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

The reason you know about Area 51 is because Bob Lazar came forward and told you about it. When Lazar blew the whistle on what he’d seen at the then-unheard-of top secret facility in the Nevada desert back in the late-1980s, his world was turned upside-down. For this reason, he has never let any filmmaker into the private world of his daily life… until now. In Bob Lazar: Area 51 & Flying Saucers, investigative filmmaker Jeremy Kenyon Lockyer Corbell paints an intimate portrait of a man who has experienced worldwide fame and notoriety, but who has always been something of an enigma. In this — his only long-form written interview about his film — Corbell discusses truth, lies, belief, disinformation, aliens, and the human being at the centre of one of the biggest controversies in UFO history…

RG: How long did your film take to produce, from concept to completion, and how much time did you spend in Lazar’s company?

JKLC: There’s footage in my film that I shot back to 2012—an interview I did with George Knapp about the epic story of Bob Lazar. However, at that time I did not have even a single communication with Bob. But I was working on developing the story, primarily in the hope that one day I could understand the truth about the situation. Ultimately, that’s what my film is about. It’s an attempt to understand the truth. I think all my films take the viewer on a journey towards better understanding. Documentaries aren’t scripted, they’re inherently about discovery and the little miracles that happen in-between what you think is going to happen. That’s why I choose to make them; they lead you to landscapes previously unknown.

The OTHER way to answer that question is: two years. Meaning, that’s when I finally got the semi-approval from Bob to spend time filming with him. I would go for a week at a time and just live with him in his daily life. There always seemed to be a camera running and he was completely open with me – nothing was off limits. For the first time—thanks to my film—you will get a feel for WHO Bob Lazar actually is.

RG: What can audiences expect from your film?

JKLC: I create cinema in the auteur style—meaning I’m independent, and have FANATICAL control over every frame. As an investigative filmmaker, the people I work with know—I will EXPOSE you if you’re lying. So I had two goals as a filmmaker embarking on this project. First was to understand the truth about the Bob Lazar story. Second was simply to uplift the visual medium of documentary filmmaking on this complex subject; to elevate the medium for the audience in a meaningful way. I have succeeded with both goals.

One thing this film does that is powerful is it speaks to both the hardcore LORE of LAZAR fanatics, providing important and new information; it also appeals to the two generations of those who are NOT into UFOs and who have never heard the Bob Lazar story. Let’s not forget, there are at least two generations of people who were not even born in 1989 when Bob Lazar first went on-air with his account through George Knapp on KLAS in Las Vegas. This film will be the medicine that‘s needed to permanently alter the topography of the conversation when it comes to Bob Lazar.

Area 51 from above (with CG facsimile of Lazar’s “sport model” flying saucer.

I’m also proud to say that I landed Oscar Nominated Actor Mickey Rourke as the narrator for the film. This is important in many ways. He has an incredible voice, and the fact he did me the favor of participating in my film… epic. I wrote the narration script for Mickey, I had him in mind all along, I just had no idea if he would be willing to do it. But Micky is and always has been a trailblazer and a rebel. Kinda like Lazar really.

RG: What is your personal take on Lazar’s story? Has he told the truth, the whole truth, and nothing but the truth? Or has he told the truth only as he perceives it? In other words, could Lazar have been used a disinformation tool? If so, by whom and to what end?

JKLC: It doesn’t matter what I personally think. My beliefs don’t directly help you. You need to form your own opinions on the veracity of Bob Lazar’s claims to draw conclusions for yourself; or your opinions and beliefs will never be solid and foundational enough to act from. People don’t wanna hear it, but if you don’t decide for yourself on reality, someone else will decide if for you.

The core of a question like yours is really asking: is Bob Lazar a liar or is he honest? Is he worthy of our trust? Can we believe him? It dawned on me early on that the polarizing effect that Lazar’s story has on people stems from the fact that you sense he might be telling the truth, exactly like it happened. That’s certainly what the results of the polygraph tests—that George Knapp had Lazar do—proved. That he was remembering events, not fabricating them. I think the possibility that Lazar is telling the truth is an absolutely disturbing revelation. Clearly it’s much easier to NOT believe Bob Lazar; to dehumanize and dismiss him as a liar. However the evidence weighs in his favor that he’s telling it like it happened. The evidence shows a much different story than what you will read on the internet and from the vocal minority of his angry detractors. The true story appears to be that of a man who reluctantly came forward to save his own skin. A man who has attempted to step out of the limelight and live a normal life. A man who has NEVER asked that you believe him—just that if you hear his story—that you use your critical thinking. A man who doesn’t really care if you believe him or not; as long as you have heard the real details—and not a fictionalized version or account filled with fake news by his critics.

