March 7, 2000 - Art Bell
33:27
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| Speaker | Time | Text |
|---|---|---|
| Expectation, fears have come true. | ||
| And it's the sound of Bush and Gore. | ||
| So, in finality, when I said I wouldn't say it again, nevertheless, I say it again: Bush Gore. | ||
| Now, this is serious. | ||
| This is very serious. | ||
| What you're about to hear is very serious, and so you pay very close attention. | ||
| Richard C. Hoagland wrote the book on Mars called The Monuments of Mars, and he wrote that how long ago, Richard? | ||
| Oh, almost 20 years ago. | ||
| Thank you. | ||
| All right, let me continue. | ||
| Now, 20 years ago, The Monuments of Mars. | ||
| Richard C. Hoagland was, at one time, an advisor to NASA. | ||
| He worked with Walter C. Cronkite. | ||
| Hello there. | ||
| Walter C. Cronkite. | ||
| Daddy. | ||
| The man everybody trusted more than anybody else in the world. | ||
| Richard C. Hoagland won the Angstrom Science Award. | ||
| He's been a regular guest on my show for, how long do you figure, Richard? | ||
| Forever. | ||
| Forever. | ||
| Mostly forever. | ||
| So here he is, Richard C. Hoagland. | ||
| And this is, what's going on is just a blanking mind blower, as far as I'm concerned. | ||
| A mission to Mars, we all know, is coming up, is going to debut on the 10th of this month. | ||
| Which is Friday. | ||
| Which is Friday. | ||
| But man, is there a bunch of stuff going on about this movie? | ||
| Unblanking believable is all I can say. | ||
| Now, the movie was produced by Richard. | ||
| Well, Disney and Touchstone. | ||
| Yeah. | ||
| And the Touchstone enters as a subsidiary of the Disney Corporation, the Disney family. | ||
| Yes, it is. | ||
| On which stations I'm carried, by the way. | ||
| As we jump into this. | ||
| Oh, they'll love it. | ||
| Yeah, they're going to love this. | ||
| All right, so it's Disney, which uses Touchstone for movies mostly that it doesn't have Mickey Mouse and stuff, right? | ||
| Yep. | ||
| All right. | ||
| So here comes Mission to Mars and the man behind it, DePalma? | ||
| Ryan DePalma, eminent director, you know, who's done all kinds of extraordinary, award-winning, great films of our time, a giant in the field, as they say, but has never done a, quote, science fiction film. | ||
|
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And maybe he hasn't done one now. | |
| Well, but Mr. DePalma is now and has been refusing all interviews with a regarded movie, right? | ||
| Well, this started Sunday night. | ||
| The source that we're going to be quoting, which I do not want to name until Thursday night because he's still digging for information, and I think that they will talk more freely if they don't hear his name banded about on the Art Bell Show, has been providing us information based on a series of interviews that were conducted Sunday and Monday at the press junket where Disney Touchstone flies press from all over the country. | ||
| Television, international, print press, to Hollywood for special screenings of the film. | ||
| And beginning Sunday night, my source has been giving me a kind of a running commentary on the increasing weird world of Disney. | ||
| Not the wonderful world, but the weird world of Disney. | ||
| Weird World of Disney. | ||
| Because Brian DePalma, who has been for two years now shepherding this $120 million mega project, ranking up there with some of the most expensive films of all time. | ||
| Of all time, yeah. | ||
| This is basically a movie about a mission to Mars and then losing contact with it and a second rescue mission going to Mars to get the first guys and find out what the hell's going on, basically. | ||
| That's right, right? | ||
| Yep. | ||
| Anyway, the Sunday night of the print press preview, the print press premiere, DePalma suddenly, with absolutely no excuse, cancels all of his interviews and has steadfastly, for over a week and a half now, refused to talk to anybody. | ||
| In fact, one report coming out of Disney this afternoon said that the night following the premiere, he got on a plane and was in Europe somewhere. | ||
| What? | ||
| And this boggles the mind because one of the stories that came wrangling its way out of Disney in terms of an excuse was, well, he got ticked off at some of the reactions of some of the members of the press and then decided he wasn't going to talk to anybody and got out of Dodge. | ||
| They've been having some press previews, right? | ||
| Yeah, they've had a series. | ||
| For reviewers, that kind of thing. | ||
| For the international press and the television press and the print press. | ||
| These are the usual dog and pony shows where you at great expense fly in all these people. | ||
