers and you become so desensitized. And this is why there’s a difference between saying, “13,000 Palestinian kids dead.” It’s like, “Mila Cohen an Israeli baby, 10 month old, she was killed in her crib.” And this is what we hear from CNN. We never hear a story about the Palestinian kid. That’s why thank you for giving me the space for saying the names of the Palestinian children that were killed just in four weeks. Because humans needs context. They need depth. They need a 3D look at what they can look at. But if you just tell numbers, “Oh.” They don’t mean anything.
Lex Fridman
(00:34:34)
Is there some degree to where both leaderships, Hamas, PA, Palestinian Authority, Israel, all want war, like perpetual war to remain in power?
Bassem Youssef
(00:34:49)
That’s an interesting question. But let’s admit something. The Arab regimes in the area have actually used the problem of Palestine in order to stay in power, in order to take, get excuses, have this enemy. And Israel, the Israeli government has used that too. And maybe the Palestinians. But my problem with when going into discussion this is that the two sides are not equal. They’re not equal in power, they’re not equal in influence, and they’re not equal in international support, especially with the United States. People who have made changes in history were the people with power, the people who would have the ability to change things and the Palestinians cannot really change it. What can they change?
Lex Fridman
(00:35:39)
Well, is that true though, with how much support the Palestinian people have? So just like you said, there’s a lot of Arab states that will voice their pro-Palestinian position in order to distract from their own corruption and abuses of power in their own countries. But I don’t think, if you look globally, there’s a complete asymmetry of power and public opinion here, maybe in the press in the West. But if you look globally…
Bassem Youssef
(00:36:12)
But do they have the same kind of weapons that the Israeli have?
Lex Fridman
(00:36:14)
Literally power? No, there’s a major asymmetry of literal power.
Bassem Youssef
(00:36:20)
Some money to their leaders. Does that make any difference? And also when you say Palestinian Authority, which authority are you talking about? Hamas or the Palestinian Authority who has been kind of a domesticated, kind of like a puppy for the Palestinians who basically have been an informant on their own people. And this is the thing also that kind of really pissed me off when I was hearing the thing about these things like, “Hamas, Hamas, Hamas, Hamas.” We have Netanyahu on tape confessing that he supported Hamas giving money in order to cause factions between the Palestinians. So it’s just like it doesn’t make… You just told me this. You just told me this, you just told me they didn’t have any support Hamas, but Hamas is like “What?”
Lex Fridman
(00:37:01)
To which degree does Netanyahu represent the Israeli people? Is a real question.
Bassem Youssef
(00:37:08)
To which point does Trump or Biden represent the American people?
Lex Fridman
(00:37:12)
And to which degree does Hamas represent the Palestinian people?
Bassem Youssef
(00:37:16)
None of these represent it, but who have the power in order to make the decisions? It really comes down to that.
Lex Fridman
(00:37:23)
Well, who does have the power? You’re giving a lot of power to Israel.
Bassem Youssef
(00:37:28)
Yeah.
Lex Fridman
(00:37:28)
But the Arab League-
Bassem Youssef
(00:37:31)
What should Hamas do? What do you think? What should Hamas do?
Lex Fridman
(00:37:33)
Continue doing what the charter says which is trying to destroy Israel. And the role of the Palestinian people is to overthrow Hamas and get a more moderate leadership probably. And the role of the Israeli people is to vote out this right-wing government and elect a more moderate leader so that there’s a chance at peace with two moderate leaders.
Bassem Youssef
(00:37:56)
So before Hamas even got to control 2006 Gaza there was a real sure one in 2000, and we all know what happened, and I really sure one kind of had make the came up with this amazing policy of breaking kids’ bones in the into father. So even Barrack he was also, I mean which one is moderate I think is Hamas is a product of what happened. I mean, if there was no apartheid in South Africa, there will be no NFC. There will be no Nelson Mandela though if there was no Nazis in Paris will be no French resistance. And I’m not saying, and again, I don’t want to be put in a position to defend Hamas or anybody because you know what that entails. But those are Hamas, again, not defending them.

(00:38:50)
They went into October 7th. Why did they did that release our hostages, the people in prison? Because if you’re talk about people who are kidnapped, Israel kidnaps people every single day and when they had the first exchange in November 4th, Israel leaves 400 people. Three quarters of them were women and children. Why are those people in prison? There’s one in four kids that are in prison that stay in solitary confinement, which is by international law, a form of torture and you’re putting kids through that.
Lex Fridman
(00:39:22)
Is it possible, so first of all, ceasefire and longer term, is it possible for Arab states and the United States to get together and with power through diplomacy enforce a solution?
Bassem Youssef
(00:39:41)
It’s a very, very ideal solution, but you know and I know that Arab states don’t really have the power. All of the powers are in the hands of America.
Lex Fridman
(00:39:51)
I think they have the power. See, I think they have the power.
Bassem Youssef
(00:39:54)
Maybe they Don’t want to use it. Maybe they don’t want to.
Lex Fridman
(00:39:58)
Because there is a benefit. The dark sense I have is that a lot of people win from the suffering that Palestinians are going through because they can point to that and distract from
Bassem Youssef
(00:40:14)
Definitely
Lex Fridman
(00:40:15)
Corruption in their own states. And then obviously Iran can benefit also from the same kind of dynamic distracting from the authoritarian nature of their regime.
Bassem Youssef
(00:40:27)
Definitely. But what is the core of the problem here? Is it the Arab states using the suffering or actually the suffering itself and the suffering comes from people being displaced. Their homes were taken away. There are 7 million Palestinians in diaspora, seven millions, 7 million went out there and now they’re living in Canada and America and Europe. They had homes there. They cannot go back to 1.7 million people. Of the people in Gaza don’t belong in Gaza. They were pushed from other places. The piecemeal thing of people are being in Germany, I’m going to shift gear a little bit. It’s going to be a little bit of fun. There is a book that I bought the rights to and I want to turn it into a movie, and I optioned the right for two years in March of last year, before October 7th, after October 7th, I bought the permanent, right,

(00:41:26)
That book, it’s called the Muslim and the Jew, and it is written by an author called Ronen Steinke. I read an article about this book in 2016 and I chased that book for rights for seven years. I didn’t have that much money, but I wanted that book and that book was translated into English called Anna and Dr. Hanmi, and that book tells the incredible story under Nazi Germany where Arabs went in droves to Berlin in 1920s after the first World War in the Weimar Republic, and they became doctors and engineers and journalists for two reasons. Number one, they’re cheap, very cheap because of the inflation. And two, a lot of the Arab nationalists didn’t want to send their kids to England or France because they were the occupiers and Dr. Hanmi was the hero of that. He’s an Egyptian doctor and that’s why I personally connected with him and he went to medical school, didn’t find a place to live, so he lived in the Jewish ghetto.

(00:42:34)
Like many Arabs, he didn’t find a school to work at, a hospital to work in, so he worked in a Jewish hospital. So there was a lot of Arabs who lived with the ghetto and actually the first director of the Berlin mosque with a Jewish convert who converted to Islam, and he was a gay activist. I’m telling you, this is a crazy story, and this is not a fiction story. This is actually like a nonfiction. It’s written actually based on the statement, the documents of the Nazis and Gustavo, Dr. Hemi, he was in this hospital and the Nazis came in and they killed and tortured and beat up the Jewish doctor and they made him the head of his department. Then now he’s surrounded by Nazi doctor. They didn’t touch him because he was an Arab. There was kind of like a thing between Germany and the Arabs because they wanted to appease to them in order to have kind of a grassroots base in the Arab world where he want to go next.

(00:43:38)
And this is why 19 34, 19 35, the racial laws of Nuremberg, they had a name change. First they were called anti-Semitic. Then they changed into anti-Jewish because also Arabs were Semitic, so they wanted to appease the Arabs. Now what happened to Dr. Hanmi when that happened to him, he would go back to the ghetto and he would see the apartments next to him. The Jewish apartments become more and more and more flooded with people because they were moving Jews and pushing them and putting them together, pushing them to the side and each flat, each apartment instead of one family, it would have 3, 4, 6, 7 families. And he was there when at home and he looked, he was there.

(00:44:29)
This is where the people he grew up with, he lived with, and now he’s seeing that kind of discrimination just because he was an Arab. And then he started to kind of atone for, because he felt responsible because he wasn’t treated the same way. And he started to go and treat Jewish people in their homes because they couldn’t go to hospitals. And then one family gave them his daughter. It’s like, this is Anna. Save her. He took her pretended that she’s his niece, put a hijab around her, taught her Arabic, called her Nadia, my daughter’s name by the way.

(00:45:05)
And he hid her in plain sight for seven years in front of the Nazis as his nurse. It’s an incredible story. And then not just that, he went to prison and then he went out and he formed with the Arab people that was imprisoned with him, a network that saves 300 Jews. You see that kind of story. This is the Jews that were living in the airport. I’m not saying that the Jews living in the airport was living like an incredible life. Of course, as LA kind of minority, they did not have the full power of their full advantages of the rule. That’s normal. But we had this kind of a relationship

(00:45:42)
Before Israel was erected in 1948. And then of course, everybody looked at Jews at time as fifth column. And of course the nationalistic regimes used that. And this is why what Biden said was very dangerous when he said, if there’s no Israel, no Israel, you are the leader of the free world. You are the President of the United States. Do you mean that you are telling me that Jews in your country, in the United States of America are not safe? That is wrong on two levels. Number one, America historically and right now is more safe to Jews in the world than anybody. They’re safer than the Jews in Israel.

(00:46:23)
They never had pogroms or the Holocaust like Europe. They live here a good life, not perfect life, but they’re better. Second of all, if you are the president and you’re telling that a group of people will not feel safe unless there is a different one, you are already feeding into their fifth column. They’re like, you’re Russian. You come from there. And there is a group of laws in the Russian constitution that says that Russia will protect its citizens everywhere in the world. What happens if the president says like, oh, you’re Russians. You’re protected by your own country. Don’t belong here. This
Lex Fridman
(00:46:51)
Is terrible. Yeah, you’re right. That’s actually an indirect threat. Even saying Muslims cannot feel safe in America or something like this. That means that’s a threat.
Bassem Youssef
(00:47:03)
But what would a Jewish person in Beverly Hills or in Brooklyn feel if he hears that you are already telling people you need to be loyal to Israel? I mean, Israel is a foreign country. I am sorry, but Israel is a foreign country. Israel is a client country that we sponsor, and it should actually be responsible and held accountable for what they do.

Holocaust

Lex Fridman
(00:47:28)
You mentioned 1948, the Nakba, but before that, 41, 39, 41 to 45, the Holocaust. What do you do? What do do with the Holocaust? How do you incorporate into the calculus of what’s,
Bassem Youssef
(00:47:46)
Oh, it’s terrible
Lex Fridman
(00:47:46)
Of morality. That leads up to the displacement of 700,000 Palestinians from the land. How do you work that
Bassem Youssef
(00:47:56)
Out? It is terrible, but I mean the systemic annihilation of Jewish people under the Nazi, that is a carefully engineered thoughtful plan. It was terrible. It was kind of like the human ingenuity put into something that is very evil, but also it is not just that happened. We need to remember that Otto Frank, the father of Anna, Frank has his visa, refugee visa rejected by the United States. There’s a lot of people that were rejected by the United States, rejected by other European countries, and then they were pushed into Palestine.

(00:48:31)
So you have to put yourself between and the Arabs, okay, we’re sitting here, okay, come and then, all right, you don’t have a home or a country anymore that kills you. I mean, you see, if I’m not an Arab and you give me that kind of piece of terrible human tragedy, like oh my God, that is terrible. But then I’m an Arab like, yes, I’m so sorry, but what do I have to do with that? Why is that my fault? The persecution of the Jewish people have started since then the eighth and ninth century because they were like they first anti-Christians, they were with criminal immigrants. They were conspirators. This is the anti people as if Europe kind of throw anti-Semitism on us. You understand that like Henry Ford, Henry Ford is one of the biggest anti, he was the inspiration for Adolf Hitler.

(00:49:28)
This is how anti-Semitic Henry Ford was. And you kind of gloss over that and then suddenly we as Arabs have to pay the price. Why?
Lex Fridman
(00:49:44)
Several questions I want to ask there, but one just zooming out, why do you think hatred of Jews has been such a viral kind of idea throughout human history? Oh,
Bassem Youssef
(00:49:56)
It’s very easy. It all started from Christ. They killed Christ. They kill Christ. They killed Christ. They’re the killer of Christ. That’s a very sexy story. And that stayed for years. That stayed for centuries. I’m sorry, centuries. They’re the killer of Christ. And then the Catholic Church did not allow usury, but they would work in usury, so they become rich. Now, the people that we hate, that we accuse them of feeling Christ are becoming rich. So that’s envy now and that’s hatred. I mean, when you talk about ghettos, ghettos were not just as secluded parts in cities. Sometimes those ghettos or outside the cities, Jews were not even allowed to work a lot of professions.

(00:50:42)
They were not allowed to get into the syndicates of certain professions. So they had to work usually and they got rich, so the people hated them more. The first crusade didn’t kill a single Muslim. All the killed were Jews. And when they finally arrived to Jerusalem, all the killed were Jews. They almost annihilated the Jews. So it was all this, and of course you have the dark ages. Who do you need as an enemy? The Jews. They’re the killer of Christ. There’s nothing bigger than this.

