UFO'S of UAP'S, ASTRONOMIE, RUIMTEVAART, ARCHEOLOGIE, OUDHEIDKUNDE, SF-SNUFJES EN ANDERE ESOTERISCHE WETENSCHAPPEN

Delen van dit hoofdstuk zijn gebaseerd op een artikel van W. Gitt, gepubliceerd in: Creation 19(4), 1997, p. 46-48; www.creation.com/article/629. Zie ook R. Grigg, ‘Did life come from outer space?’ in: Creation 22(4), 2000, p.40-43; www.creation.com/article/294. Voor een diepgaande behandeling van dit onderwerp, zie G. Bates, Alien intrusion: ufo’s and the evolution connection, 2004, Master Books, Green Forest, AR, VS.

J.D. Sarfati, 1996. ‘Life on Mars?’ in: Creation 19(1):18-20; J.D. Sarfati, 1996. ‘Life from Mars?’ in: Journal of Creation 10(3):293-296; www.creation.com/mars.

B. Holmes, ‘Death knell for Martian life’, New Scientist 152(2061/2), 1996, p. 4.

Zie anoniem, ‘Another blow to Mars ‘life’ claim.’ Creation 20(2), 1998, p. 8; www.creation.com/focus-202-creation-magazine.

Readers Digest enquête, juli 2005.

Bovendien is het niet logisch dat Jezus gestorven zou zijn voor buitenaardse wezens, omdat Jezus de menselijke gestalte aannam en voor altijd de God-mens, onze Verlosser, zal zijn. Als Hij voor bijvoorbeeld Vulcans verzoening zou moeten brengen, dan zou Hij een Vulcan moeten worden. Het hele doel van de schepping is geconcentreerd op het ras op aarde, waarvan sommigen ooit voor eeuwig Christus’ ‘bruid’ zullen zijn. Jezus Christus zal niet meerdere ‘bruiden’ hebben.

In de meeste Bijbelvertalingen wordt dit vertaald met reuzen.

Deze opvatting is gebruikelijk onder moderne reformatorische theologen, en is gebaseerd op de opvattingen van het Jodendom in de eeuwen tussen het Oude en Nieuwe Testament (bijvoorbeeld in het geschrift 1 Henoch) en op de uitleg in de Vroege Kerk. Calvijn stelt echter in zijn commentaar op Genesis 6:4 dat de nephilim reuzen zijn in de betekenis van heersende tyrannen of mannen van grote lichaamslengte. ‘Gods zonen’ zijn naar zijn overtuiging nakomelingen van Seth, terwijl de ‘dochteren der mensen’ de nakomeling waren van Kaïn. De Statenvertalers hebben zich hierbij aangesloten.

Een Griekse vertaling, in de derde eeuw voor de jaartelling gemaakt in opdracht van Ptolemeus.

Het sterkste argument hiervoor is dat het ontstaan van nageslacht van gevallen engelen en mensen Gods bedoeling met het menselijke geslacht doorkruist. Vernietiging van het menselijke geslacht door een zondvloed is zo veel begrijpelijker dan bij een vermenging van vromen en goddeloze mensen het geval is.

H.M. Morris, The Genesis Record, 1976, Baker Book House, Grand Rapids, MI, p. 169.

Dit is de uitleg van Calvijn en de Statenvertalers.

H.C. Leupold, Exposition of Genesis, dl. 1, 1976, Wartburg Press, Ann Arbor, MI, p. 250.

Het is mogelijk dat de mensen door verbintenis met demonische machten bewust streefden om een soort supermensen voort te brengen: ‘geweldigen’, om de vloek over de aarde zo veel mogelijk ongedaan te maken. De nakomelingen hoorden bij het menselijke geslacht. Engelen kunnen in mensengedaante verschijnen, eten en drinken en ook geslachtelijk zijn (Gen. 19:5) (noot toegevoegd aan de Nederlandse vertaling).

Mesopotamië is het gebied tussen het huidige Syrië, Turkije, Iran en Saoedi-Arabië, dat is grofweg Irak en Koeweit

Dit is te vergelijken met een bedrag van ca. € 360.000 (2009).

De Nederlandse vertaling voor SETI is: zoektocht naar buitenaardse intelligentie.

Zie ook www.creation.com/space_life.

Enkele kritische artikelen over de evolutionistische oorsprong van het leven zijn: S.E. Aw, ‘The origin of life: a critique of current scientific models’, Journal of Creation 10(3), 1976, p. 300-314; www.creation.com/images/pdfs/tj/tjv10n3_origin_life.pdf; J.D. Sarfati, ‘Self-replicating enzymes’, Journal of Creation 11(1), 1976., p. 4-6; www.creation.com/ article/1532; C.B. Thaxton e.a., ‘The Mystery of Life’s Origin’, Philosophical Library Inc., New York, 1984. Zie ook de artikelen over de oorsprong van het leven op www.creation. com/origin.

Dit betekent dat er elke afgelegde kilometer een kleine kans is op inslag. Maar bij het afleggen van zulke afstanden is een inslag nagenoeg zeker. In de bijlage worden berekeningen gegeven die de schadelijke gevolgen van stofdeeltjes bij zulke snelheden laten zien.

‘Erdling, Hallo, Ufologie, Focus 45, 1995, p. 254.

L. Vardiman, ‘A conceptual transition model of the atmospheric global circulation following the Genesis Flood’, in: Proceedings of the IIIrd ICC, Pittsburg, 1994, p. 569-579.

