As I prepared to seize the day, an all too important reminder apprehended my mind. I was to record a phone conversation with the writer of The Matrix and Terminator movies—Sophia Stewart, last name spelled with a t—and not a d, I kindly reminded myself because of a previously made spelling error on my part. The phone rang and then I heard this angelic voice. It was warm and welcoming—reminiscent of a heroine’s voice from Ancient Kemet. “How do you pronounce your name?” She asked politely. After giving her—the Grebo pronunciation of my name, she mastered saying it in three tries. “I read your bio,” she continued, and at that very moment, our conversation struck me with a strong deja vu feeling. It felt as if I was Neo—talking to the Oracle. What I thought would be a routine interview, shaped itself into a surreal moment that I will never forget. The more I listened, the bigger my world became.
ZT: Growing up, who were some of your influences?
SS: Malcolm X influenced me; I didn’t know too much about Martin Luther King Jr. But when I was a little girl, I read about Malcolm in his memoir—The Autobiography of Malcolm X: As Told to Alex Haley. Also, I read Roots: The Saga of an American Family by Alex Haley and that became my theme. My brother and sister were always talking about the Black Panthers, so I grew up with black pride. Back then; it was all about empowerment for the black man, and for people of color to be empowered—that was a great thing for us. But now there’s no pride, no unity, no desire for knowledge, culture and history like back then.
ZT: What’s the greatest obstacle you had to overcome and how did you overcome it?
SS: Proving that Warner Brothers, James Cameron and The Wachowski Brothers stole graphics, characters, special effects, and plots and themes from my book—The Third Eye—to create The Terminator and Matrix movies. But this dilemma began in 1981, when I submitted my source work to 20th Century Fox, and again in 1986, when I answered a magazine advertisement for a science fiction script that The Wachowski Brothers were going to make into a comic book. But years later, my vision hit the movie screens on March 31, 1999, in the form of The Matrix. In fact, The Wachowski Brothers used a verbatim quote from my book to introduce the film, which was later removed after I initiated an FBI investigation into the criminal copyright infringement of my work. The studios took my source work to make The Matrix and Terminator movies, but they failed to mention that I was the writer.
I faced insurmountable odds and my four—former attorneys—sabotaged my 2004 California court case. Had I been allowed to submit the 6 movies and the 1:45 seconds of the protective expression, which is the smoking gun in the movies, I would have proven undisputedly that I am the writer of The Matrix and Terminator movies. But somehow, The Wachowski Brothers and Warner Brothers lost the case because they failed to answer the amended complaint within 30 days, and later, The Terminator defendant admitted to Judge Margaret Morrow, the second judge on my California case, that they had indeed stolen The Terminator from me—18 odd years ago. On April 7, 1999, they offered me a settlement and I turned it down. I rejected their 5 to 7 million dollars offer simply because they wanted to buy my copyrights, which are worth billions of dollars.
I went straight to the FBI and filed a criminal copyright infringement complaint against the 8 defendants in my case. The FBI did their investigation and came back and gave me files and evidences proving I was telling the truth. But what a lot of people don’t know, those files and evidences were covered up because the people who were suppose to protect me, which is the U.S. Attorney Office—took slush fund money not to prosecute the defendants. This is why I had to go to court for damages against The Wachowski Brothers, Warner Brothers, James Cameron and Gale Anne Hurd. I didn’t want them to escape an injustice, and I felt they needed to go to jail because the industry shouldn’t steal from the people. We always had great diversity and great movies because the industry bought stories from the people. I wanted that tradition to carry on and that’s why I went to the U.S. Attorney Office—to stop the stealing from the people. But that case fell through and I filed my own case being that I was a paralegal. And the first judge on the case was historical; his name was Terry Hatter Jr.
