Richard C. Hoagland, former NASA advisor and Walter Cronkite collaborator, revisits his 20-year-old book The Monuments of Mars, alleging Mars’ Cydonia "face" is artificial—evidence Disney’s Mission to Mars ($120M budget) trailer claims the government concealed for 25 years. Director Ryan DePalma, who avoided interviews despite press previews, worked under NASA script approval; Hoagland suspects studio manipulation or a hidden ending twist like Kubrick’s 2001. Bruce DePalma’s alleged pre-death evidence ties to Martians as humankind’s progenitors, per Hoagland’s DNA research. NASA’s refusal to re-examine high-res Sidonia images fuels speculation of a cover-up, with Hoagland betting public pressure could force transparency—The Monuments of Mars’ Amazon sales spike signals growing intrigue. [Automatically generated summary]
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?
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.
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.
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.
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.
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?
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.
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.
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.
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.
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 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.
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.
unidentified
Interviewed Story about this and asked him point-blank questions.
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.
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.
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.
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.
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.
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.
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.
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.