De NBV-vertaling zegt het op de volgende manier: ‘De komst van de wetteloze mens is het werk van Satan en gaat gepaard met groot machtsvertoon en valse tekenen en wonderen, en allen die verloren zullen gaan, zal hij met zijn kwaadaardigheid verleiden.Want ze hebben de liefde voor de waarheid, die hen had kunnen redden, niet aanvaard. Daarom treft God hen met verblinding, zodat ze dwalen en de leugen geloven.’

De duivel en zijn kwaadaardige engelen zijn afvallige geschapen wezens. Het koninkrijk van satan zal slechts bestaan zolang God het toestaat

Bekroond journalist en cultexpert William Alnor heeft vele jaren het fenomeen ufo’s bestudeerd. Zijn boek, Ufo’s in the New Age, 1992, Baker Book House, is een weergave van zijn onderzoek, dat heeft geleid tot de conclusie dat sommige ufo-waarnemingen een occulte oorsprong hebben. Gary Bates kwam tot soortgelijke conclusies (zie voetnoot 1).

Het hier gebruikte woord ‘verleiden’, betekent met name ook bedriegen en misleiden.

In werkelijkheid gaat er echter ook veel energie verloren bij de verbranding van de brandstof die het vaartuig moet voortstuwen en bijvoorbeeld door wrijvingskrachten zolang het object zich nog in de dampkring bevindt.

Slechts 500 gram TNT in een koffer in het vrachtruim van een Boeing 747 zou al genoeg zijn om een dergelijk groot vliegtuig op te blazen. Het effect van 10.000 kg is dus catastrofaal.

Some view Carl Jung as a UFO debunker, others as a UFO believer, but the truth is he was somewhere in the middle. Either way, it is certain that Jung was an avid UFO researcher and fascinated with the topic. He wrote a book about the psychological symbolism and the role the UFO mythos plays in the unconscious mind. Moreover, on several occasions Jung complained that his studies would have been much easier if the UFO phenomenon was not real.

Jung the Psychologist

Jung was born in Switzerland in 1875. His father was a pastor in the Swiss Reformed Protestant Church, and his mother was from a wealthy Swiss family. He was the Jungs’ fourth child, but was the only child who survived into his childhood. As such, he grew up as an only child. Later, he wrote that he remembered enjoying his solitude.

His first experience with neurosis was at the age of twelve when a fellow student shoved him, causing him to fall and hit his head on the ground very hard. He remembered associating this experience with schoolwork, and whenever he had to go to school or do schoolwork he would faint. Overhearing his parents’ concern that this condition would cause him to be unable to support himself as an adult, Jung fought to overcome the problem and eventually returned to academics.

Although Jung had a profound interest in spirituality, his experiences triggered an interest in psychology and he decided to pursue a career in medicine. It wasn’t long before he realized that studies in psychology would allow him to combine his interests in medicine and spirituality, and in 1902, he completed his doctoral dissertation, which was titled “On the Psychology and Pathology of So-Called Occult Phenomena.” He graduated with a medical degree from the University of Basel.

After graduating, Jung went to work with psychiatric patients at the University of Zurich asylum. He wrote a paper on word association that he sent to Sigmund Freud. Freud was impressed with Jung’s work, and they quickly became very close. Freud considered Jung his successor. However, after several years, Jung began to develop his own ideas beyond the work of Freud, and due to their disagreements, the relationship turned adversarial.

Carl Jung (bottom right), Sigmund Freud (bottom left), and others at a 1909 celebration of the founding of Clark University, Worcester, Massachusetts.

Credit: Library of Congress

Freud’s work with the ego and unconscious served as a foundation for Jung’s work. They both felt that disconnects between the conscious and unconscious minds caused neurosis in people. They also both relied on dream interpretation to explore a person’s unconscious mind as a method for subsequently resolving neurosis. In fact, one story holds that Jung and Freud interpreted each other’s dreams and both completely disagreed with the other’s analysis, thus hastening the dissolution of their friendship.

A major area of disagreement between the two was that Jung did not believe a person’s unconscious was driven solely by sexual desires, as Freud did. Jung believed other strong emotions such as fear and aspiration were just as influential. He also conceived of a deeper level of the unconscious called the collective unconscious, which he believed is a part of our unconscious mind that holds ideas and concepts shared by all humankind. He believed these base ideas are then shaped by our cultural perceptions and personal experience. For example, we all have ideas around the notions of mothers, fathers, wise elders, etc. Jung called these shared notions archetypes. Jung felt that these archetypes not only would manifest in dreams, but could be seen in people’s creative works and behavior, including art, religion, and mythology.

Jung’s contributions to psychology are numerous. Even today his ideas of extraversion and introversion are a mainstay in personality psychology. He also came up with the idea of psychological complexes and synchronicities. All of these ideas and terms are commonly used in everyday conversation today, and all were made popular by Jung.

Jung and Alchemy

It is the idea of the archetype that brought Jung to have a particular interest in UFOs. When Jung interpreted psychological meaning he would search for archetypal figures. As mentioned earlier, such figures could be a mother or father. But, in a mythological story, the archetype may be the hero, a dragon, or even a planetary entity such as the sun. However, Jung also had an interested in alchemy.

Alchemy is typically connected to legends of ancient mystics attempting to unravel the secret of turning lead into gold. The work of alchemists is credited with the development of modern chemistry. However, another side of alchemy is spiritual in nature, relating to personal transformation. Jung had a passion for alchemy in this sense, and felt that the metal lead was a metaphor for an impure soul, whereas gold was a metaphor for a perfected soul. Jung’s interest in alchemy was thus as a method of purifying the soul.