My case was the last case that the late Johnnie Cochran had called for. I made history, and Johnnie told me that Judge Hatter was with Martin Luther King Jr. during the Civil Rights Movement. He said, “Hatter would bend over backwards to make sure that you get justice.” So when I seen Judge Hatter, I asked him to give me a RICO case against the defendants, and he told me if I could answer twenty questions—he would serve RICO on the defendants. I answered the 20 questions and got my wish. They knew they couldn’t beat the RICO, So Warner Brothers and Fox had their attorney—Bruce Isaacs—to call me and try to buy out the RICO. They wanted to pay me to drop my RICO case against them because The Wachowski Brothers, Warner Brothers, James Cameron and Gale Anne Hurd didn’t have any copyrights of ownership to The Matrix or Terminator. Plus, they already admitted to Judge Marrow that they had stolen the source work from me; and I have all the documents to prove everything that I’m saying in this interview.
ZT: What would you say is your greatest accomplishment?
SS: It’s the fact, in spite of all the injustice that was done to me—I was able to prevail over these defendants with a default judgment that’s worth billions of dollars. Even though I suffered, I accomplished a great historical deed by becoming the copyright owner of The Matrix and Terminator franchises, which include all the derivatives that were made from my book, and on June 25, 2014, I will finally be awarded the billions of dollars that’s been denied to me for over two years.
ZT: What's the worst advice anyone has ever given you?
SS: Some people, including attorneys, told me that I should be quiet and not do any interviews speaking out against the people who stole my source work that made The Matrix and Terminator movies. In fact, if I had taken their horrible advice, I wouldn’t have prevailed.
Another bad advice that I’ve noticed is—people telling people to use a poor man’s copyright over filing a proper federal copyright. That’s the worst advice that anyone can give to anybody because a poor man’s copyright will not protect you in the court of law. Your intellectual property is just as valuable as your physical properties, if not more, and your source work is worth a lot of money. It’s the legacy that you will pass on to your family, and if someone steals your work, the copyright is there to protect you. The U.S. Attorney Office and the Department of Justice have to come in and defend your rights—just like they defend the studio’s rights because you paid for the same protection that the studio paid for. Imagine fighting a billion—or a hundred million dollar case with a poor man’s copyright. These corporations will eat you up alive, eat your attorneys up, buy out your attorneys, buy out judges, buy out lawyers, buy out trademark agents, buy out politicians, buy out assistant commissioners and U.S. Attorney Generals. This is ludicrous—doing a poor man’s copyright. This information needs to get out there because the majority of people don’t understand their rights.
ZT: Can you briefly decode the connection between The Matrix and Terminator movies?
SS: The three Terminator movies is the prequel to The Matrix. The Matrix is the future, and that’s why it took several years for The Matrix movie to be made—because the special effects technology had not been created yet. The Terminator comes from the machine planet, and goes to the past to kill Sara Connor—Neo’s mother. The initials—J.C., which stands for John Connor—symbolically represents Jesus Christ. John Connor grows up to be Neo in the Matrix. Remember in the bible, Jesus was the only one called—The One. So, Neo is just an anagram, or a sneaky way of calling him—The One. N.E.O. and O.N.E., are one in the same. And if you look at Terminator II, he looks like a girl. He has long hair, earrings in his ears and unisex clothes. I have him hidden out as a girl on paper because the agents are looking for the Indigo Christ child. And this is where you see the Indigo kids and the crystals, which are the young adults with the Oracle.
The Indigo kids, or the Christ children, were given these unusual gifts. When you see the little boy bending the spoon—they’re looking for The One that’s part of the prophesy that’s gonna destroy the machines in the future. And the Oracle brought a prophesy—about this child—and that’s why it’s called Matrix Revolution because the rebellion started when Neo turns thirty years of age. The rebels come to find him because he’s hidden out in the city. They know that he’s The One that’s going to destroy the machines. That’s why they came in the past—to kill the mother so the baby will not be born in The Terminator movie. This is the whole story. It was so much work that Warner Brothers and their conspirators had to cut it into two major franchises—called The Matrix and The Terminator. But they didn’t understand the whole premises of my work because in the future—the machines were dominating and they enslaved the people. But this Christ child—Neo—this savior—this rebel would be born of the womb, or be born of the matrix, which is the Latin word for womb. He goes to the Pod, where all the water, the spirits, the baptismal, the place where he’s cleanse, and Morpheus—symbolically representing John the Baptist, prepares him for his destiny and shows him how to fight.