| The Washington Times, it turns out, which never sends a reporter or an entertainment editor to cover these things, this time flew somebody in to Hollywood from Washington to cover this film. | ||
| And when queried, the person who was going to cover it said, well, because it's NASA. | ||
| And I might say parenthetically that the Washington Times has done some very favorable and positive stories on our research over the years. | ||
| So I kind of pricked up at that. | ||
| All right, so NASA, NASA was, in fact, a consultant on this film, right? | ||
| One and a consultant. | ||
| Again, our source, who is a nationally recognized entertainment writer, has been in the business for 14, 15 years, knows what he's doing. | ||
| He reported to me and submitted actual text of the transcript of the interview he conducted with Tom Jacobson, who is the producer of the film under Touchstone. | ||
| Part of four or five guys that got together four years ago and decided they were going to do something like this. | ||
| Jacobson not only confirms that NASA was intimately involved in the film from the get-go, but actually confirmed in print that NASA had script approval, that every single line in this film was supposed to have been vetted by the space agency before it was committed to film. | ||
| All right, now you listen to it. | ||
| Very important, folks. | ||
| Very important what you're hearing right now. | ||
| When I say on our site, you know, on Enterprise, in our coverage of this Mission to Mars film, that this is a NASA-slash-touchstone film, which I did several days ago, well, we have it confirmed from no less than the producer of the film itself that NASA was intimately involved in everything from script to technical advisors. | ||
| Well, script control is really heavy duty. | ||
| Well, it's the ultimate. | ||
| And when the DOD, for instance, you know, gets in bed with producers or film companies on major motion Pictures, it usually demands some kind of script control because they don't want you saying nasty things about the Defense Department. | ||
| That's right. | ||
| So, this is Dereguer. | ||
| This is par for the course. | ||
| Nothing of this yet would be unusual except for De Palma's wigging out at the last minute, which really doesn't make any sense. | ||
| Because if you've got your reputation on the line, and you know, doing a campaign for a film was a little bit like doing a campaign for a president. | ||
| $120 million is on the line. | ||
| Exactly. | ||
| But for De Palma, it's not his money. | ||
| It was the studio's money, but it's his reputation. | ||
| No, but the studio would have every reason to have this guy in front of every camera and microphone they could find over the next few days. | ||
| One would think there'd be an incentive from De Palma himself to talk over the heads of a few press that didn't get the film and talk directly to the American people, to the film community, to CNN, to you, to whenever. | ||
| Instead, De Palma has done a disappearing white rabbit trick. | ||
| He's down some hidey hole somewhere not talking to anybody. | ||
| Now, you and I have been doing this kind of previews of this for, what, two or three weeks now? | ||
| Oh, yeah. | ||
| I mean, I'm sure we're putting dollars in the box office already, I'm sure. | ||
| Well, I emphatically want to urge people to, on Friday and across the weekend, go see this film because it turns out that this is like a magical mystery tour of the Monuments of Mars. | ||
| And what we're going to probably think of between you and me is some kind of prize for the person who calls in, you know, in the next few days, having seen the film and spots all of the hyperdimensional Sidonia, Monuments of Mars, Enterprise, Hoagland, clinky-dinkies. | ||
| All right, and I'm going to go back to the buried in this. | ||
| There's going to be a ton of that. | ||
| I mean, that will be a contest. | ||
| But here comes the clincher, folks. | ||
| This is a clincher. | ||
| Now, I've seen the trailer that's running for Mission to Mars. | ||
| And in the trailer that I've seen, they show a face. | ||
| And the face could be more said to be more closely resembling an alien gray than the face that is, we all know, at Sidonia. | ||
| Yeah, this was first revealed during the Super Bowl, during halftime. | ||
| And it looks like a kind of a stylized alien gray. | ||
| And we have it up on our website. | ||
| You can link to it through Art Bell site. | ||
| And, you know, again, if you want to hold the theory, the opinion, that this is a neat piece of science fiction and De Palma pulled out of thin air the idea of a face on Mars and made his own, you know, you could make it stick in terms of the face that they have created that's in the so-called trailers. | ||
| But there's another side to the story. | ||
| Yeah, here it comes. | ||
| Now listen very carefully, everybody. | ||