(00:51:15)
And then you fast-forward. I mean, one of the things that I found out that was very, very, very, very crazy when Henry Ford imported the protocols of the elders of Zion, by the way, in the Arab world, protocols of the elders of Zion is so popular and for the obvious years and for the people who don’t know it’s kind of a bunch of stories. And basically it’s like the Jews saying, we got to control the war and we’re going to do this and we’re going to do that and whatever. What people don’t know that that is a work of plagiarism. It was plagiarized from a satirical play called Conversation in Hell between Machiavelli and Montesquieu, and it is kind of based on one chapter or one scene or something. It’s crazy, but it’s crazy
Lex Fridman
(00:52:12)
How sticky it is. Yes, that’s weird
Bassem Youssef
(00:52:15)
Because if I hate you, that’s great, but if I have a story to support that hate, that’s even better.
Lex Fridman
(00:52:20)
But it’s one of the best stories, one of the stickiest stories about hate. Of course, it’s probably the most effective. A lot of peoples hate other groups of peoples, but that’s just the sexiest story of them
Bassem Youssef
(00:52:36)
All. Because humans need to concentrate their hate, their insecurities and their shortcomings into one thing that they can practice that hate on. If it’s a person, great, if it’s a group, even better.
Lex Fridman
(00:52:55)
How do you into this calculus incorporate That group is pretty small. There’s 16 million Jews worldwide, and you mentioned how is that the responsibility of the Arab peoples? Everybody should be to blame for not taking in Jews after the Holocaust, but the reality of the situation, if we look at the religious slice of this, there’s 16, let’s say million Jews, and there’s, I don’t know how many Muslims, but 1.8 billion. That difference, that a hundred x difference. Do you incorporate that into the sense that Jews in Israel might feel for the existential dread that this small group might be destroyed? Jews
Bassem Youssef
(00:53:48)
In Israel have every right to feel afraid because of everything that they see and everything they’ve been told everything. But I would say that the calculus or the numbers doesn’t, of course being small,
Lex Fridman
(00:54:02)
It
Bassem Youssef
(00:54:03)
Is of course a factor, but it is never an excuse in order to take something that’s not yours. It’s saying like, Hey, you have 300 million Americans and we have 52, 52 give one state for, there’s too many of them, too many of you just give them something. It’s like the fact that I have something and you don’t, and I have, there’s too many of me, and there is little of you. And then you come in and it’s not really Israel against the Arab word or the Muslim or because we have to say we up big time.

(00:54:34)
But it is the Palestinians that are in and they are being subjected to that. So it’s not really like the 1.8 billion and the 16 million Jews and the 1.8 billion. If you look at them, some of them don’t care. Some of them live into regimes that being oppressed and those regimes are supported by the United States in order. It’s easier for me as an empire to take what I want from this country if I control the dictator. And I tell them that his power is linked to my desire to keep him in power. So that’s why you have a total disconnect between people in power in the Arab and the Muslim countries and the people themselves.

1948

Lex Fridman
(00:55:15)
Can you speak to the 1948, because you mentioned taking land that’s not yours, maybe parallels with Native Americans. There was a war, the Jewish minority fought that war against several Arab states and won that war. How do we incorporate that into the catalyst?
Bassem Youssef
(00:55:41)
Yeah, well, that’s also a misconception, like a misinterpretation of the event because it seems that it was the small, it’s kind of like a David and Goliath kind of story. And I was always like, how did we not do that? But in reality with numbers, I can’t pull it up right now, but if you look at the numbers, the number of tanks, the planes, the trained officer, because many of those Jewish fighters came from World War Two, they were seasoned fighters and they actually had more planes, more tanks, more artillery, more pieces of weapon, more of all of other combined, because the people that really was Egypt and 1948, many of those Arab countries didn’t even have their independence. So they would kind of send a cavalry or a people in horses. But in fact, the whole idea was like we won against seven nations. The numbers totally in Israel’s favor. They were better equipped, they were better trained. They had more tanks and artillery and airplanes, and they planned better. So yes, they deserved the win because they planned and we did it. So
Lex Fridman
(00:57:00)
To you, there was an asymmetry of military power even then. But what do you do with the fact that the war was won? So if you look at the history of the world, there is wars fought over land.
Bassem Youssef
(00:57:15)
I agree with you. This has been the history of humanity. Humanity was not living peacefully. It’s all about people taking people and equaling people taking their land. But there’s two difference here, mostly usually the conquering power. For example, England, they had England and they conquered you in India and after the occupation finished, they go back to England,

(00:57:39)
France, Greece, Persia, Egypt. They will go in, expand and shrink, expand and shrink. It’s always been there. What is different here is exactly what happened in Australia and the United States. A group of people came in not just to conquer and take the land, but to completely change, to replace them and get them out or kill them. It was very easy with the Indians because they had smallpox. There was no social media. They did it over 400 years. They had time. The problem is what is happening right now, I agree with you. It might not be that new, but we are there and we are watching it happen.
Lex Fridman
(00:58:16)
And so now we have to confront the realities of war and empire and conquering,
Bassem Youssef
(00:58:22)
Because what’s the problem? We told ourselves we can be better. After 1948, there was the Universal Declaration of Human Rights. It means that we are going to be better humans. We are not going to kill and take land. We’re not going to displace people. We’re not going to take people for what they’re, there’s now laws, there’s international laws, there’s International Court of Justice, and now Israel is giving the middle finger to all of them.
Lex Fridman
(00:58:45)
So isn’t in some fundamental way. This whole thing that we’re talking about is us as a civilization on social media in articles and books, in newspapers. We’re just trying to figure out who are we as a
Bassem Youssef
(00:59:01)
People. I think that the shock came from the fact that we thought that we as humanity have evolved and now we are. What have actually changed is that we became more advanced in effectively eradicating a group of people because of the technology that we have and the fact that we can do that under the eyes and ears of all the world. And we are watching it under our phone. We have a window. We have a window to the war. 1945, people didn’t know what was happening in Japan. Well, we heard about it on the radio like, oh, today our forces came in and they launched. We don’t know. We heard it. Maybe we saw pictures after that and it’s quite edited. But now we see it, we’re into it, and it’s so much for our psyche and we can get it. The Arabs say like, guys, you told us we came to the West because we were told that we were equal.

(00:59:55)
The university declaration of right, one of the co-authors, his name is Stephane Hessel. He’s a Jew. He’s a survivor of the Holocaust. And what happened to him, he died, by the way a couple of years ago, but before he died, he was canceled by so many people and he was called anti-Semitic because he joined the BDS movement and he spoke about truth Palestine, that is the author of the Universal Declaration of Human Rights that we value so much. And we think that that would define our humanity. But then we go in and we are shocked. It’s like maybe we were sold something. Maybe that was false advertisement.
Lex Fridman
(01:00:40)
You shared a tweet by an account called Awesome Jew. It reads Islamo-Nazi comedian Bassem Youssef comedian in quotes, by the way.
Bassem Youssef
(01:00:53)
Yeah, yeah, of course, because I’m not funny.
Lex Fridman
(01:00:55)
So Islamo-Nazi comedian, Bassem Youssef is now denying the October. I love that you retweeted this twice, I guess suppose because it’s advertising some upcoming dates. He’s now denying October 7th massacre. The Muslim Radical Bassem Youssef is notorious for his radical radical set twice for his radical hatred of Jews in Israel. In a recent clip, he claims that the atrocities committed on October 7th, they’re fabricated or looking for all information regarding any of his upcoming shows, as well as the venues which host the scumbag. Would Jews feel safe around this Nazi Nazi?
Bassem Youssef
(01:01:34)
Yeah,
Lex Fridman
(01:01:36)
This is my first time interviewing a Nazi
Bassem Youssef
(01:01:39)
Honor. It’s my first time I actually get called a Nazi.
Lex Fridman
(01:01:42)
First time. First time.
Bassem Youssef
(01:01:43)
I have been called so many things in Egypt. So in Egypt, I was called a CIA operative, a Mossad spy, a secret Muslim brotherhood, a secret Jew. And there was also an article that was published about me in the state-Run Media saying in details how Bassem has been recruited by CIA agents using John Stewart in order to use satire to bring down the country. I was a Freemason, an infidel, a member of the Knights of the Temple, something like that. And there’s actually people, the Muslim Brotherhood on their show, they would say like, he’s action Israeli, and they have forged and Egyptian Id for him to come here. So it’s kind of like when I said I left all of that behind and I come here, it’s like, boom, anti-Semitic, Nazi. I mean, I really covered everything. I don’t know what else. I mean, think it’s kind of like I’m collecting PhDs. I’m just getting all of these credits.
Lex Fridman
(01:02:51)
How do you deal with that? How do you deal with the attacks? I mean, this goes back to the decision to do the interview with Piers Morgan. How do you psychologically do all of it?
Bassem Youssef
(01:03:03)
These kinds of attacks? At the beginning its fun, but when they evolve into something else, so for example, I was laughing of all of the stuff about calling me this, calling me that, but then when people would come and thread the theater, because it’s not the people who are making those accusations that would come to you. It’s the people that will hear and see those accusations and act on it. And there’s always the fear of, I mean, we have in the air board a lot of things that somebody would hear something about someone else and go kill him and whatever, anybody else. So there’s this, but somehow I want to make fun of it. And it is to be called an Islamo-Nazi. It must been the funniest thing ever
Speaker 1
(01:03:49)
Does Islam Nazi. Wow. How did you An radical Muslim me. A lot of Islamist’s hate me. They don’t call me a secular infidel. So it’s kind of like, who am I? Maybe I have an identity
Bassem Youssef
(01:04:04)
Crisis and I need the people to tell me who I’m,

Egypt

Lex Fridman
(01:04:08)
Let’s go to the beginning. Let’s go to your childhood. You grew up in Egypt, Cairo, Egypt,
Bassem Youssef
(01:04:13)
Childhood.
Lex Fridman
(01:04:15)
Well, let’s figure out how you came to be who you are.
Bassem Youssef
(01:04:18)
How did you become an Islamo-Nazi.
Lex Fridman
(01:04:20)
Yeah, exactly. It’s a long journey. I do like the swastika tattoo on your, which I didn’t.
Speaker 1
(01:04:28)
How did you see my?
Lex Fridman
(01:04:28)
You know what you did. I know I did. It was very inappropriate. You’re also obviously a sexual harasser of me.
Speaker 1
(01:04:36)
This is
Bassem Youssef
(01:04:36)
Like a me too.
Lex Fridman
(01:04:37)
Yes.
Bassem Youssef
(01:04:39)
This is like 2020. Someone will come up. It’s like, okay,
Lex Fridman
(01:04:41)
We clip it. This is your me too moment. All right, Cairo, what’s, what’s a defining memory, positive or negative from your childhood?
Bassem Youssef
(01:04:54)
My memory in general was cool. It was cool. I went to a Catholic school for primary school, elementary, and by the time I’d done, there was kind of a start of a decline into the public education. And my parents, they’re middle-class working officials. My dad was a judge, my mom was a business professor and they were one of the people who’s like, they didn’t have that much luxury. My dad drove a regular car, a Fiat, which is the equivalent for the Lada in Russia.
Lex Fridman
(01:05:30)
Thank you for speaking to the audience.
Bassem Youssef
(01:05:35)
Lada.
Lex Fridman
(01:05:35)
So would that be a good car
Bassem Youssef
(01:05:38)
Or bad car? No, it’s kind of like the minimum. And my dad was not a command of showing off whatever money they would do. They would put it for us. Education, give everything to their kids. This is kind of a very, very typical mentality, and I’m sure it’s in many cultures, but we grew up with this. Everything that we have is like for kids, so they will put us into education. So.
Bassem Youssef
(01:06:00)
… everything that we have is left for kids, so they will put us into education. So middle school, that was… 1986 was the beginning of the explosion of international schools, private schools. And these schools were relatively expensive. Of course now with today’s currency, it’s ridiculous, but at that time it’s very expensive. So I went to that school, and from… There was this moment, it was like you feel less right away. I mean, of course there’s the regular bullying and stuff, but it’s not that. It’s kind like you always feel less. You don’t have that much of purchasing power that can allow you to go to the same outings or travel with them. And even how you dress, it will be modest compared to them.

(01:06:43)
So I was always an outsider, and I compensated with that by two things, being good at school and being good at sports. So I was not like the typical nerd. It was just like, I was playing football, basketball, track and field, and I was one of the… People would like to have me on their team. So I wasn’t kind of like, “Ah, he’s a nerd, get him away.” But I never had a girlfriend. I never had any kind of… I was not boyfriend material. So that kind of leaves remnants in you, that you’re not good enough.
Lex Fridman
(01:07:15)
But psychologically you were always… Like when you were by yourself, you felt like an outsider.
Bassem Youssef
(01:07:19)
Yes, all the time. And that’s why I’m more of a loner. I don’t have a lot of what you call friends. I have acquaintances, people that I do stuff with, but I don’t have the people that I tell them everything. When I went to medical school, now medical school is a different animal. Medical school is where all of the people from the public schools go. Public schools are very… They don’t have English language as a strong part, but they are brilliant people, because they would mostly study in Arabic. But they are brilliant and they are very, very, very smart, very sharp. But then I’ll go there. Now I am the sissy boy from the private school that comes into medical school. Now I’m an outsider again, and I go into residency and I pick up salsa. So now I’m a salsa teacher while being a cardiothoracic surgery resident. And I’m an outsider for the third time because in salsa, I’m kind of like the respectful doctor. And in resident, I’m the guy who is just dancing. And everything, of course, as a medical resident, you will mess up a lot.