The Tabula Smaradina (Emerald Tablet), a print by Mathias Merian from the 1600s displaying alchemical symbols and imagery.

Credit: Mathias Merian

Jung wrote a couple of books focused on interpreting alchemical symbolism and processes as different stages of personal growth that mirrored his ideas. He felt these symbols were archetypes that were unconsciously manifesting in the work of alchemists. Although he acknowledged the physical goals of alchemy (an attempt to transmute lead into gold), Jung did not give it much attention in his writing and focused on the non-physical aspects that related to his psychological theories. This is very similar to the way he approached the topic of UFOs.

Jung and UFOs

In 1951, Jung wrote to a friend in the United States: “I am puzzled to death about the phenomena, because I haven’t been able yet to make out with sufficient certainty whether the whole thing is a rumour with concomitant singular and mass hallucination, or a downright fact.”

Book cover to Jung’s Flying Saucers: A Modern Myth of Things Seen in the Skies.

(Credit: Princeton University Press.)

Although Jung showed an interest in the mystery of the physical reality of the UFO phenomenon, professionally he stated, “As a psychologist, I am not qualified to contribute anything useful to the question of the physical reality of Ufos.” However, Jung could contribute by analyzing the unmistakable psychological side to the UFO phenomenon. In 1958, several of Jung’s papers regarding the psychology of UFOs were published in a book. It was originally published in German, but in 1959 it was translated to English under the title, Flying Saucers: A Modern Myth of Things Seen in the Skies.

In the book, Jung argued that although there may be a physical reality to UFOs, there is certainly a portion of the phenomenon that is fantasy. He examined the difficulty many have in accepting fantastical stories of UFOs, even when they come from pilots, and points out, “What is worse, most of the stories come from America, the land of superlatives and of science fiction.”

For the sake of argument, and to examine the psychological aspects of the phenomenon, Jung presumed that UFOs are fantasy. This is an important aspect that many critics overlook when they characterize Jung as dismissive of the phenomenon altogether. UFO researchers also tend not to appreciate the portions of Jung’s book in which he examined the UFO phenomenon in regards to archetypal imagery and alchemic symbolism. Jung himself assures his readers that although his work may appear to be “unbridled fantasy” to those unfamiliar with psychology, it is actually based on “thorough research into the history of symbols.”

In his book, Jung observed that most UFO sightings describe the objects as disc shaped, which is a symbol that is often seen in alchemy and existed in the mythology of other cultures. For example, the Hindu and Buddhist symbol of the mandala is a circular disc-shaped symbol. Jung believed that the mandala is a protective sphere, which is elicited in the unconscious in times of emotional tension. Jung noted that, around the time of many of the UFO sightings, the world was under a collective stress due to “Russian policies and their still unpredictable consequences.” In short, he felt that perhaps UFOs were appearing in visions at the time because of the world’s Cold War jitters, and that the UFOs were a manifestation of a need for protection and salvation.

Jung’s book also provided detail of the analysis of particular sightings and art. One of the significant contributions to ufology made by the book is a focus on two historical broadsheets, a type of ancient newspaper, that recorded mysterious apparitions that many have speculated to be UFO related. Although Jung asserted that these reports were in the UFO literature prior to the publication of his book, Jung clearly made them popular as potential ancient UFO sightings.

The first is referred to as the Basel Broadsheet, and it dates back to 1566. It was written by Samuel Coccius and is a report of “many large black globes” that were seen flying in front of the sun “with great speed.” The Basel Broadsheet notes, “Some of them became red and fiery and afterwards faded and went out.” Jung noted the similarity of this phenomenon to modern UFO accounts.

The Basel Broadsheet from 1566 analyzed by Carl Jung in his Flying Saucer book.

Credit: Wickiana Collection, Zentralbibliothek Zürich

The second report is called the Nuremberg Broadsheet and dates back to 1561. This report chronicles a “very frightful spectacle” that was witnessed by several people. Again, “globes” were seen near the sun, “some three in a row, now and then four in a square, also some standing alone.” There were also “two great tubes.” Jung noted that in UFO literature large tubes are considered “motherships,” and have been reported to have smaller discs that appear to fly out of them.

The Nuremberg Broadsheet from 1561 analyzed by Carl Jung in his Flying Saucer book.

Credit: Wickiana Collection, Zentralbibliothek Zürich

The Physical Reality of UFOs

In his book, Jung also examined the possibility of the physical reality of UFOs. He noted that, “unfortunately,” UFOs cannot be dismissed as purely psychological in nature. He pointed to numerous sightings, some of which have been caught in photographs and on radar. Jung even poked fun at astronomer Donald Menzel, a UFO debunker, saying that he “has not succeeded, despite all his efforts, in offering a scientific explanation of even one authentic UFO report.”

Jung was well-versed on UFO research. He wrote, “since 1947 I have collected all of the books I could get a hold of on the subject.” He was also a member of the National Investigations Committee on Aerial Phenomena (NICAP), an early civilian UFO organization that included many credible members. In fact, in his book, Jung often referred to the work of Major Donald Keyhoe, a cofounder and director of NICAP.

Prior to releasing his book, Jung was considered by UFO researchers to be a proponent of the physical reality of UFOs. In 1955, he wrote an article on UFOs for a British journal called the Flying Saucer Review. In the article, Jung stated that he had never seen a UFO himself, but that “I can only say for certain: these things are not a mere rumour: something has been seen.”