As far as your question of if Lazar could have been fooled and could he have been used as a source of disinformation… the answers are NO and YES. No he could not have been fooled that what he saw an alien propulsion system—one that operates off of amplifying gravity waves and fueled by Element 115. He is clear that the material science alone that he was exposed to would be impossible for us to replicate—in 1989 or even a thousand years from now—we just aren’t that advanced and might not even have access to the natural resource necessary to replicate the system even if we had the know-how.

However, the answer is YES that SOME of what he was exposed to could have been an attempt to seed him with disinformation to be able to discredit him in the future. Or just to be able to track if he leaked anything. Even Lazar admits that. He was exposed to some wild assertions in the briefing documents he read while going through the security clearance process. Stuff that makes the Twilight Zone look like vanilla ice cream on a Sunday. Yet to his credit, from the beginning he has always said that he has no idea if what he read was true or not. He just read it. The things he read about, that’s different than the technology he physically and personally got to see, touch and dismantle. Bob Lazar himself has always drawn that line in the sand for you. He simply reported the news. However, we need to think that one through. If there was an attempt to get Lazar to leak information—then why would they have spent resources to shut him up in the first place? And they DID spend resources to do just that. He was being followed, his phones were tapped—and his known associates where also followed and monitored. They all describe it, and George Knapp had some dramatic instances as a journalist where witnesses were threatened because of it. So beyond a shadow of a doubt, somebody didn’t want Bob talking—that is certain. Point being that they (everybody involved and who had first hand experiences dealing with this), they all say it’s hard to understand if you didn’t live through it—and I would like to leave it at that. However I can’t. As you will see in my film, some dramatic events unfolded while I was making the movie.

RG: What new insight does your film present on Lazar? Can you give us an example?

JKLC: This film is NOT just a re-hashing of past events. There is new information provided to the audience. There is new testimony, and there is new evidence. Stuff that was only possible through the lens of thirty years. I’m excited to share that with the audience.

One thing I will reveal now—because ultimately he wouldn’t go on camera, however he said I could talk about it—Is that for thirty years Bob had claimed that a man named Mike Thigpen was one of the guys tasked with doing his security clearance. Now that’s a very specific name. George looked into it back when this first all unfolded, and there’s a hilarious story of what happened there – but the main thing to know is that this alleged investigator Mike Thigpen ghosted everybody. He was never found. That is, until now.

RG: Do you see any links or parallels between the Lazar story and what’s currently unfolding with Tom DeLonge and the recent Pentagon revelations?

JKLC: There is a connection to be made, but it’s rather simple. Bob Lazar reported a lot of things in 1989 that have proven to be true and accurate and leaves us scratching our head because we wanna remain skeptical of his story. But that seems to be more and more difficult as time goes on. However, the core of his claim is that in 1989 there was a UFO back-engineering program being run at a secret base in the desert, north of Las Vegas. We had been told that our government’s study of UFOs ended with Project Blue Book in 1969. That there was no government interest in the subject, and no active UFO programs since then. Then, in December of 2017, we have come to understand that that was a lie; and we have come to understand that we have at least ONE active UFO identification program. Just for the record, we have MULTIPLE active UFO programs—in each branch of the US Military—many of which are not reactionary, but pro-active UFO programs. But that’s a story for another time, and you will just have to take my statement for whatever you feel it’s worth.

Lazar in his lab.

So, the connection or parallel that I see is the admission of a military UFO program such as AATIP–with implications that there are more–is that Lazar described a program to attempt and reverse-engineer UFO/Alien hardware and technology. Now that our DoD and government has admitted to the physical existence of AAVs (Advance Areal Vehicles) UFOs and the like—craft with extraordinary and far superior capabilities—and that they are not ours, or any nation of this world. So now we are left with the question of – what would be done if one of these vehicles came into our possession? What would we do if we had nine of them?