(01:08:25)
So they would always like, “Oh, because you’re a dancer. Oh, because you don’t care about medicine. You just want to go there and dance with women,” which is true. So all of my life, I felt that I’m an outsider. I’m not part of the team. I’m not part of the core group. And I have a story that you would love. Right before my residency, I was so much into salsa, so I had all of the money, and then you saved that. And I was working summers and I was doing extra jobs, and I took that money and I went to Miami in order to learn Rueda de Casino, which is the Cuban kind of circle salsa kind of thing. And I went there in the summer of 2001. My return ticket was 9/12/2001.
Lex Fridman
(01:09:22)
The universe has a sense of humor. I got to tell you that.
Bassem Youssef
(01:09:26)
9/12, I was supposed to be on a plane coming back to Egypt. What happens? Thank God I ran out of money 10 days before that. It was like, “All right,” I changed my ticket and I came back. 9/11. I’m kind of like, ah, sleeping… My mom, “Wake up, wake up!” “What? What?” And I see the two tower falling, Mom was like, “Oh, you’re here, you’re here, you’re here, thank God you’re here.” And I was like, “I could have been in Guantanamo right now.”
Lex Fridman
(01:09:54)
Yeah, flying on 9/12.
Bassem Youssef
(01:09:58)
But by the way, I was in Miami when they went to the flying school, in Miami. So I mean, I had like 9/11 written all over my face.
Lex Fridman
(01:10:08)
You’d be all over the news.
Bassem Youssef
(01:10:09)
All over… And my mom was like, “What? He went there to dance salsa. I didn’t know that salsa is like a name for terrorists.”
Lex Fridman
(01:10:17)
Why salsa? Why did that attract you? Can you explain what salsa is? So I mentioned to you offline that I’ve been doing a little bit of tango, trying to learn it.
Bassem Youssef
(01:10:25)
Yeah. Samba, salsa, bachata, merengue. It’s kind of like Latin dances and it’s like… I don’t know how you describe salsa. Couple dance and Latin beat. And I did it because I once… And I talk about that in my Arabic stand-up comedy, not the English. I talk about how I didn’t have really a great social life. And my friends went there one day, and I go into a place which it was called El Gato Negro. No, no, it was called Big Fat Black Pussycat. And then I think they thought it will be racist or something though, so to change it to El Gato Negro. Anyway, so-
Lex Fridman
(01:11:14)
Great, great, great decision.
Bassem Youssef
(01:11:18)
I know. So I went there. I was like, “Damn! Music and women and I’m a doctor, a doctor dancing salsa. That is a chick magnet.”
Lex Fridman
(01:11:26)
Yeah, 100%.
Bassem Youssef
(01:11:28)
We do everything for that.
Lex Fridman
(01:11:31)
All of human [inaudible 01:11:32]
Bassem Youssef
(01:11:32)
Even power, even money.
Lex Fridman
(01:11:33)
All the wars we’ve been talking about.
Bassem Youssef
(01:11:35)
Women.
Lex Fridman
(01:11:37)
At the end of the day-
Bassem Youssef
(01:11:37)
The approval from the other sex. We are babies. We are terrible people. So of course that was great. But then, as a nerd, I went in so hard and now I became a salsa teacher. And I earned more money from salsa, more than I did as a doctor’s resident.
Lex Fridman
(01:11:58)
I didn’t know this part of you. That’s hilarious.
Bassem Youssef
(01:12:02)
I know. I was making a killing amount of money, huge amount of money. And I would go finish my shift and I’d go to the salsa class, and sometimes I would have like 70 people in my salsa class.
Lex Fridman
(01:12:16)
Oh wow.
Bassem Youssef
(01:12:16)
I had the biggest salsa class in Egypt, at the beginning of the 2000. And it was fantastic. And it was an outlet because you go there and there’s the shifts and people dying. Damn. And then you go salsa.
Lex Fridman
(01:12:28)
An escape. You must’ve been good.
Bassem Youssef
(01:12:31)
I was okay. I was cool. I was fun. There were people better than me, but I have a thing about teaching. I like teaching people.
Lex Fridman
(01:12:39)
So you mentioned heart surgery. So what motivated you to become a doctor?
Bassem Youssef
(01:12:43)
It was a choice of exclusion. I mean, there’s nothing else you can do with these high grades other than doctor and engineering. I hate math, so go be a doctor. This is the Middle East. What do you expect? It’s either… In my joke in my show, I said you can be one of three things in the Middle East, a doctor, an engineer, or a disappointment. That is the choices that you have. So years after, I’m a disappointment.
Lex Fridman
(01:13:14)
You’re damn good at it though. That’s a hard path, though. And it’s a fascinating one for-
Bassem Youssef
(01:13:22)
Can I tell you something?
Lex Fridman
(01:13:22)
Yes.
Bassem Youssef
(01:13:23)
That actually I was thinking about why did I actually go into medicine and why did I always choose the hardest thing, although I didn’t love it? And I have to tell you, I had an epiphany only two weeks ago, and I don’t know if that’s actually related or not. Remember when I told you I went to this school, and I didn’t have that much money and I didn’t have the luxury of time or money to be with those people and do what they do? So by the time I finished school and everybody was going to university, everybody in my school went to the AUC, the American University in Cairo. Of course, private American education, party time.

(01:14:03)
I mean, of course they’re brilliant and everything, but they have a different social life. And part of me now, I realize that just very, very recently, maybe I went to the hardest school ever so I don’t have space to use other than studying. Because if I have that much space, what I’m going to do with it? I don’t have that much freedom. I don’t have that much money. I can’t compete with those people going out, so maybe I need a solid excuse that I’m in a place where I don’t have that much of a spare time.
Lex Fridman
(01:14:41)
Is it also possible… I like how this is a therapy session where we’re psychoanalyzing you. Is it also possible that you always just pick the hardest thing you could possibly do?
Bassem Youssef
(01:14:50)
Maybe, but-
Lex Fridman
(01:14:52)
Maybe that’s the Piers Morgan thing too.
Bassem Youssef
(01:14:55)
Maybe. But when I left Egypt and I came here, I still had the choice to go back to medicine. But I hated it. Medicine traumatized me. The amount of… You give up… My brother in Egypt, he had a daughter. She’s a brilliant basketball player. She’s in the national team. Amazing. I used to play basketball also in the Egyptian League, but I never was… Kind of my favorite position in the court was the bench, and I was not as good as her. And then it was time for her to go into college, and he didn’t talk to me for six weeks. I said, “Tamer, what’s happening to Farida? Which college?” Like, “I didn’t want to tell you. She went into medicine.” I said, “What? Medicine? Why did he do?” Because he knows how I hated it. I was traumatized. And I said, “Dude, she’s a basketball player. Make her go to an easy school.” Said, “Nah…” So that’s kind of why-
Lex Fridman
(01:15:49)
You still did it. You still did it.
Bassem Youssef
(01:15:53)
I still did it, but I don’t know, is it because of the difficulty or because of what I told you? Maybe I needed something. Maybe because I was not very confident in my social life, so I needed a distraction not to have that much of a social life.
Lex Fridman
(01:16:07)
Oh wow, okay.
Bassem Youssef
(01:16:09)
You understand?
Lex Fridman
(01:16:09)
I see. Yeah.
Bassem Youssef
(01:16:11)
It’s kind of… Because I will always have an excuse. I’m studying, I have something, I have exams. And I don’t know, I kind of self-sabotaged my own thing because I couldn’t compete with those people on the outing and the money and whatever, so I need an excuse to be… Like, “Oh, he’s a doctor. He’s studying.”
Lex Fridman
(01:16:26)
At least in your own mind, you couldn’t compete.
Bassem Youssef
(01:16:28)
Yeah, I always felt as less because, I mean, I didn’t have any girlfriends in school. I had very late in life, everything to me came to life, so I always felt… Even stand-up comedy, it came very late to me in life, so I always feel that I’m not good enough. I feel that I didn’t spend the time to fill the foundation that other comedians do, so I always feel that I am too lucky. I always feel that this is a fleeting thing. And when I had the height and the fall, the fall of… In Egypt, when I would like the top of everything, I was so famous, and then everything was taken away from me. That’s like, “Ah. You see? I told you. That happens when you don’t build foundation, you fall.” So I always feel that I am not good enough, or if I am in a position where people think I am, deep inside I’m not. You know that I have a speech impediment, that I was not meant to be a TV presenter? In Arabic, it’s very obvious. I cannot roll my Rs.

(01:17:32)
I cannot say “rrr.” I cannot roll it. So in Arabic, like Spanish, it’s very obvious. So when I did my first video on the internet, that made me famous. And then I got my television deal back there in Egypt. My partner at the time, he took the video and he went to a producer, and said like, “Are you giving me a guy with a lisp?” That’s why when I came on television, I was the first ever guy with a lisp. I had two things going for me, the lisp and the big nose. And I was always bullied for these two all the time, so I always felt less.
Lex Fridman
(01:18:03)
See, but that’s a foundation of creating a great person.
Bassem Youssef
(01:18:07)
Yeah. Because if you’re pretty, you don’t need to do much.
Lex Fridman
(01:18:14)
I probably wouldn’t recommend it, but it is true that-
Bassem Youssef
(01:18:18)
So if you are pretty, do some disfigurement that you’re-

Jon Stewart

Lex Fridman
(01:18:23)
Find the flaws and be extremely self-critical about them. So you saw Jon Stewart on TV for the first time in 2003, I believe. How did that change your life?
Bassem Youssef
(01:18:37)
I was in a gym and I was running on the treadmill. And at that time, CNN was coming up on cable. And I was watching, and there is this studio, I don’t know what it is. So I put the earphones on and I started watching. And I was so taken by this that I stopped the treadmill and I just stood for the 20 minutes like this on the treadmill, just like standing there. I didn’t know what he was saying, I didn’t understand what is Democrats, what is Republicans? Those names that he’s saying… What is Fox News? I don’t understand. But I was fascinated. There was something… You know when you don’t understand the music, but you get the rhythm? It was that.
Lex Fridman
(01:19:23)
I wonder what that is that you saw. It’s like the timing of the humor. I mean, Jon Stewart is one of a kind. His biting criticism of power, I would say. And also ability to highlight the absurdity of it all.
Bassem Youssef
(01:19:39)
But you understand, I didn’t understand any of that. I didn’t understand any of the references. But it is the rhythm. You know sometimes when you even see a comedy that’s the language you don’t understand, but there’s a rhythm? Da da da, da da da, boom boom. There’s something, there’s something in the music. So there’s something with the videos and the pictures and he and the face and people reacting. What is this? What is this? What is this? And we had the global edition. So I went to the YouTube and I just started to kind of watch every single episode that I can. I said, “Do you think we can have this in Egypt?” I said, “Ah, never.” And then 2011, I had a friend of mine who was also a YouTube partner, it was something new at the time, he said, “Let’s do something on internet. Let’s do something…” I said, “I want to do Jon Stewart.” It’s like, “Nah, do Ray William Johnson, Jon Stewart will not work.” It’s like, “Nah! I want to do Jon Stewart.”
Lex Fridman
(01:20:35)
So that was in there.
Bassem Youssef
(01:20:36)
Yeah, it was in there. And I did it. And it worked.

Going viral during the Arab Spring

Lex Fridman
(01:20:42)
Can you talk about 2011? I mean, the Arab Spring, what is it? People here in America-
Bassem Youssef
(01:20:49)
It depends on which side-
Lex Fridman
(01:20:52)
Did something happen or what?
Bassem Youssef
(01:20:55)
Depends which side of the equation you are. Because for a lot of people it’s a conspiracy. It’s American made. It is the Muslim Brotherhood, it’s the Islamists, it is Israel, it’s everything else other than people. But it’s a pure revolution. It’s a pure… I think we put too much weight on conspiracies. I think it is normal human behavior that then get maybe used or abused or taken advantage of by other powers, and then the conspiracy starts.

(01:21:26)
But at the time, the Arab Spring didn’t start in Egypt. It started in Tunisia. Bouazizi, a fruit vendor, burned himself up like the American soldiers who did that a few days ago. And that kind of sparked protests in Tunisia. And Ben Ali was a dictator in Tunisia for about 20 years, and they removed him. So suddenly it was kind of like a domino effect. And then Egypt started and it just took 18 days. And people, hindsight is 20/20. Same said just Mubarak became a burden on the military because the military are the real rulers of the country. You might have a president that kind of have certain powers, but at the end of the day, when the military sees that a certain president is too much of a burden, too much of a… So they cut him off.
Lex Fridman
(01:22:17)
And Mubarak is the leader of Egypt at the time.
Bassem Youssef
(01:22:18)
At that time. He was there for 30 years.
Lex Fridman
(01:22:20)
30 years. By the way, speaking of which, because it was a joke in your Mark Twain speech. I got teary-eyed just watching that. That was just great. You’re fucking great, what you did with Mark Twain Awards for Jon Stewart. It’s great. I mean, your comedy is great in general, and I wanted to go to your show. I definitely will. But that’s like a little stroll and a complete tangent of just a masterful introduction and celebration of Jon Stewart. Anyway, Mubarak. 30 years.
Bassem Youssef
(01:22:48)
And it’s a joke that I say also, Mubarak was a president for 30 years. Like, “Oh my God, you had a president for 30 years?” It’s the Middle East. It’s a very short first term. It’s like we’re still warming up, baby.
Lex Fridman
(01:22:58)
Just warming up.
Bassem Youssef
(01:22:58)
And I told them, we need to plan ahead. We need to plan our vacations, our careers, our jail time. It’s just like we need to-
Lex Fridman
(01:23:05)
That’s great. It’s true.
Bassem Youssef
(01:23:10)
So we had kind of the shortest, nicest revolution, 18 days. And we thought, “Oh, 18 days, we can change the country in 18 days.” But of course we were naive and we had this kind of hope. So Mubarak was removed. There was an interim period by the military, took it for one year, then they did elections. Muslim Brotherhood came to power. They stayed for one year, and then the military removed them. And in these three years, my show started, it started by kind of a YouTube video.
Lex Fridman
(01:23:41)
It became famous overnight.
Bassem Youssef
(01:23:43)
Overnight, five to six videos, boom, went out. And at that time I was waiting to get my clearance to go to Cleveland. I was accepted in a fellowship as a pediatric heart surgery in a hospital in Cleveland. And I said, ” All right, I’m just going to do a couple of videos. Maybe I’m going to put it in internet, and maybe after a year or two, after I come back from the fellowship, somebody will come, ‘Hey, why don’t you write a show that looks like John Stewart?'” That was my mind. It took five weeks. I had my first contract of television, and overnight, the exposure. And over the next two, three years, I had 30 to 40 million people watch. 30 to 40 million people watching every episode. A lot of this like, “Wow, that’s too much.” That is terrifying because it means that there are 30 million people who have an opinion about you.
Lex Fridman
(01:24:32)
You said there’s a lot of aspects of that sudden fame that were just horrible.
Bassem Youssef
(01:24:38)
It’s toxic. It’s unnatural. When people started to recognize me in the street and take pictures, I was awkward. It’s like, “Why do you want to have a picture of me? Why? Is it…” Because I didn’t feel that I’m worthy enough to be a reward for someone to have a picture. And I didn’t understand it. I was kind of an ass sometimes because… People thought it was arrogance. No, it was confusion. And I remember my director and my producers and people, they always saw me in a very bad mood. It’s like, “Why are you not enjoying this?” It’s like, “Because this is not natural. This is not natural, this adoration, this love, and this have to end somehow.” And it did. Because at a certain point you are a human, and people, kind of the adoration and the fun and the love comes because they see you saying stuff… because you do your job, basically.