Morpheus teaches Neo what’s really going on because he’s consciously asleep. He hasn’t evolved consciously and needs to be awakened. Eventually, Neo’s human side dies and his spiritual side—the energy of the eye, which is the third eye, the eye of God or Horus, is born. The energy of the third eye comes into Neo and his body goes into an evolutional transformation. He ascends into his fourth dimensional light body. Now he’s flying and is able to cross dimensions. He’s able to avoid bullets and they have no affect on him. And the agents, they’re multiplying like multiplications, and each time Agent Smith multiplies, he gets powerful to the tenth level. I created The Matrix and Terminator using ancient sacred geometry and quantum physics. The theme is the second coming of Christ and the evolution of consciousness, man versus machines. My work is based on ancient Kemet, which is where the King James Bible is based on, and also where The Christ—The One comes from. When you look at the three Terminator movies, they are the prequel to The Matrix, and matrix is a Latin word that means—the womb, and if you do your research, matrix is mentioned five times in the King James Bible. Also, in Exodus 34:19, God said he who opens the matrix (or those who come out the womb) are my children because they are born with souls. And then in the future, man starts creating his own children—the machines, the test tube babies, the Petri dish, artificial insemination, and clones.
ZT: What can we expect from The Matrix IV?
SS: Homeland Security, NASA scientists and doctors have read my Matrix IV book, and they said the wireless hovercraft ships I created, helped them to solve the alien technology on ships from the 50’s. At first they didn’t know how those ships worked, how they were fueled, or how they flew—until they read my book, where I’m talking about—what you saw in Kia's Matrix-inspired 2014 Super Bowl commercial. That’s my work that they stole right out of my 2010 copyright. That’s a new concept that I called—The Matrix Sphinx Car. It starts up with a musical note and voice recognition, exactly what you see Morpheus doing in the commercial, where cars are flying up because of the polarity.
All of this is in my book, and also, Homeland Security was especially ecstatic about my new penal system, which states that you don’t have to be behind bars to be in prison, and you will be your own judge, jury and executioner. They do not have to put you on the moon anymore or on other planets because of this new technology. All jobs will go through the Internet and your parole or probation officer will be monitoring you via satellite. If you commit a felony, it will be videotaped, and the video will be used as evidence of your crime and guilt. You will lose your constitutional rights. The government will send a drone transporter, and you will be sedated and gassed. The transporter will bring you back to Homeland Security and then the agents will wheel you in on a gurney, but keep in mind—the government already has your DNA and your information is in their database. They will chip you with a microchip—a lo-jack, the size of a pinhead, and put these white laser rings around you, like the rings of Saturn.
Everyone will see you walking around in the mall—with these white holographic laser rings around you, and they will know that you’re in prison. You’ll be able to speak to the people—but it’s at your own risk because you could activate your rings, which are triggered by your emotions. If you don’t have control of your emotions—you are not safe. When you step outside your home—these rings will appear on you, but when you come inside your home—these rings will rescind or disappear. If you steal a car, the rings will be activated, and they will cut off your hands—and stop you from bleeding. If you try to run from Homeland Security, your rings will be activated, and they will cut off your feet—and stop you from bleeding. If you commit murder, your rings will be activated, and they will cut off your head. I am a seer and visionary like Nikola Tesla and Leonardo da Vinci, and this is the new penal system of the future.
ZT: If you could change one thing about the film industry, what would it be?
SS: I would add more black artwork and ownership. Most of the movies that are in the theaters today are repetitive nonsense, simply because the majority of studios have decided not to buy authentic stories from the people. There isn’t any diversity in the marketplace. When The Matrix first came out in 1999, it changed the whole paradigm of how people watched movie and how Hollywood did business. Hollywood went from hundreds of million dollar franchises to billion dollar franchises. The Terminator and The Matrix are one of the first billion dollar franchises. The Matrix made a billion dollars by itself. It took seventy million dollars to make, grossed a billion dollars, and won four Oscars.