| We have talked to a person no less than the editor of the National Post in Toronto, the entertainment editor for the National Post in Toronto, Canada, whose name is Richard. | ||
| Well, I thought we were going to give him away. | ||
| Oh. | ||
| No, I thought you meant that was your other source you were talking about. | ||
|
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No, I, well, okay. | |
| We are playing conspiracy here. | ||
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No, all right, all right. | |
| His name is, you know, we don't want to beat around the bush. | ||
| His name is David Giamarco. | ||
| Right. | ||
| He's been in the business for 14, 15 years. | ||
| And he is the, in fact, the editor of the National Post of Toronto. | ||
| I think he's the senior entertainment writer for the Post. | ||
| Great. | ||
| That's fine. | ||
| But he's the guy who's flown around, you know, and they do a slew of movies and they review them all. | ||
| And he's seen the movie, right? | ||
| He's seen the movie. | ||
| And he's going to see it again tomorrow night. | ||
| They're showing it in Toronto, and they've invited him again to see it because they flown prints now to various cities. | ||
| I mean, Touchstone has put on a major full court press. | ||
| All right, but here's where it gets really, really, really weird, folks. | ||
| David Giocano, Gio Marco, is that right, Gium Marco? | ||
| Giamarco. | ||
| Gio Marco. | ||
| Has sent a verbatim transcript of the new Mission to Mars trailer, one that apparently alternates with the one that's running. | ||
| I haven't seen it yet, but he sent us a verbatim transcript of it. | ||
| Which has been seen by several people who have contacted me on sci-fi, on the Learning Channel, and a couple other places. | ||
| All right, let me read this to the audience. | ||
| It'll blow their mind. | ||
| It's an email to Richard. | ||
| It says, Richard, here's the verbatim transcript of the new M2M trailer. | ||
| In authoritative voiceover. | ||
| For 25 years, the government has concealed evidence of a lifelike formation on Mars. | ||
| Then a wide shot of Mars and a close-up of Sidonia. | ||
| Then extreme close-up of Face. | ||
| And it goes on on March 10th, the conspiracy will be exposed. | ||
| Dialogue from film. | ||
| It's the face. | ||
| It's real. | ||
| Somebody put that thing there, and it's not us. | ||
| Then the voiceover continues, but some secrets should never be uncovered. | ||
| A faithful rendering of that email? | ||
| Precise. | ||
| Now, the key thing is here, the images that accompany this are not the made-up face that De Palma has in the film. | ||
| But in fact, the face on Mars, Cydonia, the one you wrote. | ||
| Right. | ||
| From the Viking NASA imagery. | ||
| It's impossible, Richard. | ||
| Now, the only... | ||
| Did he confirm that the trailer face matched the movie face? | ||
| That we have not yet done. | ||
| However, tonight we have some new news. | ||
| One of our correspondents has found an article, and I'm trying to get a hard copy, where De Palma was interviewed many months ago and apparently talked about the creation of two endings for Mission to Mars. | ||
| That's new news, Ark. | ||
| You didn't even know that. | ||
| Two endings, okay? | ||
| Two endings. | ||
| And the other thing that we can confirm on the record from Giamarco this afternoon, because he has been pursuing the Disney folks to try to get to the bottom of this, going up the ladder, you know, hire and hire executives to try to find out why De Palma won't talk to anybody, particularly people who are sympathetic, that are not going to pan the film, but want to talk about all the neat points in the film. | ||
| He confirmed this afternoon, according to the public relations people who put the budgets together for these promos, these trailers, that the Attack NASA campaign, you know, like Attack McCain or Attack Gore or whatever, the Attack NASA campaign accusing the government of a cover-up for 20 years to be solved by this movie Is only about two weeks old. | ||
| What favorite radio program for the last couple of weeks has been featuring the rest of the story? | ||
| Right here, folks. | ||
| And Mission Mars people had just been begging me to have somebody on up until two weeks ago when we began to tell you the rest or the other. | ||
| I don't know whether it's the rest of the story, the other side of the story, or just a bunch of hype to get a bunch of people to go to the movie, which certainly will succeed in my case. | ||
| I'll be right there. | ||
| Likewise. | ||
| But we've got, apparently our source, who we've named, has a videotape of this trailer. | ||
| Yes, he was able to tape it. | ||
| All right, I have a request. | ||
| He's sending copies to you and to me. | ||
| Yeah, but they won't arrive in time. | ||
