WEBVTT

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<v Speaker 1>Now one of your pudding. I got a string going

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<v Speaker 1>on here, something just because my dog. Something killed your dog?

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<v Speaker 1>My dog. We're flying through the or over the tree.

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<v Speaker 1>I don't know how it did it, Okay, Damn, I'm

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<v Speaker 1>really confused. All I saw was my dog coming over

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<v Speaker 1>the fence and he was dead. And once you hit

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<v Speaker 1>the ground like, I didn't see any cars. All I

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<v Speaker 1>saw was my dog coming over the fence. Sat, what

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<v Speaker 1>are you putting? We got some wonder or something crawling

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<v Speaker 1>around out here? Did you see what it was?

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<v Speaker 2>Or was it was?

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<v Speaker 1>Standing enough? I'm out here looking through the window now

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<v Speaker 1>and I don't see anything. I don't want to go outside.

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<v Speaker 1>Jesus quice you bick Hellohet thebody out here? Plea quin

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<v Speaker 1>on out there? I thought of a bench about Tech

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<v Speaker 1>forty nine? I don't know, easy annount there, Yeah, I'm

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<v Speaker 1>walking right.

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<v Speaker 2>Hey, before we get into today's episode, I want to

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<v Speaker 2>talk to you about something that's become a powerful extension

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<v Speaker 2>of this show. Last year, I launched a free newsletter

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<v Speaker 2>as a way to stay connected with all of you

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<v Speaker 2>on a deeper level, to share thoughts, updates, and things

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<v Speaker 2>that don't always make it into an episode. Since then,

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<v Speaker 2>several thousand of you have signed up, and I can't

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<v Speaker 2>tell you how much I appreciate that support. If you're

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<v Speaker 2>not signed up yet, you can do it right now

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<v Speaker 2>by going to our website Paranormalworldproductions dot com.

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<v Speaker 3>There's a pop up.

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<v Speaker 2>That'll appear, or you can just scroll down and drop

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<v Speaker 2>in your name and email address. It's completely free, and

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<v Speaker 2>it's one more way for us to stay connected. I've

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<v Speaker 2>done this once or twice before, where I've taken one

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<v Speaker 2>of those newsletters and narrated it here on the show,

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<v Speaker 2>and this latest newsletter installment is way too important not

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<v Speaker 2>to do the same, so I want to share it

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<v Speaker 2>with you here right now. Life has a way of

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<v Speaker 2>pulling you in a dozen directions at once, and between

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<v Speaker 2>producing episodes across all the shows, finishing manuscripts, and juggling

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<v Speaker 2>the day to day demands of running Paranormal World Productions,

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<v Speaker 2>I let the newsletter slip further down the list than

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<v Speaker 2>I should have. For that, I owe you an apology.

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<v Speaker 2>You're the community that keeps all of this going, and

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<v Speaker 2>you deserve to hear from me more often. So here

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<v Speaker 2>I am back at the keyboard, and I've got something

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<v Speaker 2>to say quite a lot. Actually, if you've been anywhere

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<v Speaker 2>near the Bigfoot community in the last couple of weeks,

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<v Speaker 2>and I suspect most of you have, given that you're

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<v Speaker 2>listening to this, you already know that something big happened.

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<v Speaker 2>At the south By Southwest Film Festival on March twelfth,

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<v Speaker 2>twenty twenty six, a documentary called Capturing Bigfoot, directed by

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<v Speaker 2>Mark Evans, premiered in the Documentary Spotlight section, and within

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<v Speaker 2>hours the shockwaves were rolling through every Bigfoot form, Facebook group,

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<v Speaker 2>podcast feed, and conference chat on the planet. The film

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<v Speaker 2>makes the case, with what many are calling newly discovered

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<v Speaker 2>physical evidence, that the legendary Patterson Gimlin film, the single

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<v Speaker 2>most famous and most scrutinized piece of Bigfoot footage in existence,

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<v Speaker 2>was a deliberate hoax, and the confession at the center

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<v Speaker 2>of it doesn't come from some random attention seeker or

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<v Speaker 2>bitter rival. It comes from Clint Patterson, the youngest son

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<v Speaker 2>of Roger Patterson himself. I've spent the better part of

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<v Speaker 2>the last two weeks absorbing everything I can find about

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<v Speaker 2>this film. I've read every review, every analysis, every hot take.