(01:25:31)
Political satire is basically us making fun of politicians in the media. And a lot of people have really strong opinions about politicians in the media. So we came that, we articulate that, and we give it to them and we make them laugh. So for them, we made a great job. So why don’t you do more? But you are limited. And at a certain time, you can’t. And at a certain time you’re afraid because we’re humans, because you’re afraid about if I continue speaking up… not something will happen to me. I’m kind of like maybe have some protection because people see me, but what the people around you? And I’ve seen that. So that’s why at a certain point, that’s it.
Lex Fridman
(01:26:13)
I mean, there’s a lot of things to say there, but one of the difficult things of fame in your situation is you’re not just having fun. You’re criticizing power.
Bassem Youssef
(01:26:22)
Yeah. And it is loved by the people, but it comes with a price. Because at a certain… If the power is too strong and you are not into a situation or a system that allows that, that gives you that kind of safety-
Lex Fridman
(01:26:37)
So what happened?
Bassem Youssef
(01:26:39)
What happened? So the height of my fame was when the Muslim Brotherhood was in power. And at that time they had their media, and I had one show. I had one hour per week, and they had five channels, 24/7. And they were like… Jon Stewart said it beautifully once. It’s like, “We say shit and you say shit, and we just say shit better than you.” This is exactly what Jon Stewart was like. “We’re just better at saying shit back at you.” So basically I had one hour and they had the five thing that they were like… They’re calling me all kinds of names, not just me, all their enemies. And then I just had one hour and I would kind of annihilate them in one hour a week. So at a certain point they would even kind of side with the army against the liberal seculars, whatever you call it. And at a certain point, the army kind of flipped everybody.
Lex Fridman
(01:27:38)
What do you mean flipped?
Bassem Youssef
(01:27:42)
Yeah, they removed the Muslim Brotherhood. They came to power. And I have to say, I admit it, I supported that in the beginning because I had daily threats. I was actually interrogated and arrested under the Muslim Brotherhood. I was in an interrogation for six hours, and they were asking me all my jokes. And I used that in my standup comedy describing exactly what happened in the six hours. And it is so funny.
Lex Fridman
(01:28:04)
Okay, well, it’s hilarious. But what… Slow down. You were interrogated by the Muslim Brotherhood?
Bassem Youssef
(01:28:13)
The general prosecutor. The general prosecutor. And it was basically because of complaints by the officials in the government. Because in order the general prosecutor to do it, it has to have a high up mandate to bring that person to questioning.
Lex Fridman
(01:28:25)
So they went through kind of official channels.
Bassem Youssef
(01:28:27)
Oh yeah, yeah, absolutely.
Lex Fridman
(01:28:28)
So it’s all-
Bassem Youssef
(01:28:29)
Yeah, it was official. It was legal.
Lex Fridman
(01:28:30)
Yeah. Very legal.
Bassem Youssef
(01:28:32)
So I went there, and I asked… And it’s kind of like a bunch of insulting Islam, insulting president, spreading false rumors. And I went there, and it was funny because I go into the building where there’s police officers and there’s judges, and all of them are big fans of the show. And some of them were taking pictures of me. And then I’m sitting there, and it was the most ridiculous interview ever because he was asking me about my jokes. It’s like, “What did you mean by this joke?” And it’s like, “Nothing.” And it was there for six hours.
Lex Fridman
(01:29:03)
He’s just reading your jokes back to you.
Bassem Youssef
(01:29:05)
He was reading my joke, and he’s reading the jokes and the junior judge is sitting there cracking up. It’s like, “I remember that.” It’s like, “Guys, guys.”
Lex Fridman
(01:29:15)
That’s dark.
Bassem Youssef
(01:29:17)
It’s kind of like… And I’m laughing, but in the same time it’s like the whole situation is ridiculous. But then at the end, I was released on bail. So I went back to my show, and I make fun of that. And you have to be honest, the Muslim Brotherhood were in power, but Egypt was right out of the revolution, for there was kind of an equal spread of power between the people. There was not someone who would come in and just… The Muslim Brotherhood didn’t have that power yet, but people saw that they were moving towards that. And then the tension rose, and then there was a kind of a confrontation between them and the army. And then a lot of people were killed in the street. It was terrible massacre. And then suddenly, I am blamed for all of that. It’s like, “You made fun of us, so now it made it easier for people to kill us.” Like, “Dude, come on. You’re doing that to me too. I just did it better than you. And the fact that you sided with the same people that flipped against you, that’s not my fault.”
Lex Fridman
(01:30:11)
Did you criticize the army at all?
Bassem Youssef
(01:30:13)
Yeah. So after that show, I did one episode against the army and I was canceled the next day. And then I went to another channel, did 16 episodes in a different season, and I was walking on eggshells. And then that was canceled again. And then the production company that was doing my show, that we severed ties, because we didn’t have the show, they had their offices raided, they have people having death threats. So I woke up one day, 11th of November 2014, and my lawyer said, “Leave the country right now. There is this legal case that they… They’re coming for you.” But they said, “You cannot…” It was an arbitration case, and I lost against the channel that basically canceled me. And I told them, “But there’s no jail time in arbitration.” It’s like, “Yeah, tell that to the judge. Just leave.” So I jumped on a plane. The verdict was 12:00 noon, 11 November. 5:00 afternoon I was on a plane, left Egypt, and I never came back since then.
Lex Fridman
(01:31:11)
Was there a worry of non-legal things like assassination?
Bassem Youssef
(01:31:19)
I can tell you something, I was so stressed because of the show and because of everything, sometimes I would wake up in the morning and I hope that a bullet will come and finish everything because I was so stressed. It’s like, “I would love…” Because I’m too much of a chicken to kill myself, so I would rather have someone else do it for me. So I was under so much pressure. And I remember the day that my show was canceled indefinitely, the second time, under the army. And I was like, “Ah. I don’t have to worry about what kind of script I have to write next week.” Because remember when you asked me about that tweet? About all those… Those accusation doesn’t bother me. Infidel, spy, secret Jew, Zionist, Islamonazi. That’s bullshit. What really leaves a mark is the criticism to your craft and your work. So, “You’re not funny,” goes deeper.
Lex Fridman
(01:32:19)
Yeah, certain things get to you better than others, especially if you have a secret suspicion that you are maybe not funny.
Bassem Youssef
(01:32:29)
Maybe I’m not, because I was put into that, it’s like, because that touched your insecurities. Like, “I know, but you shouldn’t say it out loud.”
Lex Fridman
(01:32:37)
You shouldn’t say the truth out loud.
Bassem Youssef
(01:32:38)
You shouldn’t say it out loud [inaudible 01:32:42]
Lex Fridman
(01:32:42)
But what about the weight of the responsibility of speaking truth to power, walking on eggshells, what did that feel like?
Bassem Youssef
(01:32:51)
Well, after the Muslim Brotherhood were removed… You have to understand, when the military coup happened, it was a very popular coup. People loved the army. In Egypt, the army is more sacred than the religion. People love the army. Popular army can go no wrong. So me going against the army was… I mean, the Muslim Brotherhood was not very popular. They were popular for their own basis, but people accepted the fact that we make fun of them. But Sisi, at that time, he was a God. And I used to go to this high class club called Gezira Club, and this is basically kind of the upper middle class, upper class kind of people. And during that year of the Muslim Brotherhood, I was the most popular ever. People come, “Yay!” When the military came in, people were walking to me, pointing their fingers like, “Don’t speak about Sisi, don’t speak about the army. We love you now, but don’t you…”

(01:33:47)
They were like that. So I called Jon Stewart, I was like, “I don’t know what to do. I don’t know what to do.” And at that time, all of the channels were closed down, all of… I was the only one left because it was difficult for them to get rid of me very quickly because I was too popular. It was kind of like piecemealing kind of like… And I remember I told him, “I don’t know what to do.” He said, “You don’t have to do anything, just, your safety comes first.” And said, “But I can’t. I mean, I’ve been doing that for two years and I cannot just say, ‘Bye-bye guys.’ I have a responsibility. I have a team, I have people working for me. And also, I cannot just disappear.” And he said the most interesting thing ever. And say, “If you’re afraid of something, make fun about the fact that you’re afraid of it, instead of talking about that something.”
Lex Fridman
(01:34:42)
Brilliant.
Bassem Youssef
(01:34:44)
So there was a whole episode that we did not even mention Sisi. We did not even mention it, but the videos did all the thing. And the whole episode was me trying to avoid talking about him. And that’s how the comedy was created, the fact that I don’t want to be here. And so he said, “You’ll be surprised how people can relate to that,” because there was a lot of kind of like, “Oh, we love him, but we feel we cannot speak.” So just by doing the simple thing about mirroring the society, that goes a long way.

(01:35:19)
And I kind of try to do what I can under the military. I mean, they came up with a machine that treats AIDS and Hepatitis C virus and basically every single… And I went to town with that because people… It doesn’t really have to go in to go to the bigger post like, “You’re an asshole.” No, you talk about their propaganda. You talk about what they want people to perceive them at, and it’s a failure. And for that, that kind of hit them even more. Because what do authoritarian figures do? They work on two things, fear and propaganda. And from that, it gets the respect. So when you go into their propaganda and expose them, they have nothing else.
Lex Fridman
(01:36:11)
That’s brilliant. So you are walking on eggshells, but you’re doing it masterfully, that you’re revealing sort of the flaws in the propaganda, the absurdity of the propaganda and in so doing are criticizing them.
Bassem Youssef
(01:36:21)
And this is why comedy is very specific, because people say, “You were not as hard on him as you were on the Muslim…” I was like, “Yeah, because on the Muslim Brotherhood we were just saying shit for each other,” but now the ceiling was like here. So it’s kind of like, how can you do something from here?
Lex Fridman
(01:36:37)
Yeah, exactly. That’s the art form. Yeah. In the Soviet Union under Stalin, a lot of the criticism came from children stories and children’s cartoons.
Bassem Youssef
(01:36:51)
Double meaning, double innuendos, stuff that means other stuff. That is-
Lex Fridman
(01:36:51)
Real creative.
Bassem Youssef
(01:36:55)
That’s the brilliance.
Lex Fridman
(01:36:57)
But everyone knows.
Bassem Youssef
(01:36:59)
Everyone knows.
Lex Fridman
(01:37:00)
Because you are putting a mirror, you’re mirroring the society. It’s fascinating, actually.
Bassem Youssef
(01:37:04)
And that’s why I was canceled twice.
Lex Fridman
(01:37:07)
And that is a scary one, the army. You see that in Ukraine, everybody supports the army. That’s why Zelensky getting rid of the head of the army was a big, big deal. It’s a really dangerous thing. And everyone was afraid to say anything negative about the army, especially during war, in that case. And in this case, maybe there’s civil war, that kind of thing.
Bassem Youssef
(01:37:30)
But think about it. Actually, an army during peace is much more dangerous. Because think about it. I don’t really have an enemy to fight, but I have all of this power, all of this tank. Why does this actor have more money than me? I’m protecting him. Why does this businessman think that he can get onto his private plane and go to Paris? And why I’m here sitting, not having all of these things? And there’s a lot of time on your hand because your job is to go fight. When you don’t go fight, and when you have the lack of… That’s one of the things I love the United States about, is the fact that the army cannot really get power, but the power is actually in the military-industrial complex, which is a different issue. It’s kind a different kind of issue. But if you have all of that power, why am I sitting around just playing guard for you guys?
Lex Fridman
(01:38:22)
That’s why Iran is terrifying because you have this military that just becomes a police force that turns against its own people. So you’re a famous guy talking shit in the middle of all that.
Bassem Youssef
(01:38:36)
Yeah. And when I left, I went through a very dark side, dark, dark, dark. Because all of the insecurities, all of the stuff that had been working on my head now came to life. And now I’m in America and I’m a nobody. I’m a nobody. And now it’s like I have to do something. I have to earn some money. So I started to do stand-up comedy five years ago, and I sucked because it was my second language and it was new. And now I would go to these comedy clubs-
Bassem Youssef
(01:39:00)
It was my second language and it was new. And now I would go to these comedy clubs with kids and 21, 22 people. And then I’m there with a family to support that. I’m going there to do it for $15, $20. And I was bad. I was bad.
Lex Fridman
(01:39:14)
You’re bombing.
Bassem Youssef
(01:39:14)
Bombing big time.
Lex Fridman
(01:39:15)
Eating shit.
Bassem Youssef
(01:39:15)
Eating shit big time, dying up there big time. And I would go back home and I would cry. And then what made it worse is sometimes like a fan, not a fan, a bunch of fans from Egypt. It’s like, “Bassem Youssef…” They come and it’s like….
Lex Fridman
(01:39:16)
Yeah, just-
Bassem Youssef
(01:39:35)
Their disappointment. That kind of face of adoration that goes into… And I could see it in their face. “I think he’s going to drive an Uber in a couple of weeks.”
Lex Fridman
(01:39:50)
Oh, that’s so incredible.
Bassem Youssef
(01:39:51)
That kind of pressure. And I would go and I would cry and I… And then the fans were like, “Oh, you left. You gave up. You were a sellout. You’re a coward. Why don’t you speak from abroad? You’re safe now.” It’s like, I already spoke. I don’t want to be an activist. I was doing that for comedy when it was good for everybody, but now they want me to go into YouTube and just like throw rocks from outside. I was like, “You don’t understand. I have family there.”