RG: There have been rumors over the years that, since Lazar came forward in the late-1980s, the alleged UFO projects at Area 51 (specifically, S4) have been moved to other top secret facilities around the United States, such as Dugway proving ground in Utah, for example. Do you have any information that might support this idea?

JKLC: I have private opinions on that.

RG: What does Lazar do today? Does he still have government/military connections?

JKLC: Bob Lazar runs a scientific equipment and supply business out of Michigan called, United Nuclear. It’s a Mom and Pop’s supply company that reminds me of if Willy Wonka was into atoms and particles rather than chocolate and candybars. It’s an amazing operation that sells all sorts of cool consumer-grade materials and products that you can’t find anywhere else—yet it also has a consulting and experimental component to it. Lazar regularly still gets contacts—both from private industry and government. And some of those project are right out of a science fiction movie.

So in essence, Bob likes to live a relatively normal and easy-going life. He has a great wife of 18 years, a wonderful animal kingdom at home (including a fish named Hannibal and a beautiful horse named The Dude), and most importantly he a small group of close friends and family that he can trust and just be—Bob—not Bob the reluctant UFO Messiah.

Lazar at his place of business today, United Nuclear in Laingsburg, Michigan.

RG: To what extent has Lazar’s story impacted UFOlogy over the past 30 years?

JKLC: Find me a way his story has NOT impacted UFOlogy. Lazar’s story has created an entire UFO industry. He is the most recognized individual associated with UFOs on the planet, hands down. From tea shops in India to the Maasai Mara of central Africa and the streets of Hollywood California—Bob Lazar and his iconic coke-bottle glasses has become a world-wide zeitgeist. His story put Area 51 on the map. It solidified the classic “sport model” flying saucer as the go-to image of a UFO in popular culture. His story has built careers for people, on both sides of the argument. It has become an existential juggernaut in an enigma puzzle of cosmic implication.

The only person we’re forgetting here, the only person who all of this attention and fanfare has NOT been good for—has been Bob Lazar. But you don’t really get to understand that until you get to know Bob. UFOlogy has not been kind to Bob. All he did was tell his story and he was crucified for it. I hope my film can help show you his daily life. His character. His uniqueness. I feel that’s an important part to his story.

RG: What has been the impact of Lazar’s story beyond UFOlogy? What are its real-world implications?

JKLC: The real-world implications have yet to be fully realized. However I’m optimistic that one day we will see that version of reality.

RG: Tell us about the other projects you have in the pipeline, and what’s next for you after Bob Lazar?

JKLC: Look man, for the last three decades, Bob Lazar’s critics have been holding the mic. It’s time to take the mic back. And that’s exactly what we’re gonna do—at the world premiere—on Dec 3rd in Los Angeles. And then there will be a subsequent fire-storm of conversation that will emerge due to the new evidence and testimony on verifiably the most prominent and polarizing UFO story of all time. My plan after that is to fully commit my energy and resources to operation Sierra Lima Echo Echo Papa.

Bob Lazar: Area 51 & Flying Saucers has its world premiere on December 3rd, 2018 at The Theatre at Ace Hotel in downtown Los Angeles. Bob Lazar, George Knapp and Jeremy Corbell will be hosting the event and introducing the movie. Tickets available here. It will then be available on iTunes and Vimeo on Demand.

The panel further stated that its debunking goals should “be accomplished by mass media such as television [and] motion pictures…” The extent to which the Robertson Panel’s recommendations were implemented is not entirely clear. However, even as late as 1966 the panel wielded a demonstrable influence over media representations of UFOs in the CBS TV broadcast of UFOs: Friend, Foe, or Fantasy?—an anti-UFO documentary narrated by Walter Cronkite. In a personal letter addressed to former Robertson Panel Secretary, Frederick C. Durant, panel member Dr. Thornton Page confided to having “helped organize the documentary around the Robertson Panel conclusions,” even though this was thirteen years after the panel had disbanded and despite the fact that he was personally sympathetic to the existence of flying saucers.