He went on to argue that the U.S. Air Force “despite its contradictory statements,” considers the phenomenon to be real and they conduct official investigations. He warned that, by concealing information on the topic, the military is making it more likely that people will panic since the public is denied “an adequate picture of what is happening.”

Jung also stated that “the ‘disks’ (that is, the objects themselves) do not behave in accordance with physical laws, but as though without weight, and they show signs of intelligent guidance, by quasi human pilots, for their accelerations are such that no normal human could survive.”

Not much was made of Jung’s 1955 article until it was reprinted in 1958 by the Aerial Phenomena Research Organization (APRO) in the organization’s bulletin in July 1958. APRO posted the story as part of an announcement that Jung had agreed to become an official consultant for the organization. The New York Herald Tribune quickly picked up on the report and printed a story with the headline, “Dr. Jung Says ‘Flying Disks’ Suggest Quasi-Human Pilots.”

APRO Bulletin from July, 1958 with reprint of Jung’s article on UFOs.

Credit: APRO

Jung was not happy with the implication that he believed UFOs represented a physical phenomenon and later wrote a letter to United Press International news agency clarifying his position. He wrote: “I expressly state that I cannot commit myself on the question to the physical reality or unreality of the UFOs since I do not possess sufficient evidence either for or against.” He then stated, “Something is seen, but it isn’t known what.” Jung later repeated this statement in his 1958 book and in several letters.

Although Jung was clearly embarrassed by the public perception that he conclusively believed flying saucers were physical in nature, he later reiterated his prior statements and earlier criticisms of the U.S. Air Force’s handling of the matter in very strong words. He wrote:

In spite of the fact that I hold my judgment concerning UFOs—temporarily let’s hope—in abeyance, I thought it worthwhile to throw a light upon the rich fantasy material which has accumulated round the peculiar observations in the skies. Any new experience has two aspects: (I) the pure fact and (2) the way one conceives of it. It is the latter I am concerned with. If it is true that the [American Air Force] or the Government withholds telltale facts, then one can only say that this is the most unpsychological and stupid policy one could invent. Nothing helps rumours and panics more than ignorance.

It is no wonder that many have been confused as to Jung’s official stance on UFOs. He seems to have believed the phenomenon and sightings to be real, but is uncertain whether UFOs are a physical reality or are limited to a psychological phenomenon. He stated that although “by all human standards it hardly seems possible to doubt this any longer,” in the decade or more he had been studying the topic, neither he nor anyone else seems to have learned much from the study of the physical aspect of UFOs. Jung said that this is precisely why he found it much more fruitful to study the psychological aspects of UFOs, an area in which he felt he had gained an abundance of knowledge.

Jung may be right. Concrete physical proof of UFOs continues to elude us to this day. Yet, Jung is another example of a luminary who garners a great amount of respect in his field of study, who also had the vision to seriously consider the UFO phenomenon. His UFO interest is a story that should not be forgotten, and his insights into the phenomenon may help guide us today, just as his insights into the human mind continue to be a part of the bedrock of modern psychological understanding.

A version of this article originally appeared in Open Minds UFO Magazine. Back issues can be found here.

{ https://openminds.tv/category/articles/ }

It was 1993 when I was first contacted by London businessman Ray Santilli. It was l995 when Santilli’s controversial ‘Alien Autopsy Film’ was released around the world. I have covered events surrounding this film in many publications around the world and in my new book ‘ROSWELL ALIEN AUTOPSY – The Truth Behind the Film That Shocked the World’ so forgive me if I don’t cover old ground here. All the relevant details of my previous research can be located on my website at: www.beyondroswell.com.

On June 22^nd 2007, I travelled by train to London to meet up with Ray Santilli and his business partner Gary Shoefield. We had a pleasant lunch together and Ray Santilli showed me some frames of film encased in a type of perspex material. Santilli claimed these were original vintage 1947 frames of film from the alien autopsy. As they came with no official seal of approval or had been authenticated by anyone they were useless.

From left: Shoefield, Philip Mantle (Author), Ray Santilli

Within a couple of days of this meeting my friend and colleague Russel Callaghan, editor of UFO DATA magazine, had a phone call from a man by the name of Spyros Melaris. This man claimed he had lead the team that faked the whole alien autopsy film. He was a magician and filmmaker and he was now ready to spill the beans. He gave Russel a run down of the who, what, why and where of the whole affair. Because of my involvement in this affair Russel was soon on the phone to me with the details. It wasn’t long before I spoke to Spyros Melaris myself and he was telling me things in great detail. During the next few weeks I had several telephone conversations with Spyros Melaris and also put him in contact with US TV producer Robert (Bob) Kiviat at his request. Spyros was considering the best way to go public with his story, he had a book planned and thought that a TV documentary might also be a good idea.

Along with my colleagues Russel Callaghan, Michael Buckley and Steve Johnston, I was one of the co-organisers of the UFO DATA annual conference. It just so happened, that the 2007 conference had a loose Roswell theme to commemorate the 60^th anniversary of the Roswell Incident. My colleagues and I discussed the possibility of asking Spyros Melaris to make his first public statement on this whole thing at our conference and eventually he agreed. The conference itself was held over the weekend of October 20^th & 21^st 2007 in Pontefract, West Yorkshire. A packed audience saw Spyros take the stage on Sunday October 21^st. I had met him in person for the first time the night before at the hotel and I made loose arrangements to formally interview him at his home later in the year. As promised, Spyros took to the stage and told of his involvement in the making of the alien autopsy film. A small few members of the audience were rather upset to hear this but the vast majority were fascinated by what he had to say.

Spyros Melaris speaking at the UFO DATA conference in 2007.