| Probably not. | ||
| I have a request of my audience coming up in a moment. | ||
| Stay right there, Richard. | ||
| It's the bottom of the hour. | ||
| We'll be right back and get ready for my request. | ||
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A very old friend came by today. | |
| Cause he was telling us what it was all about. | ||
| And the reasoning of the greatest strength. | ||
| Thank you. | ||
| He called him torch. | ||
| And I heard him say that she had the longest white hair. | ||
| The brilliant green eyes anywhere. | ||
| And Marie's name. | ||
| You're listening to the Twin Cities Talk Station, AM 1500 KSTV. | ||
|
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Thank you. | |
| I'm waiting for that. | ||
| I just can't wait there. | ||
| He's like the old one. | ||
| Can I get him? | ||
| Can I get him? | ||
| I've got a lot of hope. | ||
| I got a lot of those tea and drums. | ||
| Honey, tea and drums all the way. | ||
| Wanna take a ride? | ||
| Call Art Bell from west of the Rockies at 1-800-618-8255. | ||
| East of the Rockies at 1-800-825-5033. | ||
| First line callers may reach Art at area code 775-727-1222. | ||
| Or call the Wildcard line at 775-727-1295. | ||
| To talk with ART on the toll-free international line, call your AT ⁇ T operator and at them dial 800-893-0903. | ||
| This is Coast to Coast AM with Art Bell. | ||
| Well, good morning, everybody. | ||
| Richard C. Hoagland is here. | ||
| We're talking about Mission to Mars Now. | ||
| Once again, I need your help, and here's how I need it. | ||
| If any of you have this new Mission to Mars trailer on tape, videotape, or you can tape it, turn it into an MPEG-3 file and send it to me in email. | ||
| You'll never know how much I would appreciate that. | ||
| I'm Art Bell at mindspring.com, and I need a copy of this quickly. | ||
| Consider, consider what's on this trailer in authoritative voiceover. | ||
| Now, ask yourself as I read this, would NASA approve this for 25 years? | ||
| The government has concealed evidence of a lifelike formation on Mars. | ||
| Script approval? | ||
| Then a wide shot of Mars. | ||
| And then a close-up of the real face on Sidonia. | ||
| Sidonia. | ||
| Now, you think about it, you think they would have approved that one. | ||
| You know the way NASA has been about face on Mars, all right? | ||
| So there are two trailers out there, and I need a copy of this trailer from somebody in the audience. | ||
| As soon as possible. | ||
| In a moment, we'll discuss, if true, what this might mean. | ||
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The End Actually. | |
| All right, now we're going to discuss what all of this may mean in a moment right now, actually. | ||
| All right, now let's think about this. | ||
| If this trailer is as stated, what might this mean? | ||
| To me, it might mean the following. | ||
| Touchstone slash Disney is screwing with us all for promotional purposes and myself and Richard in particular. | ||
| It could mean that. | ||
| It could mean Mr. DePama is screwing with NASA, which of course would mean that he would have burned his bridges forever with NASA, something you wouldn't think he would do. | ||
| And that's all I can think it would mean. | ||
| I mean, either there's some giant promotional brouhaha doing with this second trailer, and it's really aimed at stirring up controversy, which it sure is doing, and ticking off Richard and myself, | ||
| or DePama has ticked off, really ticked off NASA, and I've not heard any comment from NASA yet, but you just know if it's a real face at Sidonia, either in the trailer or the movie, they're going to be really, really pissed. | ||
| What have I missed here, Richard? | ||
| Even more so, because remember, the line in the film says it sets up the conspiracy for 25 years. | ||
| The government has kept you in the dark. | ||
| And then it says on March 10th, the conspiracy will be exposed. | ||
| This is stabbing the agency in the back. | ||
| Big time. | ||
| Now, maybe that's why De Pama, it could be that's why De Palma's now not doing interviews. | ||
| Well, but this campaign to do this, these trailers did not appear until about three or four days after he had disappeared. | ||
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Or? | |
| In other words, they had not run. | ||
| Or could it mean that De Pama wanted to use the real Sidonia as an ending and got overruled? | ||
| Well, we don't know what his contract reads, and that's one of the things that David is going to try to find out between now and Thursday when we're going to do our final last-minute update before the film premieres. | ||
| Think bigger, though. | ||