(01:40:20)
And it was this kind of thing, like I’m being attacked for not doing what I should do in their face and attacked for not being funny and not doing good… And now I feel like, maybe it was wrong and… It was so traumatic that I don’t know actually how I went through these years. And I blocked so many details from my brain, because I have been using this technique for a while now that I have been erasing a lot of my… There is a lot of memory gaps in my brain, and I’m trying to suppress it because it was very, very, very traumatic. And a lot of people told me, “You have to go to therapy.” But I’m worried to open the floodgates. And I’m thinking, if I’m functional and I’m not killing anybody, I’m okay.
Lex Fridman
(01:41:16)
I think Elon tweeted, “‘Never went to therapy,’ is going to be on my headstone.”
Bassem Youssef
(01:41:21)
Yeah…
Lex Fridman
(01:41:25)
You’re best buds. Okay. I mean that is terrifyingly difficult to… After being a surgeon, after being a superstar, super famous, going to eat shit at local tiny clubs in the United States. I mean eating shit period. Like bombing is really, really, really difficult. Really difficult, for twenty-year-olds.
Bassem Youssef
(01:41:52)
Imagine when you’re 45, 46. And then people’s like, “Is this his midlife crisis? What is this?” I went through a lot of pain and a lot of the doubts and it was terrible.
Lex Fridman
(01:42:08)
How did you survive? I know you [inaudible 01:42:11] most of it, but what gave you strength through all that?
Bassem Youssef
(01:42:14)
Because I didn’t have any other choice, because I started that and the only reason that I could… is continue. I don’t know what else to do. I don’t want to go back to medicine. I don’t want to do that. And I don’t know. And bit by bit, bit by bit, I started to kind of be better, be better, be better. And I was at a certain time, a year ago, a year ago, this is where I started to kind of hone the craft and kind of sell more tickets and sometimes even sell out some shows and sometimes sell a theater. So it was going and the money was flowing and it was good. And then I was like, I wanted faster, I wanted more. I want it now. I want Netflix deal and whatever. And then the Piers Morgan thing happened and then I blew up and then suddenly I’m selling out everywhere.

(01:43:03)
And it’s like, “Ah, if the war happened two years ago, I will not be ready.” So now they come to the show, and by the way, my show had nothing to do with October 7th. My show is my thing that I’ve been crafting and working on. You know how difficult it’s to do the first hour, the hour that I’ve been working on for five years? And it’s all my personal story, all about what happened to me in Egypt, me as an immigrant, coming here to the United States, finding Trump as a president, finding myself in the middle of a guns rally, finding myself in the middle of a bombing, kind of talking about how I got my citizenship. It’s funny stories about my origin story.

(01:43:41)
So they come in and they expect October 7th and all of a sudden my personal story, but it’s good and it kills and they love it. It’s like if that kind of blew up in America happened to me two, three years ago, I would not have… People would come and be disappointed.
Lex Fridman
(01:43:54)
I got to say the timing of October 7th is very suspicious.
Bassem Youssef
(01:43:57)
Oh my God. Please don’t say that.
Lex Fridman
(01:43:58)
I don’t know. I’m just asking questions. I don’t know.
Bassem Youssef
(01:44:01)
I’m telling you, one of the funniest thing, a guy… I was in Dubai and a TV anchor came to me. “Bassem Youssef, he flourishes during revolutions and wars.” Like, whoa, whoa. Wait, what? Dude. You’re making me sound like a bad omen. A very bad omen.
Lex Fridman
(01:44:19)
Yeah. You, Hamas and Bibi together orchestrated all of this.
Bassem Youssef
(01:44:23)
Oh my god. That’s the trilogy.
Lex Fridman
(01:44:27)
You guys should go on the road together. I’m telling you that phone call is coming,
Bassem Youssef
(01:44:31)
Yeah, but Hamas has to open.
Lex Fridman
(01:44:34)
And that would really bomb, right? That
Bassem Youssef
(01:44:34)
They would really bomb.

Arabic vs English

Lex Fridman
(01:44:41)
I love dark humor. You do a show, like you were saying, in English and in Arabic, and the story is very different.
Bassem Youssef
(01:44:50)
Totally different. Two different stories.
Lex Fridman
(01:44:52)
I would love to… just the language difference, because the music of the language is also different. So how can you convert it into words, but what’s the difference in the music of the languages?
Bassem Youssef
(01:45:03)
I’ll tell you, because I thought about that thought.
Lex Fridman
(01:45:08)
[inaudible 01:45:08]. All right, all right.
Bassem Youssef
(01:45:10)
Okay, so when I was doing the English first, I actually had good jokes, but I was missing the delivery because the cadence and the music and the rhythm is different. The way that an English-speaking American member of audience will receive it’ll be different than how I receive it. The energy, everything’s different. So when I kind of got it, I didn’t know how to switch back to Arabic.
Lex Fridman
(01:45:40)
Oh wow. Yeah. Fascinating.
Bassem Youssef
(01:45:43)
Because here’s the thing. With English stand-up comedy you have a huge library, you have a legacy. You have years and years and years and years of people doing comedy. But in Arabic it’s very new to us. And most of the Arabic stand-up comedy, especially in Egypt, is very tamed. This is kind of like, imagine the stand-up comedy scene in American 1960s before Lenny Bruce.
Lex Fridman
(01:46:05)
So no swearing, conservative, careful.
Bassem Youssef
(01:46:07)
No swearing, nothing, conservative, everything.
Lex Fridman
(01:46:08)
No [inaudible 01:46:09].
Bassem Youssef
(01:46:09)
It’s kind of very… So I didn’t know what to do with Arabic, so I broke the barriers. I became Lenny Bruce, I became George Carlin. So I went in and I went and I changed the whole thing.
Lex Fridman
(01:46:21)
The seven words you’re not allowed to say.
Bassem Youssef
(01:46:23)
Ah, for me, 15 words.
Lex Fridman
(01:46:26)
There’s a lot.
Bassem Youssef
(01:46:28)
Arabic is a very rich language. So here’s the difference between the Arabic and the English show. The English show, surprise, surprise is a unifying language, even for a group of Arabs.
Lex Fridman
(01:46:28)
Interesting.
Bassem Youssef
(01:46:43)
So if I give the same exact show to the same 1000 audience members in the same theater, and they’re the same people, same makeup of like Lebanese, Egyptian, Syrian, Saudis, English will be a unifying language. Arabic is a dividing language.
Lex Fridman
(01:46:43)
Why is that?
Bassem Youssef
(01:47:01)
Because you have 22 dialects, and the dialects are vastly different. And maybe Egyptians understand a little bit of Lebanese, but not that much. But the references, Algerian, Moroccan, Tunisian, totally different animal. That’s like a totally different language. Saudi, Emirati, Kuwaiti, totally different. People understand the Egyptian dialect because it’s the dialect of most of the artwork and the movies. But the reference in the everyday street talk might not be understood by them. So now I have to go in and talk to all of these dialects together.

(01:47:32)
So a big part of my show is like, “What are you guys expecting of this?” When I do profanity and you’re going to like it. This is the problem with the show as a dialect, and I construct all of these sentences formed of so different words. For example, an iron in any Arabic dialect is an iron. In Saudi Arabia, it means ass. That’s one example. That’s one example. So imagine if you can actually construct sentences having all of these things in one… So I would construct a whole section of my show about that.
Lex Fridman
(01:48:13)
So it’s really very much about, like self-reflective on language and the limits of language that’s allowed.
Bassem Youssef
(01:48:19)
And the limits of language. And I tell them part of the show is I know what’s the problem with me doing Arabic. It’s like if this was an English show and I was telling you fuck and shit and bitch, you’ll be, “Ha, ha, ha, ha…” But if I do one swear word, all of you will cringe. It’s like, why?
Lex Fridman
(01:48:31)
That’s fascinating.
Bassem Youssef
(01:48:32)
Is it because we are ashamed of our own… So it’s not just about swearing, it’s about… There’s a lot of philosophical pathways in this. Yeah, there’s profanity and people have fun, whatever. But it is about how do we treat our language? And I tell them, “We speak Arabic as Arabs, but it’s not the same Arabic.” It’s crazy, right?
Lex Fridman
(01:48:54)
And you’re doing the show in America also, which is another level of [inaudible 01:48:58].
Bassem Youssef
(01:48:57)
Oh yeah. Actually the Arab diaspora in America is some of the best audiences I have. They are wonderful. And I did it also in the Middle East, and maybe I’ll do like an Arab tour in the Middle East in the fall.
Lex Fridman
(01:49:12)
Which countries would you go to or not?
Bassem Youssef
(01:49:14)
I already did Jordan, Lebanon. I’m doing UAE, I’m doing Kuwait.
Lex Fridman
(01:49:20)
Egypt?
Bassem Youssef
(01:49:20)
Bahrain. Egypt, I don’t think so. I don’t think so.
Lex Fridman
(01:49:23)
Is it personal? Is it worry about your safety?
Bassem Youssef
(01:49:29)
Well, I have the American citizenship right now, so I am relatively safe. There’s a block, honestly. There’s a block. There’s so much that happened. And I’ll never bad mouth Egypt. It is my country. It has all of my marriage. 40 years of my life I lived there. But when you get hurt so much, instead of trying to kind of… I don’t want to take revenge, I don’t want to like battle. I just want to avoid because Egypt gave me so much fame and so much love and so much hate and so much rejection. It was a very tumultuous relationship. Very, very difficult.

(01:50:12)
And a lot of people tell me, “Well, don’t you miss Egypt?” And I tell them every time, “The Egypt that I miss is not there anymore. It’s not bad or good. It’s not worse or better. It’s just I’m different.” And the places are different and the people are different and their circumstances are different. Whatever image you had you have of what you love is not there anymore. That’s why a lot of immigrants, especially Arab immigrants, they live here, but they’re there. And then when they go back for a vacation, they get disappointed because they didn’t find what they want. And then they come back here and they’re disappointed because they want to come back, but it’s not there anymore.
Lex Fridman
(01:50:46)
Yeah. Their view of that place is from a different time. I have that… My parents, but everybody that left the Soviet Union, I mean it’s such a complicated relationship with that. It’s sometimes borders on hate, disappointment. In the case of the Soviet Union, perhaps similar to Egypt is the promise is sold when you were younger and the promise is broken by the possibility of what it was supposed to be. With the Soviet Union, I’m sure with Egypt it’s the same. Iran is the same. So they have a very complicated relationship with that.
Bassem Youssef
(01:51:26)
Yeah. That’s why, for example, people from Iran, I remember quite well the World Cup that was done in the United States, and the Iranian team will play in America. And there were people in the audience all wearing Iranian shirts. They hate the regime, but they have this kind of connection with the country. And this is the whole thing. You can actually love the country and you not have to agree with the regime.
Lex Fridman
(01:51:54)
Would you ever perform in the West Bank?
Bassem Youssef
(01:51:56)
No.
Lex Fridman
(01:51:56)
Gaza?
Bassem Youssef
(01:51:57)
Because if I go there, I have to go through the Israeli checkpoints and I don’t want to go through the… I don’t want to have an Israeli soldier telling me what to do.
Lex Fridman
(01:52:04)
Yeah, there’s a demeaning aspect to that whole-
Bassem Youssef
(01:52:06)
Very.
Lex Fridman
(01:52:07)
Even in subtle ways, yeah.
Bassem Youssef
(01:52:09)
Yeah, yeah. I mean I have so many Palestinian friends with an American passport, US passports, living here, they’re born here. And they talk about the humiliation and the intimidation and the harassment that they go in. It’s like, do you want me to try?
Lex Fridman
(01:52:24)
Yeah, that little bit of a humiliation…
Bassem Youssef
(01:52:29)
A little bit.
Lex Fridman
(01:52:32)
Oh, sometimes it’s major, but-
Bassem Youssef
(01:52:32)
I know, I know.
Lex Fridman
(01:52:34)
… I noticed that even the little bit, after a lifetime of that, it can turn to hate towards the other.
Bassem Youssef
(01:52:44)
Yeah, and resentment.
Lex Fridman
(01:52:45)
Resentment. And then how do you do anything with that resentment?
Bassem Youssef
(01:52:48)
I have a friend of mine, he is from Palestine from the West Bank. He’s American. He was born here. And we have of course all of this discussion of what happened. And he tells me on October 11th in the West Bank, and there was a village called Qusra. And on that village, the settlers went in around the village and they send a message on Facebook. It was like, “You rats, get out of your sewers and we’re going to be waiting for you.” Intimidation through technology. Qusra have another settlement next to it called Esh Kodesh. Esh Kodesh, they have people there who were training something called [inaudible 01:53:32], which is basically the guardians of [inaudible 01:53:36]. And it’s like a paramilitary group that trains other settlers on military compact, give them weapons and do military drills.

(01:53:45)
And they went there militarized and went there, and it was actually co-founded a Jew from Brooklyn. Not even… and like an Israeli. And he’s like one of the disciples of Meir Kahane. I’m sure that you know who Meir Kahane is, who was the Jewish defense leader, the people who assassinated Alex Odeh here in the United States, and they were there with their weapons outside intimidating people. Now this story carries everything that is wrong with the situation. You have people from Brooklyn, from outside, just because they’re Jewish, they can’t come and they can claim the land from the people there. Anybody from… just because he’s Jewish, you can come and take the land from other people.

(01:54:25)
They’re using technology to intimidate Palestinians. They have unchecked military power. These are not IDF soldiers, these are settlers and they have free reign in order to intimidate and to kill the people. And you understand, this is the daily life of Palestinians, not in Gaza. In the West Bank.
Lex Fridman
(01:54:45)
What do we do, what do people do to nudge this towards peace, towards flourishing?
Bassem Youssef
(01:54:55)
Here’s the thing, I want to talk to the people of Israel. What is Israel doing right now is not just unfair to the Palestinians, it’s unfair to the Jewish people in Israel. No, it is unfair to the Jewish people around the world, because the way that Israel links itself to Judaism, at a certain point… Remember ISIS and Al-Qaeda, and when everybody hated Muslims? Humans are simple. They cannot have the nuances to separate. So anybody with a Muslim name, with a Muslim face with a beard who looks Muslim, he would do it because of that actions of those atrocities, you have the power as a person to separate yourself from an abusive power, a horrible power, and be yourself.

(01:55:43)
I am really worried because the rise of antisemitism and the rise of hate against Jews is not because of the Jews. It’s because of the actions of a government. Jews do not have to be on the side of apartheid. Ronnie Kasrils, he’s a Jewish South African, and he fought shoulder-to-shoulder next to Nelson Mandela. He was part of the African National Conference, ANC. And he had an article said like, “I know what apartheid is and I saw Israel and this is what they have.” And the thing is, Israel, the Israeli government should listen to other people. You cannot call anybody who criticizes you either an antisemite, or if they’re already Jewish, you call them like self-hating Jew. You cannot do that. You cannot continue doing that, because we did that.