(Credit: Philip Mantle)

I made arrangements to visit the home of Spyros Melaris on November 16^th 2007 and I drove to his house in Hertfordshire with my partner Christine. Before the formal audio-taped interview began we had lunch with Spyros and his lovely wife Anne. Over lunch Spyros showed us some of the documentary evidence he has to support his claims. This included his diary from l995, hand drawn sketches of the alien, a full list of hand painted story board images of the whole alien autopsy film, original fax messages from Kodak in the USA providing copies of l947 fill canister labels, and a large portfolio of research material. This was mainly of vintage (l940’s) US military vehicles and some vintage US military medical photographs. The interview itself lasted around two hours and we only touched the tip of the iceberg. The full interview can be located online at: http://www.outtahear.com/beyond_updates/index.html (Alien Autopsy Information section). I would like to thank my colleague Steve Johnston for transcribing this interview in full. The following is based on that interview.

Spyros Melaris (right) with Philip Mantle in 2007.

(Credit: Philip Mantle)

Who is Spyros Melaris?

As the name might give it away Spyros was originally born in Cyprus. As a boy he was taught a magic trick by his grandfather and his love of magic was born. The other passion as a boy growing up in the UK was film making. At school he told his careers officer that he wanted to be an actor but this was discouraged. A proper job was what he should have. So a proper job he took and after leaving school became an apprentice trained motor mechanic. However, his love of magic and film making eventually won over and he eventually became a magician and a filmmaker. He now owns his own TV studio in London and makes TV shows for all the major networks in the UK and independent production companies alike. In short, in his owns words, we make programmes for “anyone who books us.”

How He Met Ray Santilli

In January 1995 he was to attend the MIDEM music industry event in Cannes, France. He was taking a film crew there and had some spare time on his hands so he sent fax messages to 4 production companies picked at random from a media directory. He basically asked them if they wanted to hire him and his crew while in Cannes. One of these happened to be the Merlin Group owned by Ray Santilli. Spyros and Ray Santilli had a few telephone conversations but did not meet and arranged to meet in Cannes. By pure chance they bumped into each other at a restaurant in Cannes and it was here that Ray Santilli fist told Spyros Melaris that he had obtained film footage of an alien. Holding back a smirk Spyros asked Santilli if he was serious and he replied he was, not only that, he wanted Spyros to make a documentary from this footage. They eventually agreed to meet at Ray Santilli’s office back in London. A few days later Spyros kept his appointment with Santilli at his office in London. Here he met an almost distraught Ray Santilli who told him he’d bought this film but it had turned out to be very poor quality. Spyros was shown what has become known as the ‘tent footage’ and he immediately recognised it as been shot on video. The tape he was shown was on VHS format. Santilli seemed surprised that he had recognised it as being shot on video so quickly and he realised the game was up. Again in Spyros’s own words “If I can’t get it past this guy, I’m not going to get it past anyone else. He realised it was game up. That’s when the meeting ended. I thought the guy’s mad. He’s trying a fast one. I thought it was over at that point.”

So How Did The Idea of a Fake Film Come About?

Melaris met up with his friend and colleague John Humphreys. Humphreys is a Royal Academy trained sculptor whose work had sometimes overlapped into film and TV special effects. Melaris and Humphreys had known each other for a long time and had worked on a number of things together in the past. Melaris simply put the idea to Humphreys, “John, do you fancy sculpting an alien?” Melaris told Humphreys of his meeting with Santilli and basically came up with the idea of making it. They talked things over from a legal point of view and how it might help them break into other projects, even Hollywood. The idea was to make it, release it to the world, and then make a second programme shortly after showing how they did it. Humphreys agreed and Melaris pitched the idea to Santilli. Santilli looked like a man reborn and agreed. The budget put forward by Melaris was about £30,000 and it was Santilli’s business partner and friend Volker Spielberg who put up the money. The funding was in place, contracts and a confidentiality agreement were signed and the ball was rolling.

The Team Behind The Making of The Film

First off there was Spyros Melaris. He designed and directed the film, instructed and paid the rest of the team, made the autopsy table along with many of the other props, he also made the ‘contamination suits’ as well as obtain the props and cameras. The main researcher behind it all was Spyros’s then girlfriend Geraldine. She was the one who checked the medical books, spoke with surgeons and pathologists and she even played the part of the nurse in the film. Geraldine is not her real name as she wishes to remain anonymous. John Humphreys of course made the alien’s bodies. The mould was actually made from John’s ten year-old son who was quite tall. As a trained sculptor Humphreys had also studied anatomy so he was the man who played the surgeon in the film. Another friend of Spyros’s was Greg Simmons. He was seen occasionally in the film in one of the contamination suits and he also played the part of the soldier in the Debris Footage. Gareth Watson, a colleague of Santilli’s and Shoefield’s was the man in the surgical mask behind the glass, and finally Spyros’s brother Peter helped behind the scenes. The set was built in Geraldine’s house in Camden in London. The property was in the process of being converted into three flats (apartments) at the time and was therefore empty. The props were obtained from someone Spyros knew in the USA. She was not told what they were for and were all ordered separately and delivered to different addresses so as not to arouse suspicion. The camera’s were obtained by Spyros; one bought and one borrowed from a friend.

Original pencil sketch of a design for the alien creature by Spyros Melaris.

(Credit: Spyros Melaris)

Original pencil sketch of a design for the alien creature by Spyros Melaris.