Also notable is the 1956 docudrama Unidentified Flying Objects: The True Story of Flying Saucers. Neatly in line with the recommendations of the Robertson Panel, USAF to drew up contingency plans to counteract the anticipated fallout from the movie upon its release. The director of the USAF’s official UFO investigations unit Project Blue Book, Captain George T. Gregory, was tasked with monitoring not only the movie’s production process, but its public and critical reception. Believing the docudrama would stir up a “storm of public controversy,” the USAF set about preparing a special case file that would debunk every saucer sighting examined and even went so far as to have three of its Blue Book officers provide “technical assistance” to the filmmakers in an effort to control content.

Major Donald Keyhoe.

The mentality of the CIA-Robertson Panel was reflected in other productions during the 1950s. On 22 January 1958, the popular CBS television show Armstrong Circle Theatre presented an entire program dedicated to the subject of Unidentified Flying Objects, titled, “UFO: Enigma of the Skies.” Among the high-profile experts invited to speak on the show was retired US Navy Major Donald Keyhoe, Director of the National Investigations Committee on Aerial Phenomena (NICAP). Keyhoe was notable for his outspoken views on government secrecy surrounding the UFO phenomenon. Arguing against UFO reality on the program were astronomer and vehement UFO skeptic, Donald Menzel, and Air Force representative, Col. Spencer Whedon of the Air Technical Intelligence Center (ATIC). Their task should have been an easy one as the show’s content had been scripted in advance by CBS in conjunction with the US Air Force (USAF), and all guests, especially Keyhoe, had been instructed to read their pre-approved material from a teleprompter.

When it came time for Keyhoe to speak, in frustration, he veered from his script and stated to the nation: “And now I’m going to reveal something that has never been disclosed before…” 1 The rest of his announcement went unheard by television viewers. Unbeknownst to Keyhoe, his microphone had been cut by the station. He continued:

“For the last six months, we have been working with a congressional committee investigating official secrecy about UFOs. If all the evidence we have given this committee is made public in open hearings, it will absolutely prove that the UFOs are real machines under intelligent control.”

After the show, CBS was inundated with calls and letters from viewers demanding to know why Keyhoe’s audio had been cut. “Call it what you like,” wrote one viewer, “but it appeared to be a very shocking display of censorship; and certainly offensive to the intelligence of the American public…” Nine days later CBS admitted it had been subject to official censorship. In a letter to a disgruntled viewer dated 31 January 1958, CBS director of editing, Herbert A. Carlborg, stated:

“This program had been carefully cleared for security reasons. Therefore, it was the responsibility of this network to ensure performance in accordance with predetermined security standards. Any indication that there would be a deviation might lead to statements that neither this network nor the individuals on the program were authorized to release.”

Yet another case in this vein relates to a UFO-themed episode of the Steve Canyon TV show (1958–1959). Backed by Chesterfield Cigarettes and produced at Universal Studios with the full cooperation of the USAF, the NBC show chronicled the live-action exploits of Milton Caniff’s famous comic strip character. The episode to which the USAF took objection, “Project UFO,” saw Colonel Steve Canyon investigate a spate of flying saucer sightings reported to a local Air Force base. According to aviation historian, James H. Farmer, “This was an episode that the Air Force did not really want to be aired,” because the UFO subject was “a hot potato.”

By the time the USAF had finished with the script, it was, according to Farmer, “pretty tame… compared to the earlier renditions.” In the episode as aired, the UFO sightings are attributed to a combination of hoax-induced hysteria and, in support of the USAF’s original Roswell cover story, misidentifications of weather balloons. Producer, John Ellis, of the Milton Caniff Estate (which owns Steve Canyon) told me, “Every single page got re-written, and re-written, and re-written…” David Haft, the show’s producer, was more to the point in his recollection of the USAF’s reaction when he submitted the first script draft for official approval, “Oh, oh, oh, oh! No, no, no, no!” Haft also noted that the USAF had difficulty in deciding what was acceptable for broadcast.