(01:56:28)
When I would go in and criticize the Islamists, it’s like, “Oh, you’re self-hating Muslim. You’re not really Muslim, you’re an infidel, you’re a secret, you’re secular,” whatever. We have the power in order to reform the course by holding people in power accountable. And the thing is, it is very stupid to actually call this antisemitism. My idol is Jon Stewart. I voted for Bernie Sanders. Sarah Taxler, the one who did this amazing documentary about me, Tickling Giants, she’s a Jew. She is married to an Israeli Jew. We have a good ratio because we know what the right is. They don’t have to associate themselves with the action of the Israeli government.

Sam Harris and Jihad

Lex Fridman
(01:57:09)
One of your favorite words, Jihad.
Bassem Youssef
(01:57:13)
That’s my favorite hobbies.
Lex Fridman
(01:57:15)
Favorite hobby.
Bassem Youssef
(01:57:15)
It’s in my shows. What’s your guys’ favorite… I talk about how when a white shooter does something, he talks about all of his family. And I was like, “What if we took this for Arab terrorists. What are his hobbies? Jihad.” You see? You could be a comedian.
Lex Fridman
(01:57:34)
Yeah. Wow. You’re making me feel good. Okay. Sam Harris has done several episodes on Jihad and people should go listen to it, even if you disagree with it. But the basic idea that he’s proposing is that this idea of Jihad in the negative connotation of it, of martyrdom, is counterproductive, is destructive to the possible future flourishing of Palestinian people. What do you think of that? There’s just the idea of martyrdom-
Bassem Youssef
(01:58:11)
Yeah, I totally agree. But people don’t wake up in the morning and say like, “I want to declare Jihad.” Think about it. Why would anybody choose to end his life by taking other people with him, and end that life? His life must be miserable. He must be pushed into that. Nobody chooses death over life willingly. One of the first suicide bombers in the Palestinian resistance were Christians. We don’t talk about that.
Lex Fridman
(01:58:40)
I think he would say that the presence of a story that you can tell yourself when you’re in a really shitty place, that you can go to a much better place by sacrificing your own life… just the fact the presence of that story is there is harmful.
Bassem Youssef
(01:58:57)
Of course. But here’s my problem with Sam Harris, and usually people, they have free range talking about the Islamic faith and nitpicking the stuff that makes it put in a bad light. I can go and nitpick every single religion. They are Jews there like Ben-Gvir who openly say spitting on Christians is not a hate speech. I mean, you can bring me all kinds of videos of Islamic Jihadists saying horrible things on YouTube, and I can bring you Jews who live there, they say like, “we are going to have the whole world enslaved for us. And everybody would love to be slaves for the Jews.” I can use the Talmudic argument that if you tie a man to a tree and he dies of thirst and hunger, you didn’t kill that man. And this is kind of the same arguments like, “Ah, we are not killing Palestinians. They’re dying by themselves.”

(01:59:52)
So the nitpicking of a certain narrative, religious narrative that is separate from the political context and what’s happening right now, it’s very unfair, because I can read… If you want to have a deep dive into religious texts, nobody will be happy. And I can bring stuff from the Talmud and the Torah and stuff that is horrible. But this is a way, again, of distraction.
Lex Fridman
(02:00:20)
I dare you to talk about Buddhism and Jainism though. Try.
Bassem Youssef
(02:00:24)
Well, the people who killed the Muslims in Myanmar, weren’t they Buddhist?
Lex Fridman
(02:00:29)
Yeah. Well, hey, let’s go Jainism. Okay, I’ll find the religion. I’ll get back to you. I’ll have to find one.
Bassem Youssef
(02:00:35)
The Church of the Flying Monster-
Lex Fridman
(02:00:36)
The spaghetti thing?
Bassem Youssef
(02:00:39)
Spaghetti.
Lex Fridman
(02:00:42)
As a person who tries not to eat carbs, I’m deeply offended by that.
Bassem Youssef
(02:00:45)
I mean, there’s Scientologists, all they do is actually buy real estate.
Lex Fridman
(02:00:51)
I think there’s a few books written about the fact that they do other stuff as well. So even there…
Bassem Youssef
(02:00:57)
I know, I know.
Lex Fridman
(02:00:58)
Mormons sometimes… They’re some of the nicest people I’ve ever met, but I’m sure there’s also darkness there too. Oh boy, religion.
Bassem Youssef
(02:01:08)
There’s soaking in Mormons.
Lex Fridman
(02:01:11)
There’s what?
Bassem Youssef
(02:01:12)
Soaking.
Lex Fridman
(02:01:12)
What’s soaking?
Bassem Youssef
(02:01:13)
Okay. Soaking, basically if you get into the woman and you don’t move, that’s not adultery. That’s not like-
Lex Fridman
(02:01:25)
Oh, interesting. So there’s a loophole.
Bassem Youssef
(02:01:25)
Yeah, you go in and you just stay…
Lex Fridman
(02:01:29)
There’s a loophole.
Bassem Youssef
(02:01:31)
A loophole. That’s the thing. Religion has loopholes.
Lex Fridman
(02:01:31)
Religion has a loophole.
Bassem Youssef
(02:01:32)
Yes. And Muslims, we do that the whole time. We pick and choose our sins, the stuff that we enjoy. It’s just we’re humans.
Lex Fridman
(02:01:39)
There’s 72 virgins waiting for all of us.
Bassem Youssef
(02:01:41)
Maybe if I converted you as a Jew, I’ll get you 80. I don’t know. We can negotiate.
Lex Fridman
(02:01:46)
But I also have questions about whether-
Bassem Youssef
(02:01:48)
I’ll give you a very good deal. And maybe I’ll throw there a Camry.
Lex Fridman
(02:01:51)
I have to be honest. A Camry? It’s pretty good. What year? I don’t know.
Bassem Youssef
(02:01:57)
1998. Best year ever.
Lex Fridman
(02:01:59)
Well, they last a long time, so I’m not sure I want 72. I-
Bassem Youssef
(02:02:04)
Well, I’ll throw five in the mix and see how we feel.
Lex Fridman
(02:02:08)
Yeah, can we-
Bassem Youssef
(02:02:08)
If you want to upgrade…
Lex Fridman
(02:02:09)
Yeah. Can we do a trial period? But in general, if you just zoom out, do you think religion is… In what way is it good for the world? In what way is it harmful?

Religion

Bassem Youssef
(02:02:22)
If there was no religion, humans would have invented religion, because think about it. Think of the early humanity. You’re a caveman or whatever, and then you see your family members killed and then you say, “What? I’m going to be the sheep or the gazelle that just ends and perish? I am more important.” I think with the development of consciousness, humans thought that they are much more precious and important than the other animals because they have now intelligence. So my life will not end like that. My death will be even more important. There’s consequences for that. There’s consequences for what I do.

(02:03:01)
And then the early man was there in the desert and all of these natural phenomena. They didn’t know what to do. They were afraid. So they need to have refuge. They need to have something to take care of. They need to have a reason for everything, because if there’s no reason, it’s chaos. It’s chaos.
Lex Fridman
(02:03:19)
It’s terrifying.
Bassem Youssef
(02:03:20)
It’s terrifying. There’s nothing. There has to be a reason. There has to be a reason, there has to be a purpose. There has to be a cause, something. I’m not just going to be die like a cockroach being stepped on. And that’s kind of part of it is ego.
Lex Fridman
(02:03:36)
The whole world rotates around you in a way.
Bassem Youssef
(02:03:38)
It’s the ego. So religion actually got a lot of it from humanity itself. Like me, like us being humans. And many religion is a collection of stories, and those stories based on things that humans did themselves and they attributed it to gods.
Lex Fridman
(02:03:57)
And there’s an aspect of religion where you humble yourself before a thing that is much greater than you. So that has, I would say, a very positive effect of humbling.
Bassem Youssef
(02:04:08)
It will be great if it stop there. But here’s the thing, if you humble, in order that your ego kicks in and feel that you are better than someone else who’s not humbled in front of the same God-
Lex Fridman
(02:04:08)
You always go there.
Bassem Youssef
(02:04:19)
… that means that I will have all of that [inaudible 02:04:22] that I can use that because now… What does mean, being humble? I’m divine. But I’m not-
Lex Fridman
(02:04:28)
Yeah. Also, I’m way more humble than you.
Bassem Youssef
(02:04:29)
Ah, but you’re not. So you see how they kind of like the oxymoron. I’m humble and I’m surrendering, but in the same time I am better than you and I’m more entitled. Isn’t it crazy?
Lex Fridman
(02:04:38)
Yeah, it’s beautiful. It’s crazy. It’s absurd. It’s-
Bassem Youssef
(02:04:41)
I mean, look at the Muslim, Christians and Jews and everyone. Say, “All right, Muslims, we surrendered.” I’m talking about the extreme ones. I mean people… I surrender to God. Good. Keep it that way. If you go there. I surrender to God, that means that I am closer to God than you, then you should die. Okay, Christians. Christ is love and he loves me and we are going to be together. But you don’t get into his kingdom and you die. You see, it’s the same thing. If you-
Lex Fridman
(02:04:41)
Just stop it and-
Bassem Youssef
(02:05:11)
Like stop there. Stop where you are humble and you feel that you’re a piece of shit and you are a worthless human being and you are there. Stop there. But once you says like, “Oh, that makes me a better person than you, and it makes me more with God than you, so that would give me the entitlement to kick your ass.”
Lex Fridman
(02:05:30)
Yeah, we always ruin a good thing,
Bassem Youssef
(02:05:32)
Don’t we?
Lex Fridman
(02:05:34)
That ego. You’ve been outspoken, with Piers Morgan, but just on this topic, and you talked about the Superman story, which I would love it if you were in a Superman movie. But have you lost job opportunities because of this, because of speaking out?
Bassem Youssef
(02:05:56)
There was a couple of things that were going on, but they stopped again. I don’t know if it’s October 7th.
Lex Fridman
(02:06:03)
Can you tell the Superman story just so-
Bassem Youssef
(02:06:03)
Yeah, yeah. So-
Lex Fridman
(02:06:04)
What role were you?
Bassem Youssef
(02:06:06)
Oh, okay-
Lex Fridman
(02:06:06)
What did you audition for?
Bassem Youssef
(02:06:08)
Yes. Okay, okay. So in June I was traveling to Dubai and an hour before I get into the car and go there, my manager is like, “Bass, I’m going to send you a script, read it. It’s for Superman.” It’s like, oh, Superman. I am not really good in auditions. I’m not a seasoned actor. So I was like, “Okay, I’m just going to do it, send the tape.” I do the tape, I send it. I go to the airport, and I read… and I think I can talk about it now because they said they changed the script. So basically what I found it interesting in that new script is that there is a dictator in a country that invades another country, and Superman interferes politically. That’s the first time we ever see Superman interferes politically. So basically it was Russia and Ukraine, but because of me, it was like it couldn’t be Russia and Ukraine. So it had to be something kind of with a flavor.

(02:06:59)
So I read the role as if a mixture of Trump and Mubarak. I did this mix, like, “You know…” Kind of the Middle East, but also kind of the essence of Trump into it. I went to the airport. It’s like an hour. It’s like James Gunn saw it, he loves it. It’s like, what? I never had an audition that fast. I mean, I had a few roles, but not that fast, not like that. And then I said, “Well, the strike starts tomorrow and we need to be on the phone… After the strike, we cannot talk.” The SAG after strike, like the writers and the actors strike. So like, “well, I’m going to be on a plane right now.” It’s like, “Okay, once you land, you can have a Zoom call with James Gunn.”

(02:07:41)
I have a call with James Gunn. I’m a huge fan of him. The guy took something like Guardians of the Galaxy, nobody knew about it, made amazing trilogy. And he is like a really cool guy. I like what he did. And it was really nice. And he started to talk to me about the movie. And I talked to people before we were casting them. So I know that everybody on set have a good chemistry. It was amazing. So in your mind, if you’re an actor, what does that mean? You got the part. And he told me, “You got the part.” Month goes by, strike goes by. October 7th happens. I do Piers Morgan one and two. And then I go to my Australian tour. My manager called me. “Bassem…” The strike was over. It’s like, “You don’t have the part anymore.”

(02:08:27)
I was sad, very sad, but for three days. And I said, “[inaudible 02:08:30].” I’m actually doing very well. [inaudible 02:08:34]. And then when I went to Chris Cuomo after I finished the show, he told me, “Did you lose any opportunities?” And that was off record, after the show was concluded. And I talked about Superman, and I found myself when I was talking, I was angry, I was bitter. And I went home. I was like, ” Why was I angry? Why was I bitter? It wasn’t meant to be. And I’m living a good life now. I don’t need to…”

(02:09:08)
So when I was asked again the next day in two different interviews, the BBC and another one also with my friend, [inaudible 02:09:15], I said the story in a different way. I said, “I don’t have any anger. As a matter of fact, maybe if I was Warner Brothers…” I didn’t talk about James Gunn. I thought it was the studio. If I was Warner Brothers and I’m a Muslim, I wouldn’t have a Zionist or a pro-Israeli in my movie. But I want to tell them that when I criticize Israel, I am not a threat to you as a Jew. And we can actually have more in common. That was more of a kind of empathic.

(02:09:41)
So when I said, that the internet went crazy, and James Gunn have haters because the Snyder-verse and all of this. It’s a world that I don’t understand. And James Gunn had all of these attacks on him, and I was pissed with how it was handled. I wasn’t angry at James Gunn, but I thought it was handled… So my publicist and manager is like, “Bassem, stay calm, don’t speak. It’s better to not talk about it.” I said, “Okay.”

(02:10:13)
So there’s nothing wrong about me, but I see the heat is rising against James Gunn. And that is a guy that I had a personal connection with, even through Zoom. And I didn’t like what was happening. And then he called me and he explained to me and said, “Bassem, I actually have camera tests before people, before finally…” I didn’t know that. “And then we changed the script and it was the strike. So I didn’t call.” And also I thought to myself, I’m small. I’m a small actor. I’m not that important for him to call me to say, “We’re going to change the script.”