(Credit:Spyros Melaris)

Why There Are Two Separate Autopsy Films

According to Spyros the first ‘Alien Autopsy’ film went pretty much as planned. However, upon completion Geraldine noticed that a few of the medical procedures were not correct. They therefore had to make another creature and film another one. Apparently Santilli was ready for packing it all in at this point as there was no more money in the budget to film it again. They persevered and made another one at Spyros’s cost the very next day. This too was not without problems. The foam latex used to fill the dummy had not worked right and an air bubble had left a hollow space in the creature’s leg. Humphreys was despatched to the local butchers by Spyros to get a leg joint of a sheep. This was inserted into the hollow part in the alien’s right leg, a few other things were added, the outside of the leg was gently burnt with a blowtorch and hey presto, the leg wound. Some of the inner organs were manufactured by Melaris, and animal organs were also used for the alien’s innards, although altered with a scalpel and coated with latex. The alien’s brain was actually made from three sheep’s brains and part of a pig’s brain cast in gelatine. This is how there came to be two separate autopsy films one of which was shown in its entirety, while the second one made, has only ever been released in part.

The Wreckage and I-beams

These were all designed by Spyros himself. At the October 2007 UFO DATA conference Spyros showed me how he had designed the ‘writing’ on them and what it said. The wreckage was then manufactured by John Humphreys, Spyros and his brother Peter. He told me that he based it on Greek lettering, a bit of ancient Egyptian stylising and some artistic license. On the main large beams, if translated correctly, reads ‘FREEDOM’. Spyros thought this a fitting name for an alien spacecraft. While designing the letters which spell the word ‘FREEDOM’, Spyros noticed that if the word is turned upside down, the word ‘VIDEO’ could be seen. He adjusted some of the letters to better facilitate this, so the piece would throw a little red herring into the mix. The translation of the smaller beam is being held back for Spyros’s book.

Spyros Melaris shows two of the many paintings he did for the original ‘story board’ for the alien autopsy film.

(Credit: Philip Mantle)

The Cameraman’s Home Video Interview

According to Melaris, Ray Santilli was put under a lot of pressure by various parties to arrange an interview with the fictitious cameraman he allegedly bought the film from. Of course, according to Melaris, there was no such person, so he came up with the idea of creating this aspect of the whole affair as well. The basic scenario is that Melaris flew to Los Angeles and met up with Santilli’s partner Gary Shoefield. Melaris wanted to find an eighty year old tramp on the streets of L.A., pay him a few hundred dollars, put him in front of a camera and ask him to read from a script. Santilli and Shoefield were nervous, and not sure this would work but Spyros was confident he could pull this off, and went ahead. He found an old guy living rough on the street, offered him $500 and a night in the hotel and he duly agreed. Again, by pure chance the chap had been an actor many years ago. Melaris took his name and the name of a movie he had appeared in. These details will be released in his book. He cleaned him up, gave him a shave, and added a bit of make up and a false prosthetic nose and chin and the job was done. The man himself did not know what he was reading or where it was going to be used. There was little chance that he would see the broadcast either. No one would recognise him in a thousand years. And they never did. This film was delivered in person in New York to US TV producer Bob Kiviat by Gary Shoefield and a man claiming to be the cameraman’s son. Eventually the film in question was broadcast on TV in Japan only and from there it was copied and distributed to UFO researchers around the world. The trick worked, no one has identified the man in question, and Melaris claims he is the only one who can do this.

The Crash Site

There are a number of people who believe the alien autopsy film is authentic, not because of the film itself but because of the crash site. Ray Santilli released details, supposedly from his cameraman, as to where the incident took place in the desert. How did this come about? Well, according to Spyros this was quite simple. In l995, he flew to Roswell. Here he interviewed many local people including Loretta Proctor. Mrs. Proctor was the neighbour of rancher Mac Brazel and it was she who suggested that Mac take some of the UFO debris into town after he found it. Spyros also met and hired private pilot Rodney Corn. He asked corn to fly him over the UFO crash site, to which he replied “which one.” There are in fact at least three such sites. So, Spyros flew over all three of them, filming as he went. Rodney Corn was able to show Spyros a great deal from the air, far better than would have been possible on foot. This included small dirt roads and long forgotten landmarks. Before the interview took place Spyros also informed me that he obtained both old and new maps of the area. All of this information was handed to Ray Santilli and it was Santilli, not Spyros, who then put it all together to make a location for a nonexistent crash site.

**Field where the “real” Roswell debris is said to have been found.**

(Credit: OpenMinds.tv)

The Grand Plan

I asked Spyros what was the grand plan. The research was done, the film was made, so what next. Apparently it was a rather simple plan. To release the film to a broadcaster, ask them to investigate and see what happens. They were confident that it would not be exposed as a fake. Then, after a few months the plan was to hold their hands up and tell all. The reason this didn’t happen was money. Spyros had signed a confidentiality agreement with Ray Santilli and Santilli was still adamant that he needed to recoup his initial investment allegedly paid for the tent footage. Santilli told Melaris that he had invested a lot of money on this film and he must recoup that before they were to go public. Santilli reminded Spyros that he was bound by the confidentiality agreement and he was not to say or do anything until Santilli said so. Apart from a cheque for about £10,000, which Spyros split with his team, no royalties were ever paid. Santilli told him that due to the fact that he had stated publicly that it was a military film, that it had simply been copied by third parties without permission and used without payment as the people who were using the film believed that the copyright was vested with the US Military and not with Santilli. Eventually time went on and Spyros just got on with life. He was constantly working on other projects with Santilli and earning a living and the alien autopsy film was all but forgotten.

Going Public

(Credit: Warner Bros.)