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<v Speaker 2>I've listened to interviews with the director. I followed the

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<v Speaker 2>community reaction in real time. I've also done something that

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<v Speaker 2>I think more people in this community should be doing

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<v Speaker 2>right now. I've picked up the phone. I've reached out

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<v Speaker 2>directly to the people involved, the people who have seen

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<v Speaker 2>the documentary, who have spent their lives studying the Patterson

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<v Speaker 2>Gimlin film. I'm going to share what I've learned from

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<v Speaker 2>those conversations with you today because I think you deserve

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<v Speaker 2>more than secondhand speculation. You deserve the closest thing to

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<v Speaker 2>the full picture that I can give you right now.

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<v Speaker 2>But before I get into any of that, I want

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<v Speaker 2>to be crystal clear about something right up front. I

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<v Speaker 2>have not seen Capturing Bigfoot. As of this writing, the

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<v Speaker 2>documentary has only screened at SXSW and is not yet

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<v Speaker 2>widely available for public viewing. Everything I'm about to describe

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<v Speaker 2>regarding the documentary's content comes from published reviews, interviews with

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<v Speaker 2>the director, the film's Wikipedia entry, detailed analyzes posted by

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<v Speaker 2>people who were in the audience in Austin, and my

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<v Speaker 2>own direct conversations with individuals who have seen the film

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<v Speaker 2>or have intimate knowledge of its subject matter. I am

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<v Speaker 2>not going to sit here and make a determination about

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<v Speaker 2>the authenticity or inauthenticity of the Patterson Gimlin film based

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<v Speaker 2>on second hand and accounts of a documentary I haven't watched.

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<v Speaker 2>That's not how I operate, and it shouldn't be how

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<v Speaker 2>any of us operate. I have reached out to director

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<v Speaker 2>Mark Evans, and I'm currently in the process of trying

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<v Speaker 2>to secure an interview with him. I'm also working on

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<v Speaker 2>getting an advanced copy of the film so that I

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<v Speaker 2>can view it in its entirety before that interview takes place.

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<v Speaker 2>I want to sit down with Evans, having already examined

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<v Speaker 2>the evidence with my own eyes, and ask the hard

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<v Speaker 2>questions that I think need to be asked. I don't

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<v Speaker 2>know yet whether that interview will happen, but I'm pursuing it,

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<v Speaker 2>and if it comes together, you'll hear about it on

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<v Speaker 2>the show. Until I've had the chance to evaluate the

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<v Speaker 2>evidence firsthand, I'm going to report what's being claimed, put

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<v Speaker 2>it in context, share the insights I've gathered from people

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<v Speaker 2>I trust, and encourage every single one of you to

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<v Speaker 2>do the same thing I'm doing withhold final judgment until

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<v Speaker 2>you've had the chance to evaluate the evidence for yourself. Now,

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<v Speaker 2>let me start with the backstory, because if you're going

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<v Speaker 2>to understand why capturing Bigfoot hit the community like a

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<v Speaker 2>freight train. You need to understand just how much weight

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<v Speaker 2>the Patterson Gimlin film has carried for nearly six decades.