| I don't know whether you're an aficionado of John Houston or John Ford films with John Wayne, but back during World War II and during the Korean War and even up through the Vietnam War, film companies, major studios, would go to the Defense Department, would go to the government, and basically get millions, if not tens of millions of dollars of stuff contributed for free. | ||
| Big time. | ||
| In Vietnam, you remember the final Wayne picture? | ||
| Yep, the Green Beret picture. | ||
| Yeah, of course. | ||
| Well, that was nothing but almost propaganda, really. | ||
| Well, and they used to shoot on bases. | ||
| They used to shoot, you know, I remember Jimmy Stewart on the B-52, the Strategic Air Command. | ||
| I mean, all of these films. | ||
| You have a major studio like Disney. | ||
| Huey's at your disposal. | ||
| I mean, whatever. | ||
| And aircraft carriers. | ||
| Remember Silent Running, where they borrowed a whole aircraft carrier to shoot as a spaceship. | ||
| You bet. | ||
| It goes back decade after decade after decade. | ||
| You know, the U.S. government has been in bed with the Hollywood film community in contributing a major portion of their budget for set and personnel and all kinds of other little perks. | ||
| What Disney has done is to basically cut themselves off from all of that. | ||
| Well, maybe. | ||
| Not just in that. | ||
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Maybe, maybe. | |
| Richard, you've got to imagine this also might be a De Palma thing. | ||
| In other words, he may have You said that you had word that he were two endings. | ||
| This afternoon, again, David got confirmation from Disney this is an official touchstone campaign. | ||
| And the person who talked to David says, I just wish we'd done it a lot earlier. | ||
| Because she, and it was a she, realized the enormous PR value of getting the entire Art Bell audience that's been following our work for the last, you know, what, five years, eight years, ten years, whatever it is, to go and see this film to find out what the hell they buried in the future. | ||
| Yeah, but Richard, that might be the reason for the second trailer. | ||
| That might be the only reason for the second trailer. | ||
| Yeah, but you can't legally have an agency on board and then turn around and stab them in the back. | ||
| There are relationships. | ||
| There are actual contractual relationships. | ||
| Oh, I understand. | ||
| The other thing you have to do. | ||
| But what if it's just in the trailer, not in the film? | ||
| Yeah, but even the trailer, I mean, you've got, simultaneous with this trailer, you've got people like Story Musgrave, astronaut of 30 years, who was at the press premieres, made available, talked to various members of the press. | ||
| I already was on the set. | ||
| He was on, well, of course he was on the set because he was a key consultant to the manned space flight X, you know, missions to Mars, space stations, rendezvous, docking, EBAs, the whole nine yards. | ||
| Musgrave was a key player in setting up this film from technical, accurate points of perspective. | ||
| GioMarco interviewed him and is going to discuss this in some detail on Thursday night. | ||
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Interviewed Story about this and asked him point-blank questions. | |
| And Musgrave insists that NASA is the most wide-open government agency that has ever existed. | ||
| There's no cover-up of anything. | ||
| There are no UFOs. | ||
| There's no evidence. | ||
| They're all nuts, etc. | ||
| For 25 years, the government has concealed evidence of lifelike formation on the NASA. | ||
| Precisely. | ||
| So what you're doing is not only making the agency look bad, but you're taking one of your own key consultants and making him look like a fool. | ||
| Because you're saying officially from Disney, this man's a damn liar. | ||
| But why are we saying that, I mean, De Palma, why is he not giving interviews? | ||
| There are two possibilities. | ||
| One is that he's getting his way and he's angry. | ||
| And that he's not getting the ending that he wants in the movie. | ||
| That's true. | ||
| Right? | ||
| Isn't that possible? | ||
| That's possible. | ||
| Or. | ||
| Or. | ||
| And this is the one that I really love. | ||
| He is off somewhere secretly editing his new ending and that's being shipped even as we speak to all the theaters. | ||
| And this has been done before. | ||
| Remember art I mentioned 2001? | ||
| Yes. | ||
| When Kubrick went, he had a screening in New York and the critics really didn't like it. | ||
| They didn't get it. | ||
| They didn't understand it. | ||
| So he, on a train between New York and Los Angeles for the LA premiere, he re-edited the film. | ||
| On the train. | ||
| On the train. | ||
| 2001. | ||
| 2001. | ||
| The classic film that, by the way, said that if they find it, they, and, you know, we're coming up to the year. | ||