In one of the earliest drafts of “Project UFO,” Steve Canyon speaks to his Commanding Officer, Colonel Jamison, in defense of a civilian UFO witness, “Why call him a jerk?” asks Canyon, “Seems to me like he acted like a pretty solid, clearheaded citizen…” This dialogue was removed. Elsewhere in the draft, Canyon appears to be enthusiastic about flying saucers. At one point, when a fresh UFO report comes into the base from the local town, Canyon “Jumps to [his] feet, rushes to [the] door,” and cries “This I gotta see!” before making “a hurried exit.” In the final scene as originally written, Canyon is actually seen opening a book on flying saucers, “and sits there quietly reading…” This scene failed to make it into the final draft, and, in the version as aired, Canyon’s excitement about UFOs is replaced with skepticism or plain indifference. An entire plot strand concerning the recovery and scientific analysis of what is initially suspected to be flying saucer debris (shades of Roswell) was also predictably removed. The draft included dialogue like, “That thing [flying saucer] dropped a small metal ball enclosing an electrical apparatus so intricate, so ingenious, nobody yet has been able to figure out its purpose,” and, “the metal wouldn’t respond to any of the standard tests.”

Despite the rewrites, the USAF insisted that the episode not be aired at all. “It got stuck on a shelf,” Ellis explains in his Steve Canyon DVD commentary, “it was finished… but they held on until near the end of the series to air it.”Indeed, it was only through a last act of defiance on the part of the show’s producers toward the end of its run in 1959 that the episode was screened at all.

This is all just the tip of a very large iceberg when it comes to the history of government and military attempts to manage popular perceptions of UFOs. To document all such examples—from past to present—would require writing a book, which precisely is what I did. But the cases presented in this article at least provide a historical snapshot of just how seriously the powers that be have responded to what, for most audiences, would surely be considered harmless entertainment.

As the years have progressed, the activities of the CIA and military in Hollywood have evolved from debunking and demystifying to more subtle strategies of perception management. Heavy-handed censorship no longer plays well in liberal Hollywood, nor does it serve the evolving interests of the national security state in relation to UFOs.

In certain cases throughout the Cold War, the Robertson Panel’s recommendations may have been followed to the letter–using media to “debunk and demystify” UFOs. But CIA and military would soon have recognized this approach as illogical and unsustainable. It is impossible to disprove the existence of a phenomenon through media channels if the phenomenon persists in publicly and spectacularly manifesting itself–as has continued to happen in the United States and around the world. However, it is possible to manage how the public perceives the phenomenon. As such, as the Cold War thawed, the national security state began making concerted efforts to manage popular perceptions of UFOs by inserting itself into the production process of big and small screen entertainment products at every available opportunity, bringing their plots in line with their own mythologized, self-serving UFO narrative–a narrative that emphasises the potential threat of otherworldly visitors, justifying historical secrecy surrounding the subject while promoting the the the heroism and might of the American defense apparatus. In other words, officialdom’s attitude towards Hollywood eventually became “if you can’t beat ‘em, join ‘em, and exert what influence you can from within.”

Of course, none of this should come as any real surprise. Governmental structures have long recognized the power of the media—especially entertainment media—to subtly mould our perceptions of the world around us. In his book, The Power of Movies: How Screen and Mind Interact, Professor Colin McGinn notes that “In the movie-watching experience we enter an altered state of consciousness, enthralling and irresistible.” And this, of course, makes cinema the perfect tool for perception management. When watching a film, says McGinn [or equally a TV show], “The critical faculties are reduced, the mind entering a state of dreamlike susceptibility and suggestibility—this is fertile ground for persuasion of one kind or another.”

More recently, a former head of the CIA’s Entertainment Liaison Office, Paul Barry, remarked to propaganda studies expert Professor Tricia Jenkins: “You cannot underestimate Hollywood’s influence… most Americans are content to accept Hollywood’s message… very few ever conduct any research to determine the truth.”

Today, the interlocking of Hollywood and the national security state is as tight as ever, as famed ex-CIA operative Robert Baer(whose life inspired the 2005 George Clooney thriller, Syriana) told me:

“All these people that run studios, they go to Washington, they hang around with senators, they hang around with CIA directors, and everybody’s onboard.”

A sweeping statement, to be sure, and perhaps not intended to be taken literally, but it is now a matter of historical record that the US national security apparatus has gone to great lengths over the years to ensure that all those individuals it requires to be “onboard,” are. After all, film and televisual media are far too potent to be left unexploited, too powerful to be left unchecked.

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