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<v Speaker 2>On October twentieth, nineteen sixty seven, Roger Patterson and his

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<v Speaker 2>friend Bob Gimlin rode on horseback into a remote area

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<v Speaker 2>near Bluff Creek in the Six Rivers National Forest in

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<v Speaker 2>northern California. Patterson had rented a sixteen millimeter Kodak camera

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<v Speaker 2>and had been working on a docudrama about a group

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<v Speaker 2>of cowboys tracking Bigfoot through the wilderness. The storyline called

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<v Speaker 2>for Patterson, his Indian guide Gimlin in a wig, and

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<v Speaker 2>a group of cowboys to recall various Bigfoot encounters and

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<v Speaker 2>flashbacks as they tracked the beast on horseback. Patterson had

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<v Speaker 2>used at least nine volunteer acquaintances, including Gimlin and a

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<v Speaker 2>local man named Bob Hieronymus, for three days of shooting

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<v Speaker 2>earlier that year, possibly over the Memorial Day weekend. The

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<v Speaker 2>official story, the one that entered the public consciousness and

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<v Speaker 2>never left, was that Patterson and Gimlin rounded a bend

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<v Speaker 2>in a dry creek bed and came face to face

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<v Speaker 2>with a large, bipedal, hair covered creature walking along a sandbar.

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<v Speaker 2>Patterson's horse reared, he scrambled off, grabbed his camera, and

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<v Speaker 2>ran toward the figure while the film rolled. What he

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<v Speaker 2>captured was fifty nine seconds of shaky but mesmerizing footage

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<v Speaker 2>showing the creature later nicknamed Patty, walking with a distinctive

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<v Speaker 2>fluid gait, swinging its arms, and at one unforgettable moment,

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<v Speaker 2>turning to look back over its shoulder directly at the camera.

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<v Speaker 2>That single frame, known as frame three point fifty two,

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<v Speaker 2>became one of the most iconic and debated images in

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<v Speaker 2>American popular culture. It launched an industry, It defined a

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<v Speaker 2>field of research for believers. It was the holy grail

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<v Speaker 2>for skeptics. It was the most successful amateur hoax ever

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<v Speaker 2>pulled off. For nearly sixty years, that footage has functioned

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<v Speaker 2>as the single most important and most polarizing artifact in

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<v Speaker 2>the history of cryptozoology. Nothing else comes close. Not the

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<v Speaker 2>surgeon's photograph of the loch Ness Monster, which was exposed

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<v Speaker 2>as a hoax decades ago, Not the Mayaca skunk epe

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<v Speaker 2>photographs from Florida, not the thermal imaging footage from various

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<v Speaker 2>television productions.

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<v Speaker 3>The PG film stood alone.

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<v Speaker 2>At the top of the mountain, and for millions of

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<v Speaker 2>people around the world, it was Bigfoot.

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<v Speaker 3>It was the image in their mind when they heard

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<v Speaker 3>the word.

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<v Speaker 2>It was the clip that played on every documentary, every

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<v Speaker 2>news segment, every late night talk show appearance. Frame three

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<v Speaker 2>hundred and fifty two was printed on t shirts and

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<v Speaker 2>coffee mugs and bumper stickers, and tattooed on human skin.

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<v Speaker 2>It wasn't just evidence, it was an icon. Museums in

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<v Speaker 2>Oregon and California were built around it. Conventions were organized

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<v Speaker 2>in its honor. Bob Gimlin became a living celebrity because

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<v Speaker 2>of it, touring conferences, signing autographs, and posing for photographs

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<v Speaker 2>with fans who treated him like a rock star. Higher

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<v Speaker 2>cottage industry, a media subdivision, really sprouted from those fifty

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<v Speaker 2>nine seconds of shaky coda chrome footage. The film has

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<v Speaker 2>generated millions of dollars in licensing fees over the decades.