ZT: How important is black ownership to you?
SS: I received a phone call from Julian Bond, congratulating me for creating The Matrix with black superheroes—for inspiring our children and people of color to become whatever they wanted to become—including President of the United States. My work inspired people to vote for President Obama and his victory gave us black pride around the globe. So, black ownership is extremely important to me because Motown sold out; Essence sold out; When Russell Simmons sold his company—Def Jam Recordings sold out; and B.E.T. sold out. This is wrong because there should be black ownership in America. We shouldn’t allow others to come in and buy us out because when someone buys out your black company or corporation—they are in actuality getting the black consumer dollar. When we had segregation, we were multi-millionaires. We were the ones who came out with Wall Street—Black Wall Street we called it. But all of that was taken away from us because some people invented integration. They integrated just to steal the black consumer dollar. When we were segregated, we circulated our money amongst ourselves because white businesses refused to do business with us. That depravity enabled us to become great enterprisers because we had no choice but to circulate our money amongst ourselves.
ZT: What is black artwork and how important is that in the genre of science fiction?
SS: The Matrix and Terminator movies are black artwork. In white artwork, we—meaning people of color—are either cast in low positions or we aren’t even visible. We are not in positions of leadership, or in positions of upward mobility, and if we are, the roles are far in between. But in The Matrix, there are black leadership roles and people of color are in great superhero mode. It’s black artwork and black ownership in its finest. I own The Matrix and Terminator by copyrights, so you can say I have a collection of authentic black artwork.
ZT: What advice would you give to an aspiring author?
SS: Create from your heart, and don’t let anyone tell you that you can’t do this or you can’t do that or you need to follow a certain formula. Break all barriers. Step outside of the box. Create and do what your heart tells you to do. Think beyond the stars but protect yourself and follow all the protocols of protection. Follow your heart. Follow your dreams.
ZT: What’s the best way to go about pursuing your goals?
SS: I succeeded because I kept everything in secrecy. When you go out there to accomplish great things, do not speak upon it. Keep it in secrecy until you have accomplished it. Then speak on it after the goal has been accomplished. But when you first set out to do something great, don’t even tell a friend, and keep it a secret until it has materialized. Once it has materialized, and everyone sees it, then speak volumes on it. That’s the secret to success. Because the moment you speak on something that isn’t materialized—all kinds of dark forces like hate, envy and jealously will come your way and try to destroy you.
ZT: Years from now, when people say Sophia Stewart, what will they say?
SS: They will say I want to be like Sophia Stewart because she accomplished her goals, and if she could accomplish her goals then I can accomplish that and greater because I can.
ZT: What’s your favorite word and why?
SS: Growing up in New York, a Caucasian teacher once said to me, “Look at the word American and look at how it ends with I can, meaning you can do any and everything in the world that you want to do and nothing is impossible for you to accomplish.” Oftentimes we’re told no; that’s not possible; you can’t do this or don’t do that; but all those discouraging statements are nothing but lies. The truth is—it’s possible to do any and everything that you want to do. So, don’t let anyone’s negativity discourage you from fulfilling your vision.
ZT: How can people get in contact with you?
SS: They can do so by visiting my websites—www.matrixterminator.com and www.truthaboutmatrix.com. On those websites, my U.S. customers can buy my books directly from me, but foreign customers will only be able to download the eBook version. Foreign orders for my physical books will have to be made via Amazon.com.
ZT: Thanks for a great interview, and as an honored guest, is there anything else you would like to say?
SS: Creating black artwork and black ownership is extremely important. We need to be able to buy and trade with each other. We need to support black ownership and black businesses. We need to circulate our money within our community in order to build our economy. We need to have black pride and grow with unity. Stop the fussing and fighting and learn to love each other. Love is the answer. Love is what life is all about.
ZT: In conclusion, I want to end this Q&A session with Mel Blanc’s famous catchphrase, “That’s All Folks!” Thanks again for reading another Through The Wire article, and always remember that (P) Positive, (E) Energy, (A) Always, (C) Creates, (E) Elevation (PEACE).