| And then a different film premiered, courtesy of this genius, Stanley Kubrick, in Los Angeles than the few critics who'd seen it in New York saw. | ||
| So it has been done before. | ||
| Now he's the problem, which I'm going to hopefully get a hold of tomorrow, which was done months ago where he talked about filming two endings. | ||
| Kind of a little bit like Lady of the Tiger, doesn't it? | ||
| So I am praying that Brian DePalma, because of the relationship with Bruce DePalma, who was our colleague, has seen the light and understands that history is bigger than NASA and that there's going to be one heck of an interesting ending for this film where Gary Sineed says some very remarkable things. | ||
| We'll just have to all look. | ||
| I'll tell you something, Richard. | ||
| If they tried, they couldn't do a better job of driving my audience to the theater and driving me to the theater. | ||
| You got me. | ||
| What I first need, folks, is a copy of this trailer. | ||
| Somebody MPEG free this Zuckerberg to me as fast as you can, please, in its entirety. | ||
| Now, this is not the looking alien face. | ||
| This one will actually show the face on Mars, the one that Richard. | ||
| Well, according to Giamarco, who's seen it, and according to Mike Berra, who has, his wife saw it. | ||
| This here is a government cover-up. | ||
| And it has the colorized versions of Sidonia very close to what we have from Corado on our website as part of our review of Michigan. | ||
| I mean, this is pretty interesting, to say the least. | ||
| Well, I can imagine, Richard, the people in the studio sitting there and saying, look, let's get another trailer out there. | ||
| Let's make this one a little different. | ||
| And it's going to just drive them out of their minds. | ||
| And as part of it, we'll have Dapama not say anything for a while. | ||
| And the controversy will go nuts on the Art Bell show. | ||
| Because that's exactly what's happening. | ||
| So what better way to get people into the theater? | ||
| Given that we already know some of the interesting things that are touched on in the film, the story not worsening the reaction and all that, we know they deal with the Martians as the progenitors of humankind. | ||
| Yeah, that's no secret. | ||
| I mean, they hold up to DNA strands and everything. | ||
| So it's no secret. | ||
| We were there years ago, folks. | ||
| That's what the Money Mars, a city on the edge of forever, the book I wrote covering this entire investigation for the last two, 25 years, details with the evidence to support it. | ||
| So, you know, the only thing they can do to really put it over the top, the only thing De Palma could do, a la his brother, remember Bruce De Palma, his brother, who worked so closely with us, who I debuted at the United Nations in terms of his stunning physics experiments, which confirmed in the lab the hyperdimensional physics model we developed, Sidonia. | ||
| There is another report which, see, should I wait till Thursday to let David tell you directly or should I give it away tonight? | ||
| We have some very important news regarding, first-person news regarding Bruce DePalma, who will tell you from a first-person testimony on Thursday night. | ||
| So there is a critical piece of evidence that there was a very close relationship in Bruce's final days on this planet before he died between these two brothers. | ||
| And that can only mean, in a logical way of thinking, that Brian De Palma is looking to history and not to NASA and maybe has risen to the occasion in a way that will make us all very proud come Friday night. | ||
| This just is all impossible. | ||
| And I just really can't put my finger on... | ||
| Heart attack. | ||
| This is kind of interesting. | ||
| Totally unpredictable. | ||
| Totally. | ||
| Well, I wonder, Richard, if you'd kicked the bucket then, whether at the end of this movie it would have said for Richard. | ||
| Sorry. | ||
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I think I'd rather stick around and write the ending myself. | |
| I hear you. | ||
| Or interpret the ending or whatever. | ||
| But, of course, you did write the book all those years ago. | ||
| The Monuments of Mars, which, by the way, people can still get. | ||
| If you want to see the original research, it's in Monuments of Mars. | ||
| And how do they get that, Richard? | ||
| Well, you can do several things. | ||
| You can log on to Enterprise Mission and you just follow the links and it will take you to ship stores and you can get the book there. | ||
| It's also distributed all over the country in major bookstores. | ||
| It's on Amazon.com. | ||
| Just log on to Amazon.com and type in Monument Mars in the search. | ||
| And it's apparently bumped up to some very high numbers. | ||