(02:10:42)
So I still think that the timing sucks and everything. But then I went and I did a video explaining exactly what I’m telling you, because I didn’t want to be famous for the wrong reasons, because that would be unfair. Because already people were… and I was having interviews. “Can you come about to Superman?” I was like, ” Guys, that’s it. I’m not going to talk about it, because this is a non-issue.” And when I talked to James on the phone, I felt how sincere he was. So I didn’t want someone, because of me will, have that kind of attack, because I know what it means to be on the other side of that kind of attack. It’s terrible. And it ruins your life and it ruins your day. And nobody deserves to be doing that. And I don’t want to be the reason for someone else to go through that pain.
Lex Fridman
(02:11:25)
And you also said that you don’t want to be a victim.
Bassem Youssef
(02:11:29)
Yeah, I don’t want to be. I’m doing great. I’m selling out everywhere. I’m having a wonderful, loyal audiences coming to me. Why I would be angry about the role of its Superman? Yes, it’s great to be in the superhero movies, but so what?
Lex Fridman
(02:11:43)
There’s a wisdom in that. Even if you weren’t doing great, that’s a choice a lot of people can come to, which is like, do I play victim here or not?
Bassem Youssef
(02:11:53)
It’s greed. It’s greed. They want more attention. They want to be more into the thing. They want more and more. And there’s so much to go around to be enough for all of us. But it is-
Bassem Youssef
(02:12:00)
There is so much to go around to be enough for all of us, but it’s great. It is ego, ego, ego, ego. I need to be in the center, I need to be victimized, I need to make people feel sorry for me and love me. It is not the right way. It is not because it is fake, it’s fake, it’s made up. I did not victimize myself when I left for Egypt. I speak about it now, but in that dark times, I was detained in airports. I didn’t have my American passport yet, I was still traveling with my Egyptian passport, and I was detained in an Arab airport and I was going to be delivered to the Egyptians.

(02:12:38)
I had shows, when I was still starting, I had hecklers being sent to me by the Egyptian embassy and Egyptian Consulate in New York and in London to curse me and to take videos of that and then send it to state-run media in Egypt. I didn’t speak about that because I felt that if I speak about that, I feel about what was going on to me, I would be victimizing myself. It’s like if I’m going to be good, I’m going to be good because of what I do, not because of what people’s perception of what I’m going through.
Lex Fridman
(02:13:07)
That becomes a slippery slope, and somehow victimizing yourself=
Bassem Youssef
(02:13:10)
Goes to more victimizing, and then you cannot leave that habit. You can only exist and thrive if people feel sorry for you.
Lex Fridman
(02:13:18)
Yeah, Israel and Palestine currently both have that temptation.
Bassem Youssef
(02:13:25)
I would always push back when you do the comparison, because one of them is not really the same kind of power.
Lex Fridman
(02:13:33)
For sure, for you that’s a big problem.
Bassem Youssef
(02:13:35)
It’s very easy to say why Palestinians would victimize themselves, but Israel, with all of that military white man, it’s too much. What Israel is doing is that they’re victimizing the Jewish experience, and I don’t think it’s fair for a lot of Jews. I don’t think that they should use the Holocaust and the persecution that happened to Jewish people all through history in order to push an equally oppressive agenda. That is not fair and it’s not good for the Jewish people living, and it is basically a disrespect to the memory of the Holocaust. I told you I want to make a movie about the Holocaust. I do, because what happened, that kind of engineered torture, should never happen again, and it should not be happening now.
Lex Fridman
(02:14:20)
To you, what Israel is doing is leading to more anti-Semitism in the world?
Bassem Youssef
(02:14:23)
A hundred percent. Can I be a conspiracy theorist for a second?
Lex Fridman
(02:14:27)
Please. There earth is flat, we all know this.
Bassem Youssef
(02:14:30)
A part of me thinking maybe they’re doing that intentionally, because if there’s a rise of anti-Semitism in Jews, there will always point like, “See, they hate us, so we can do whatever we want. If we let go of our might in our strength, we are going to go back to the concentration camps because you see how the word hates you.”
Lex Fridman
(02:14:53)
Again, when you say “they”, are people in power.
Bassem Youssef
(02:14:56)
Yeah, absolutely. Listen, it’s always the people in power. I believe that humans are easily corruptible and easily repairable, but the corruptive part is much easier. People could change, but power, people in power are very dangerous. Very, very dangerous. Especially if you have religion – which is power by itself -military might, political support, and money. Dude, that’s a very, very, very dangerous recipe.
Lex Fridman
(02:15:29)
All that said, I do believe in the power of the little guy. The individual just overthrow the government. I don’t know if you heard, but the Arab Spring… It happens.
Bassem Youssef
(02:15:41)
We are here-
Lex Fridman
(02:15:42)
Just among friends.
Bassem Youssef
(02:15:43)
We are Americans, right?
Lex Fridman
(02:15:44)
Yes.
Bassem Youssef
(02:15:44)
We’re Americans
Lex Fridman
(02:15:45)
Allegedly.
Bassem Youssef
(02:15:47)
We’re Americans.
Lex Fridman
(02:15:50)
How funny is that? Just given our two backgrounds. We’re American.
Bassem Youssef
(02:15:54)
We’re Americans. It’s like we’re Americans. There’s one thing about the power of the little guy that I am very sad about because you see… I love America by the way. I consider it my new home, and I want my kids to grow up here. I am very grateful for the opportunity that I have in the United States, and I criticize the United States politics, and I criticize it out of love. The same way that I was criticizing what’s happening of Egypt out of love. What is worrying for me is how the power of the little man is diminishing.

(02:16:35)
It doesn’t matter now who you vote into power, they will not listen to you. They would listen to the people who paid them to be there, and it is very concerning because I can see the American democracies turning, not even slowly, very rapidly into an oligarchy. I’m sure that all of the millions of people who are voting, they don’t vote for the NRA, they don’t vote for APAC, they don’t vote for the pharmaceutical companies, they don’t vote for the military industry complex. Yet, the people in power, they come in, they take your vote and my vote, and they’re loyal to those people, not to us. It is very, very, very concerning. Very concerning. This is the danger of American policies, American politics and American democracies. It’s dangerous, because basically, the vote becomes just a ceremony that the someone with the more funding will get to power, and then he’s not loyal to you.
Lex Fridman
(02:17:41)
Still the fire. We are in Texas. Everybody’s armed to the teeth here.
Bassem Youssef
(02:17:47)
What are these arms going to do in front of tanks?
Lex Fridman
(02:17:51)
You said the American military is unique in this way.
Bassem Youssef
(02:17:55)
I know, but for now
Lex Fridman
(02:17:57)
For now, the tanks are… First of all, I believe Russia has more tanks than the United States. Tanks. I’m not an expert in military strategic deployment of arms, but the United States uses different kinds of weapons.
Bassem Youssef
(02:18:13)
They have drones and they have the lasers, and they’re sitting comfortably behind the screens. It’s kind of like it turns a big Xbox game.
Lex Fridman
(02:18:22)
They sell a lot of those things to everybody.
Bassem Youssef
(02:18:25)
It’s crazy because the defense budget is 68% of American military, it’s like almost 850 billion each year. Most of that weapons, we don’t even need it. We just do it because of the contracts. There was an incredible 60 Minutes, I’m sure that you saw it, the one about the gouging of the prices of the Department of… It was one of the most fascinating things that I’ve ever seen. They say like a valve, a safety of a oil valve, that used to be sold for $329, now it’s sold for $9,000. Why? Because there’s only five weapon companies and they can control the prices, and in 2006, the whole Apache fleet of the American army in Iraq was grounded because there was one valve that they were gouging the price and didn’t want to give them. The Stinger missile, the one that you carry and it’s like the anti-aircraft, used to be sold for $25,000. Now it’s sold for $400,000. Nobody is doing that because the DOD has fired 130,000 people, including engineers and negotiators.

(02:19:35)
Now, in order to cut expenses, now we’re paying more money. The thing is, we do not have a say in this. We do not have a say in how my tax money and your tax money is being spent, because I’m sure you don’t want your money to be sent to Israel like that. I’m sure, even if you’re Jewish, I’m sure, I’m sure that I don’t want my money to be given to some Muslim countries who kill other Muslims. I’m sure. Here’s the thing, what kind of power do we have other than speaking? What is left for us is free speech. Now when you speak, they call you anti-Semitic. You see why I’m angry.
Lex Fridman
(02:20:11)
Still, America’s holding pretty strong despite the criticisms on the free speech front. If you look at the freedom of the press, freedom of the speech index, America is not at the top.
Bassem Youssef
(02:20:23)
It is not. This is why, for example, it is very disheartening for me to see that the Western media, Western press, that used to be the beacon of freedom as now using as mouthpieces. It is funny how Nixon got angry in the New York Times in 1971 when they found leaks about Tim lying about the Vietnam War since the beginning. Now, he hired the plumbers, the special units, in order to go in and find the leaks. This was Watergate basically, because he was angry to see who leaked that instead of fixing the problem. Now, the New York Times have published this story about the rape that was a hoax that was written by Anna Schwartz, someone will have no experience, and now when it was leaked, instead of them correcting themselves, they went in and they had their own investigation to see who leaked. The New York Times in 2003 became the mouthpiece of George W. Bush of the WMD, and now as an American, I see the New York Times becoming a mouthpiece of a foreign country? Why do you do that?

TikTok

Lex Fridman
(02:21:28)
One of the things that’s really difficult to know is where to find the truth. It does seem that both sides use propaganda, and both sides lie a lot.
Bassem Youssef
(02:21:40)
Both sides as in?
Lex Fridman
(02:21:41)
Both Israel and Palestine. Pro-Palestine, Pro-Israel, there’s a lot of lies
Bassem Youssef
(02:21:48)
I know, but it’s a lot of inequality, man. There’s a lot of people on the internet, but who have the mainstream media siding with.
Lex Fridman
(02:21:59)
Thanks to social media.
Bassem Youssef
(02:22:00)
Yes, thank God for social media, because now it’s individuals. They’re the people. They’re people. You are comparing BBC, New York Times, Washington Post with just people with a TikTok account.
Lex Fridman
(02:22:13)
Who have more power in your view?
Bassem Youssef
(02:22:15)
It is actually very, very fascinating to see the little man having that power over the media, because-
Lex Fridman
(02:22:20)
In fact, disproportionately so. This is my problem.
Bassem Youssef
(02:22:24)
You cannot call people with TikTok propagandists while people being paid to casually give you the news and they deliberately lie to you.
Lex Fridman
(02:22:31)
Yes, I can. They’re both propagandists.
Bassem Youssef
(02:22:35)
Yes, but the mechanism and the intentions are different because here’s the thing-
Lex Fridman
(02:22:42)
I’d rather have the TikTok guy than the…
Bassem Youssef
(02:22:47)
The TikTok guy is a TikTok guy, but if you have the New York Times being exposed to be lying, and then they get this UN report, which is like a disgrace, and you just put the title and you don’t talk about it. I’m fine with CNN and Jake Tapper and all of those people spreading the rape allegations for years. I don’t even want them to refute them, I want them to bring the Israeli reports saying that it didn’t happen. The Israeli media themselves, they didn’t even bother, not once. Is that balanced? That’s not, so that’s why people in TikTok, because they have to take matters in their own hand.
Lex Fridman
(02:23:24)
The problem with the people in TikTok is the drug, the dopamine rush, of getting a lot of likes. Instead of talking about the death of civilians, they’ll talk about beheaded babies, or the equivalent of. They’re going to actually make up stories, because the made up stories are going to be more viral. Now, we’re just in the sea, in this muck of lies.
Bassem Youssef
(02:23:45)
There’s a lot of people who actually exposed those lies on TikTok. You have both.
Lex Fridman
(02:23:48)
True.
Bassem Youssef
(02:23:49)
You have both. It’s kind of like the democracy of the social media as we always it. But if you have the street-run media that is the legacy media, CNN, BBC, New York Times, Fox News, all of those people, and they are spreading lies and they’re not even doing the journalistic job in order to at least bring the other side, that’s problematic.
Lex Fridman
(02:24:09)
That’s worse. You’re supposed to be journalists.
Bassem Youssef
(02:24:12)
It’s supposed to be report. Report.
Lex Fridman
(02:24:17)
I see that this as a catalyst, an inspiration, for the citizen journalists to rise up.
Bassem Youssef
(02:24:24)
This is what you’re doing.
Lex Fridman
(02:24:25)
This, yeah,
Bassem Youssef
(02:24:26)
This is what you’re doing. No, this is what you’re doing, because you go into a deep dive. This is a no filter thing. There’s no spin.
Lex Fridman
(02:24:32)
The long form, the long form is going to save us.
Bassem Youssef
(02:24:38)
I see why you hate the TikToks, like a dopamine rush.
Lex Fridman
(02:24:40)
Stupid TikTok. Five hours later.
Bassem Youssef
(02:24:43)
I saw the resentment in your face.
Lex Fridman
(02:24:47)
Can’t look away.
Bassem Youssef
(02:24:48)
Those 30 seconds, I do four hours.
Lex Fridman
(02:24:53)
Both have a place, both are exciting, but it is very dangerous because you can’t look away. I almost never, maybe I’m doing it wrong, but I almost never feel better ever after having used TikTok.
Bassem Youssef
(02:25:08)
Makes two of us. I can’t. I have a team. By the way, I give my password to a team. I don’t even go there because once in a dark night, very late at night, I went TikTok, and it was like, two hours. What?
Lex Fridman
(02:25:26)
Yeah.
Bassem Youssef
(02:25:27)
What? I said, ” No, this is dangerous.” I’m really like an Instagram and Facebook guy. I don’t need that.
Lex Fridman
(02:25:35)
Even there, man.
Bassem Youssef
(02:25:37)
I barely get out of Twitter, I mean X, I can’t. It’s a cesspool. It’s just like the concentrated hate, X is too much. It’s too much. I can’t.
Lex Fridman
(02:25:47)
You don’t check it at all, you try not to check it at all? It is very intense.
Bassem Youssef
(02:25:51)
I don’t, I post something and I run.
Lex Fridman
(02:25:57)
Post and ghost. You’re doing comedy here in the United States right now?