The one thing that I first asked Spyros was why was it that he had decided to go public with this information now. It was twelve years since the alien autopsy film hit the headlines. Melaris stuck to his confidentiality agreement. From a legal point of view if he broke it he could have been sued. However, in 2005 he was approached by Santilli and Shoefield to be involved in the movie version of this whole affair. He asked both if they would now tell the true story and reveal that it was all a fake but they said no, they were going to maintain that they really did have original film. Again, Santilli and Shoefield stated that there was no money in it and that they were doing it for “a bit of fun” when pressed they admitted that both Santilli and Shoefield would get paid a percentage of the profits, there was no such offer for Melaris. Melaris declined their offer. He left that meeting under the impression that the movie was not going to be made. However, the movie was made and distributed by Warner Bros and so Melaris felt that he was now able to speak as the story was now in the public domain.

The Doubters

To round off the interview I asked Spyros Melaris what he had to say to the doubters out there, those that believe the alien autopsy film is the genuine article. I’m not going to paraphrase this; instead I will use his words in full:

PM: Time’s against us, Spyros. I’ll ask one last question. There are those out there who believe in this film and Santilli 100% and they think that you’re some kind of pathological liar, playing devil’s advocate here, so please don’t be offended.

SM: No. Go ahead.

PM: What would you say if you could say one thing to the doubters out there? Is there any one thing that you can say that would say to them Spyros Melaris is who he says he is and has made this film?

SM: I don’t think that there’s any doubt that somebody made it today. That’s fair to say that somebody made the film and even Santilli said it’s a fake, but it was made from original film. I think that’s really the question. The question isn’t whether I made it because I can prove I made it. John Humphries will tell you I made it. Ray would probably tell you I made it! He couldn’t deny it. There’s too much evidence. The question is did I make it from original film? And the simple answer to that is no. There was never any original film other than the tent footage. I’ve never seen any other film. Ray maintains that he’s got original film. My question to Ray is how would that film marry with what I made? It can’t. I haven’t actually seen the film. Now you may say, “Maybe you’re lying and you did see the film and you made it.”

The story’s a bigger story if there was a real film. There would be more money in it. There wouldn’t be a reason for me and Ray to be parted. Why would we fall out? The common sense has got to come into the argument. I’m part of something as big as real film of a real alien. Why would I jeopardise being part of that and go off on my own? There’s no reason to. That’s the first thing.

The second thing. I promise you, something happened in Roswell. I’m not an easy person… I’m a sceptic. I’m not an easy person to convince. Thirty people that I talked to out there, clever people, doctors, lecturers, all sorts of people tell me they saw something. And I believe them. Something happened. A lot of ordinary people. Something happened. So, I don’t think there’s dispute about whether or not something happened in Roswell or other sightings or whether or not everything’s fake. No, I don’t think everything’s fake. I do know this is. I also know that if Ray had original film, he’d be jumping through hoops to let you test it. I’m sorry, but that’s what you would do. You would say, “Give me billions of pounds for this.” That’s what you would say. You would say, “I’ve got nothing to worry about. The cameraman doesn’t want to speak, but look at the film.” That’s what you’d do! That’s what you would do.

PM: Say no more.

[END OF INTERVIEW]

Once again I would like to reiterate that this is only part of what Spyros Melaris had to tell me. The full-unedited interview can be found in the alien autopsy section of our web site at:

http://www.outtahear.com/beyond_updates/index.html.

Checking The Facts

So how do we check that what Spyros Melaris is telling us is correct? It is no easy task I can assure you. The documentary material shown to me by Spyros is intriguing but not proof positive. My colleague Mark Center in the USA checked the private pilot Rodney Corn for me and he does exist. Mark spoke to him on the phone but he has no recollection of being hired by Spyros Melaris. This could be because he was hired by Geraldine, and we are talking about an event which happened over 12 years ago.

At the UFO DATA conference in October 2007 was German researcher Michael Hesemann. Michael was also one of the speakers that weekend. Michael investigated the alien autopsy film from l995 through to l997 and believes it to be authentic. After the conference when Michael was back home in Germany he sent me an email that quite frankly left me stunned. He admitted for the first time that in l996 someone sent Michael an email telling him that Spyros Melaris was the hoaxer. Hesemann had never shared this information with anyone. I asked him what he did with it and he simply told me that he phoned Ray Santilli and asked him if he knew this man to which Santilli replied he did not. Michael told me he left it at that.

However, Spyros Melaris independently informed me that in l996 he had received a phone call from someone with a German accent asking him if he was the hoaxer and he of course denied it. He did not know who the caller was until he met Hesemann at our conference. I pressed Michael about this and eventually he admitted he did phone Spyros back in l996. Why Michael Hesemann never shared this information with anyone else is beyond me. In his defence, Michael has stated that there were others mentioned at the time and he did not want to spread false rumours, but these others names were circulated and eliminated. I have to be honest and say here and now that I cannot understand why Hesemann sat on this information and never told anyone. I leave it to you to make up your own mind.

A colleague of mine who is a veteran TV and movie special effects artist also took a look at the interview with Spyros. In his considered opinion the techniques and materials used by Melaris and his team to make the fake alien creature are 100% correct. There is no question in his mind that the dummies were made in the way described. He does have a few questions he’d like to ask, but these are purely little points of clarification and there is nothing wrong with what Melaris has had to say.