| Amazon has something like 250,000 titles. | ||
| Oh, they do. | ||
| And we're somewhere on the first 10,000 now. | ||
| Oh, really? | ||
| Oh, yeah. | ||
| Somebody's been buying a lot of Monuments of Mars. | ||
| And in particular, the numbers appear to have climbed in the last few weeks as this film has made its way through the video and on the Internet and all that. | ||
| And I can imagine that people, after they see the film, would not want to see the real story, read the real research, all the players, all the scientists, knowledge. | ||
| What if, try this out for size, Richard. | ||
| What if DePalma made the change and NASA okayed it? | ||
| Slim chance, I admit, but I don't know. | ||
| No, no, no, no, no, no, no. | ||
| You're on to something. | ||
| Because remember, we've said for a long time that there are two contingents in NASA. | ||
| I never reminded them. | ||
| That's right. | ||
| In other words, the contingent that you talk of as the other, or the dart side, winked and said, do it. | ||
| Well, no, it's the bright side. | ||
| It's the ones that know and have been too afraid to speak up. | ||
| Well, I know, but the dart side would have to be winking. | ||
| No, they wouldn't have winked. | ||
| They would have to be snookered. | ||
| In other words, would then have done would be to do two endings, one that these guys approved. | ||
| And then one which blows the doors off. | ||
| Remember, it says on March 10th, the conspiracy will be exposed. | ||
| Well, the only way it can be exposed is just somewhere in the film you say, hey, folks, there's been a conspiracy for the last 30 years to keep this underwrap. | ||
| Yep, yep, yep, yep. | ||
| And of course, the bigger picture is that what this story is telling us is that we are from Mars. | ||
| We are descendants of, or creations of, because I haven't seen the movie yet, I don't know, whatever, Martians. | ||
|
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Yep. | |
| That the DNA that is everything we are came from over there. | ||
| Which I think I said pretty much on Fox about a year ago during the Lost Tombs special. | ||
| In other words, that's where our research has been leading us in the inexorable direction that somehow we and the, quote, Martians are inextricably connected some way. | ||
| What this film has done with $120 million is to basically put it on the wide screen with a hell of a lot of special effects, a Sterling cast, and a director who has disappeared. | ||
| I don't know. | ||
| The whole thing is really intriguing, which is probably exactly what they intend for it to be. | ||
| Well, you know, if ever the comment was appropriate, it's certainly now. | ||
| Stay tuned. | ||
| Stay tuned. | ||
| Right. | ||
| Richard, one last quick question, and it's got to be quick. | ||
| We got those rotten stinking pictures of the face on Mars that in no way resembled the pictures of the original Viking photos. | ||
| Since then, we've had a zillion really good pictures of Mars taken. | ||
| Stunning. | ||
| Stunningly good in great detail. | ||
| How come we can't get Cydonia again with a good photo this time? | ||
| Why not? | ||
| Well, I have a feeling that if enough people go to see this film and then tune into us as we discuss the contents and the various layerings of the real research embedded by De Palma in this, including all those 19.5s I've been telling you about, that we can then muster another campaign to demand of Dan Golden, and this is the enormous success of the film, that we go back and get some more decent pictures of Sidonia to show that. | ||
| Some more damn pictures, for heaven's sake. | ||
| Absolutely. | ||
| Because if you compare the quality of what was taken a year ago in 98, in April, and the quality of what he's been taking Malone is taking all over now. | ||
| Look at What we could do now. | ||
| Right? | ||
| There's no comparison. | ||
| There's no comparison. | ||
| Somehow that camera works amazingly well, except when it's pointed at Sidonia. | ||
| All right. | ||
| Thursday, the next installment of this, somebody send me an MPEG before I go. | ||
| Thank you, Richard. | ||
| And I have one last thing to say. | ||
| Oh, you'd better be awful quick. | ||
| Aunt Doris, go to bed. | ||
|
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Later. | |
| Aunt Doris, go to bed. | ||
|
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I'm Art Bell. | |
| All of you out there, don't you go to bed. | ||
|
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The mountain high in the valley's gonna be It's all to the other side The mountain high in the valley's gonna be Don't you give up, baby. | |
| Don't die. | ||
| Don't you give up to the light. | ||
| Hey, we've been babied pretty good with the weather lately. |
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