Joe Rogan

Bassem Youssef
(02:26:02)
Yes.
Lex Fridman
(02:26:03)
Joe Rogan has the Comedy Mothership, which is an incredible club. Have you considered doing that club?
Bassem Youssef
(02:26:09)
I would love to.
Lex Fridman
(02:26:09)
Do you know Joe?
Bassem Youssef
(02:26:11)
Of course. Who doesn’t new Joe?
Lex Fridman
(02:26:14)
I feel like it’s a small world of comedy. That’s why I…
Bassem Youssef
(02:26:17)
I think Joe’s story, like what he did and stuff that he did in the UFC and his podcast, it’s very impressive. The fact that he’s there and he’s bringing all of those people, whether in comedy or his podcast, is very impressive. This is what the media is all about, what the internet is all about, to give you the experiences of stuff that you might never experience. That is very important. You do it with people where you go into their brains. He goes, takes people, and they take their experiences and their lives and their stories. It’s very interesting. This is the beauty of that art form, because you have all of these experiences at the tips of your hands and it’s there for you to learn from. When he moved to Texas and we did the Comedy Mothership, anybody who would push comedy forward, that is the most difficult art form and the most demanding. The fact that you do that, and he might not even be making money out of it, but he’s doing that because of his passion, that is enough.
Lex Fridman
(02:27:25)
He really believes in creating this place where comedians could be really free. One of the cool things about the Comedy Mothership is comedian is king there. You have to bow down to the…
Bassem Youssef
(02:27:41)
Because the comedian who came there came after eating shit, dying out there.
Lex Fridman
(02:27:46)
Eating shit everywhere else.
Bassem Youssef
(02:27:47)
Basically, you’re a saint.
Lex Fridman
(02:27:50)
I have eaten shit for many years.
Bassem Youssef
(02:27:54)
Now, I’m going to give you shit.

Joe Biden

Lex Fridman
(02:27:58)
You already told me what you think about the state of politics in the United States, but now tell me what you really think. What do you think of the choice of Trump versus Biden? How did we end up here?
Bassem Youssef
(02:28:08)
I don’t know, man. The fact that you have two people over the age of 90, it is-
Lex Fridman
(02:28:14)
I think it’s over a hundred, but that’s all right.
Bassem Youssef
(02:28:16)
Combined like 170. It is so sad. It is so sad that this is what we can produce as a society, like a demagogue and a sleepy Joe. He’s not there, man. He’s gone. He’s gone. When old people could be a danger for themselves, he’s a danger for the whole world. The whole world. If an old person would die who would have a hip replacement, we can need them a new planet because of one decision. It’s not just that, it’s not that. I am a Democrat, and I told you I vote for Bernie Sanders. I supported him 2016, but I couldn’t vote then. Of course, a huge fan of Obama. One of my things is he’s the first Muslim president, but he killed Muslims. It’s like, that’s things Muslims do.
Lex Fridman
(02:29:24)
I love that line.
Bassem Youssef
(02:29:31)
I think the whole idea, my shock, is… I told you about what Biden said about “I’m a Zionist.” Okay, you’re a Zionist, but then it’s, “Jews are not safe in anywhere other than Israel.” It’s like, dude, what the hell are you saying? If you don’t care about me and you don’t care about my misery, why would I care about you winning or losing? I have a joke that I told people. Why would even Biden listen to us? He just raised $ 145 million in California alone from pro-Israeli groups. What can we, Arabs, working in the vape business do to him? We cannot compete with that. Practically. Life is unfair. The guy’s a politician. He needs bills to pay. He needs a campaign to run. He needs money. He will go to the people who will give me money. Joe Biden is the highest paid politician from Israeli lobbyists, $4.6 million over the years.
Lex Fridman
(02:30:35)
I also believe in great leaders that go against all of that. Unfortunately-
Bassem Youssef
(02:30:41)
Bernie Sanders was like that.
Lex Fridman
(02:30:43)
Bernie Sanders, yes, but also age. I don’t want to be ageist.
Bassem Youssef
(02:30:48)
Of course, no.
Lex Fridman
(02:30:50)
Because I remember listening to Bernie Sanders 20 years ago on Tom Hartman show, and I don’t want to say anything against Bernie, but he was sharper then.
Bassem Youssef
(02:31:00)
Of course.
Lex Fridman
(02:31:01)
There’s a thing with age.
Bassem Youssef
(02:31:02)
Of course. I think I’m a huge fan about putting a limit on your working years, because you don’t want to have a Mitch McConnell moment every now. Because now the whole thing of what is this, isn’t this not like a horse by [inaudible 02:31:17]? It is unfair. It is unfair. The whole idea that you have unlimited… You have a limit for the president, but you don’t have a limit for Congress people and senators? What do you mean? This is, basically, you can go in and be in governance forever, and the longer that you can get, the more corrupt you’ll get.
Lex Fridman
(02:31:35)
Yes, that’s the thing.
Bassem Youssef
(02:31:38)
That is very concerning for Americans.
Lex Fridman
(02:31:39)
Everybody. Everybody becomes corrupt after. That’s why two terms is a good limit.
Bassem Youssef
(02:31:44)
For everybody.
Lex Fridman
(02:31:46)
Maybe half a term for Egyptian leaders.
Bassem Youssef
(02:31:51)
Our half-term is 15 years,
Lex Fridman
(02:31:55)
Quarter term. You should come back and run for office there.
Bassem Youssef
(02:32:01)
Oh my god, no. There’s a curse in Egyptian of Egyptian presidency. No, nobody comes there. He is either dead or in jail. It’s not the most appealing job.
Lex Fridman
(02:32:13)
They might make a statue of you though. Make you look good.
Bassem Youssef
(02:32:16)
After my death. I look very good dead.

Putin

Lex Fridman
(02:32:24)
When you look at what happened with Navalny, since you kind of really thought about this in Egypt, what happened with Navalny in Russia? What do you think about that?
Bassem Youssef
(02:32:39)
What happened in Navalny in Russia is not something new in Russia. Putin have this whole history of poisoning and killing people. I would have to cite credit Putin. He’s bringing us the essence of the dark ages, the Middle Ages. Basically, Putin is the living example of what happens if Game of Thrones was reality. It’s like, death by poison. Like blow up a plane, it like mysteriously disappears. It is very dark, but it’s like, wow, it’s a television show.
Lex Fridman
(02:33:20)
Maybe that’s what attracts us to that part of the world is that it’s so much on display, this game of power, of geopolitics, of war.
Bassem Youssef
(02:33:32)
The same happens in the West, but behind closed doors. It’s not that open, it’s not that pronounced. It’s like, “Oops, Epstein.” I think because the West is more advanced in movies and cinemas, we kind of direct it better. I think the outcome is the way that you kind of set the scene, it’s like scene, and scene.
Lex Fridman
(02:33:58)
That’s why people about landing on the moon, they’re like… I get it, but we haven’t gone back.
Bassem Youssef
(02:34:06)
The Earth is flat.

War

Lex Fridman
(02:34:13)
If we zoom out, do you think there will always be war in the world?
Bassem Youssef
(02:34:17)
Yes.
Lex Fridman
(02:34:17)
Always be suffering? Yes?
Bassem Youssef
(02:34:19)
Yeah. But, here’s the thing, I don’t think for long. I don’t think that will happen for them.
Lex Fridman
(02:34:25)
Wait a minute.
Bassem Youssef
(02:34:27)
Because here’s the thing. Humanity is destined to have war, it will have war, but something happened in the last 50 years. Now, we have much more lethal weapons. The problem is the beginning, it’s like swords against swords, horses, cavalry, like cannons, catapults, medium-sized. But now, like a press of a button, you can annihilate the whole planet, and this is the problem. Wars will always continue, the problem is when is going to be the tipping point where we are actually going to destroy ourselves. It is so easy now to destroy ourselves. The amount of weapons and the quality of weapons that we have, it is designed to kill more effectively. It is crazy. It’s like we can create our own destruction on ourselves, and I think we are not that far away from it.
Lex Fridman
(02:35:19)
Just looking at nuclear weapons. The fascinating thing about nuclear weapons is I’ve gotten to learn recently just how few people are involved in a full on nuclear war that basically kills everybody. Three plus billion people right away.
Bassem Youssef
(02:35:39)
The consequences the of the nuclear winter, it’s unlivable.
Lex Fridman
(02:35:45)
All it takes is one president can do it. It could be even a false alarm, misunderstanding,
Bassem Youssef
(02:35:52)
Like what happened in the Cuba Missile crisis.
Lex Fridman
(02:35:56)
Again. And now there’s more nations are prepared and ready to launch. I don’t know.
Bassem Youssef
(02:36:07)
You have a media and a 24 hours kind of thing that makes you at edge the whole time. That’s that’s crazy.
Lex Fridman
(02:36:13)
There’s a dark perspective on this where there’s certain members of the media that would kind of enjoy the prospect of nuclear war a little bit. Just let’s get as close to it as possible.
Bassem Youssef
(02:36:26)
You have another factor that will contribute to that: religion. Remember how the radical Islamists talk about the end of time and whatever, but most of the Islamists don’t have that much power. Problem is with Christian Zionists now being on the top of the world with America, they have been pushing for that kind of conflict to kind of escalate, escalate. Listen to Sarah Palin’s “God wants us here”, like Karl Rove, “All of the new gods”, the Dispensationalist Reagan. Here’s an incredible book called Forcing the Hands of God. Beautiful book I read. It’s published 1998, but it still matters today. The whole idea about, especially the Zionist Christians who love Israel, but they hate the Jews, they’re anti-Semites but they love Israel because of its role. This is all basically formed because of the interpretation of the Bible of Schofield and how they talk about the end of time, then Armageddon, and then the late great planet Earth, and then left behind Sirius and all of that.

(02:37:27)
It’s all about, we are heading to Armageddon. The problem is Islam, they’re people that believe that at the end of time. Then, we have the Christians that believe in the end of time. Then, you have Israel happy that those people are using it for the end of time. Then, the whole idea about them pushing as many weapons and troops and people in the Middle East to be there for the nuclear Holocaust. John Hagee, one of the pastors talk about that, about the brimstones and it’s not going to be a nuclear Holocaust. It’s crazy how people are so despising life that they are wanting death. Now, you all would have these revelations, but these revelations mean nothing if you don’t have an effective weapon in order to make it happen. This is the crazy thing, and I’m worried that the end is going to be by someone that wants to meet God a little bit earlier.
Lex Fridman
(02:38:20)
Somebody who’s really in a hurry. I have good news for you, maybe we’ll become a multi-planetary species.
Bassem Youssef
(02:38:28)
Maybe Elon Musk will lead the way.
Lex Fridman
(02:38:31)
To get out in space.
Bassem Youssef
(02:38:33)
Maybe he’s one of them. He’s a secret lizard.
Lex Fridman
(02:38:39)
I asked you offline to not mention the lizard people. They are-
Bassem Youssef
(02:38:43)
There’s like a whole people that believe in the lizard people, it’s crazy.
Lex Fridman
(02:38:48)
I actually have to be honest, I haven’t fully looked into lizard people. I probably should.
Bassem Youssef
(02:38:51)
You should.
Lex Fridman
(02:38:53)
Maybe I’m afraid of the truth.
Bassem Youssef
(02:39:04)
Removing my face.

Hope

Lex Fridman
(02:39:09)
Let’s say you’re wrong about the end of the world,-
Bassem Youssef
(02:39:12)
I hope so.
Lex Fridman
(02:39:12)
And it all turns out great and humanity flourishes. Why would that happen? What gives you hope for that trajectory for humanity?
Bassem Youssef
(02:39:26)
Younger people, the people of TikTok that you don’t like. There is a lot of bullshit there.
Lex Fridman
(02:39:36)
After you saying this, people just keep sending you TikTok videos. These younger people, these younger people?
Bassem Youssef
(02:39:43)
This woman showing her boobs, that woman?
Lex Fridman
(02:39:45)
That’s going to save us? All right, awesome. Thank you.
Bassem Youssef
(02:39:57)
Remember the joke that said, we thought that when we have internet, we’re going to have be more informed, and now we are watching twerking videos. That is true. But on the other side, the fact that you have the availability of information, I’m learning a lot. There’s people who are using that platform for that. It’s not the majority because it’s not very interesting and exciting, but I think there might be a tipping point where there’s enough people that will be aware and maybe they would collectively do something in order to bring back the power to the small man. Maybe it sounds very naive, but we don’t know. We don’t know, because you have already seen the legacy media and the legacy politicians shaking in the past few months.
Lex Fridman
(02:40:48)
They’re getting nervous.
Bassem Youssef
(02:40:49)
They’re getting nervous because people are calling them out, and those people were hiding behind their desk, behind in their offices and not to holding out how to support that. People now are calling them out. It is not going to happen this year or next year. But I think it’s something.
Lex Fridman
(02:41:02)
What advice would you give to those young folks?
Bassem Youssef
(02:41:03)
I will never give advice to those people.
Lex Fridman
(02:41:07)
Get off TikTok.
Bassem Youssef
(02:41:09)
I will never, because their input is different than mine. There’s one thing I learned when people saw me. Did the revolution fail in Egypt? The revolution is not an event. It’s not like, “Hey, we go in, we topple the government.” That’s not a revolution. A revolution is a process, it’s a very long process, and maybe that process, as much as we don’t like what happened in the Arab War, but the people there, the awareness that happened and the discussions that have been opened that you didn’t even imagine would happen in the Middle East is happening. Maybe the beginning of any hope of change is that people start talking, speaking out, talking about stuff they were not allowed to speak about. Like, for example, Israel.
Lex Fridman
(02:41:54)
The revolution continues. Bassem, you’re a beautiful human being. It was truly a pleasure and honor to meet you, I can just feel the love radiating from you. I hope I get to see you perform live. I hope to get to see you many more times. Thank you for being who you are.
Bassem Youssef
(02:42:11)
Thank you so much. AI would love to invite you for my new special, the Islamo-Nazi Bassem.
Lex Fridman
(02:42:18)
That should be the title of your autobiography.
Bassem Youssef
(02:42:20)
Islamo-Nazi. Thank you so much.
Lex Fridman
(02:42:22)
Thank you, brother. Thanks for listening to this conversation with Bassem Youssef. To support this podcast, please check out our sponsors in the description. Now, let me leave you some words from John Stewart: “The press can hold this magnifying glass up to our problems, bringing them into focus, illuminating issues heretofore unseen, or they can use that magnifying glass to light ants on fire and then perhaps host a week of shows on the sudden, unexpected, dangerous, flaming ant epidemic. If we amplify everything, we hear nothing.” Thank you for listening, and hope to see you next time.