The other main person involved in all of this is of course US TV producer Bob Kiviat. Several years back my colleague Tim Mathews and I were tipped off about John Humphreys, Humphreys was part of the team and he made the dummies. Bob tried for years to get Humphreys on camera and make a TV documentary but all to no avail. Eventually, Bob did make a TV show for Channel 5 but without Humphreys in it. This was never broadcast. Both Humphreys and Melaris have spoken at length to Bob Kiviat about their involvement in this whole affair so I took the opportunity to ask Bob a few questions on December 4^th 2007. This mini question and answer session is reproduced here in full:

Q: How many times did you speak with UK sculptor John Humphreys?

A: Once before the Ant & Dec movie came out. In approximately 2003. Once after that.

Q: Did Humphreys tell you on what he based the design for his alien creatures?

A: Yes, just on his own research, books and such. No other help.

Q: Did Humphreys ever see any original film, stills or otherwise?

A: No, never. He claimed it all came from his creative efforts and book research.

Q: During your conversations with Humphreys did he ever mention the name Spyros Melaris?

A: Yes. He said Spyros was the one who hired him for Santilli, who he met perhaps twice and came to the set once. All the money came through Spyros. Also, Spyros was the cameraman.

Q: Did Humphreys provide the names of anyone else involved. If yes what are those names?

A: No other names.

Q: Why was Humphreys looking to work with you on a documentary?

A: Yes, Humphreys wanted me to get him a network TV show based on his revelations that he made the autopsy footage, with Spyros acting as money man and cameraman, who he believed was working for Santilli.

Q: Was Humphreys going to tell all and sink the stories put out by Ray Santilli?

A: Yes, but until I got a commitment from a TV network and guaranteed money for his exclusive he kept much close to his chest.

Q: Did you speak to Humphreys agent/advisor?

A: Yes, his business manager was my main contact for all of 2003 and 2004, and it was he who informed me John was going to do the Ant & Dec movie, without giving me the details. There would also be a companion documentary “that would be my worst nightmare,” he said.

Q: If you did, what did he tell you about Humphreys involvement and reasons for wanting to spill the beans?

A: Instead of Humphreys spilling the beans to me, his manager clearly implied John had lost patience and saw a payday elsewhere – the movie, etc.

Q: You made a TV documentary for Channel 5 in 2006 in which I appeared, could you tell us why it was never broadcast?

Channel 5 was rushing instructions to my productions offices in L.A. from England telling me how the show needed to be styled, and they also wanted to move the airdate up to an almost impossible deadline. We were working around the clock already to appease the Channel 5 executive in charge when one of the top people at 5 actually listed the show in a TV guide of some sort. That’s when Gary Shoefield contacted 5 and falsely claimed Ray Santilli was involved in the ownership of my original Fox show, which the new 5 show was jumping off from. It was an outright fabrication, for my company has the only US copyright to the show AND THE ALIEN AUTOPSY FOOTAGE ITSELF!

While we were sorting through this false claim, we interviewed you. When the 5 executives saw you naming Humphreys as the guy who made the dummy and who was the key pro behind the footage, they wanted confirmation so they ILLEGALLY contacted Humphreys through a consulting producer. Humphreys freaked out, told them he wanted nothing to do with the 5 show and said he had to contact Warner Bros. Ultimately 5 reneged on their agreement with my distributor, my distributor did not fight for the airing, and this is how things were left. I’m still debating what course of action I can take to recover my substantial losses and damage!

Q: You have spoken on the telephone at length with Spyros Melaris. Are you convinced he is telling the truth?

A: For the most part, I can’t find any outlandish things that make his story unbelievable. But I do wonder how he could have been so naïve about the amount of money Santilli was making around the world. This part seems odd, as if he was playing dumb. On the contrary, he seems very bright. And if Ray gave him just enough work to keep him quiet afterward, I still wonder why he let all the other money go into Ray’s pocket without him demanding his share. This doesn’t add up, literally, pound for pound.

Q: You have been involved with the Alien Autopsy film since 1995, you have interviewed or spoken to most if not all the main players in it all, so what now is your conclusion?

A: I’m going to need more time to answer that question. Spryros’ actions or non actions in court will have a lot to do with this, and I’m looking into another intriguing angle that could impact my conclusions.

Robert Kiviat. End of interview.

It is clear from this brief interview with Bob Kiviat that there are slight differences between what John Humphreys says about his role in the faking of the film and what Melaris says. However, Humphreys does state quite clearly that it was Spyros Melaris who was the money man, it was Melaris who hired him on behalf of Santilli. Humphreys also confirms without any doubt that there never was any original film. It was a complete and utter fabrication.

I could go on but I think I’ve made my point. In l996, Spyros Melaris was outlined as the hoaxer to German researcher Michael Hesemann. In 2003, US TV producer Bob Kiviat spoke with UK sculptor John Humphreys who confirmed that Spyros was the man in charge and that there was no original film. In 2007, Spyros Melaris goes on the record for the first time and tells how it was all made. Well, perhaps not all. Spyros is holding back certain things for his book, which was supposed to be available in early 2008. And as for Ray Santilli, well he’s pretty quiet at the moment but I doubt if he will ever own up as he is quite simply in it too deep.

The long awaited book by Spyros Melaris ‘ALIEN AUTOPSY: The Myth Exposed’ comes with an accompanying DVD. It was originally scheduled to be released in 2008, but for a variety of reason it has been delayed with no firm date yet for its release.

ROSWELL ALIEN AUTOPSY – The Truth Behind the Film That Shocked the World is published by RoswellBooks.com where it can be purchased, and is avail via Amazon.com.
You can find information about recent developments regarding Melaris and Santilli’s Alien Autopsy shenanigans here.

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