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<v Speaker 2>The Wall Street Journal reported that director Mark Evans paid

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<v Speaker 2>thirty thousand dollars in licensing fees just to use Roger

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<v Speaker 2>Patterson's footage in his documentary thirty thousand dollars for a

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<v Speaker 2>piece of film shot by a rodeo cowboy in the

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<v Speaker 2>woods almost sixty years ago. That should tell you everything

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<v Speaker 2>you need to know about the financial ecosystem that grew

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<v Speaker 2>up around this footage and the stakes involved in either

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<v Speaker 2>defending or debunking it. The film has been analyzed, enhanced, debated,

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<v Speaker 2>and dissected by everyone from Hollywood special effects artists to

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<v Speaker 2>university anatomy professors. Jeffrey Meldrum, the late professor of anatomy

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<v Speaker 2>and anthropology at Idaho State University, spent years arguing that

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<v Speaker 2>the creature's musculature, gait, and proportions were consistent with a

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<v Speaker 2>real biological entity and not a man in a costume.

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<v Speaker 2>His students, he said, could identify specific muscle groups, the trapezius,

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<v Speaker 2>the deltoid, the erector spine running down the back, the

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<v Speaker 2>quadruceps contracting at the appropriate moments during locomotion. Bill Munns,

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<v Speaker 2>a Hollywood make up and visual effects specialist with thirty

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<v Speaker 2>five years of experience building creatures for films, museums, and

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<v Speaker 2>wildlife exhibits, conducted extensive analysis and concluded that the technology

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<v Speaker 2>to create such a convincing suit simply did not exist.

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<v Speaker 2>In nineteen sixty seven, Muns co authored a peer reviewed

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<v Speaker 2>paper with Mildrum arguing that the film subject was consistent

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<v Speaker 2>with real anatomy and not a fabricated costume. On the

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<v Speaker 2>other side of the Ledger, costume maker Philip Morris came forward,

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<v Speaker 2>claiming he sold Patterson a standard guerrilla suit for four

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<v Speaker 2>hundred and thirty five dollars from his North Carolina shop

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<v Speaker 2>and provided instructions on how to modify it, extending the arms,

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<v Speaker 2>broadening the shoulders, adding breasts, and concealing the zipper by

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<v Speaker 2>combing down the synthetic dinal fur with a brush. Morris's

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<v Speaker 2>wife confirmed that Patterson called back, requesting extra gorilla fur

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<v Speaker 2>and asking how to fix the eye holes so that

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<v Speaker 2>the white skin of the person inside wouldn't be visible,

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<v Speaker 2>and a Yakama man named Bob Hieronimus claimed publicly in

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<v Speaker 2>two thousand and four in Greg Long's book The Making

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<v Speaker 2>of Bigfoot, that he was the man inside the suit.

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<v Speaker 2>Hieronymus said he'd been recruited by Gimlin and Patterson in

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<v Speaker 2>the summer of nineteen sixty seven, promised one thousand dollars.

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<v Speaker 2>He was never paid and had kept quiet for decades

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<v Speaker 2>out of a mixture of hope for eventual payment and

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<v Speaker 2>fear of legal consequences. His mother, Opal said she found

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<v Speaker 2>what she initially thought was a dead animal in the

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<v Speaker 2>trunk of her car the morning after her son returned

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<v Speaker 2>from the filming, only to realize upon closer inspection that

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<v Speaker 2>it was some kind of animal suit or costume. Several

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<v Speaker 2>Yakama locals corroborated various elements of Hyeronymus's account, and some

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<v Speaker 2>friends said that recognized his distinctive walk in the Patterson footage.

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<v Speaker 2>The community largely rejected hieronymous claims. Believers pointed out contradictions

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<v Speaker 2>in his story, inconsistencies between his description of the suit

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<v Speaker 2>and Morris's description, and the fact that when National Geographic

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<v Speaker 2>sponsored a recreation in two thousand and four using Morris's

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<v Speaker 2>suit with Hieronymous inside it, the result was so unconvincing

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<v Speaker 2>that even the show's own narrator acknowledged the failure. The

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<v Speaker 2>proportions were wrong, the movement was wrong. The suit looked

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<v Speaker 2>nothing like what appeared in the nineteen sixty seven film.

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<v Speaker 2>Gimlin publicly denied involvement in any hoax. Patricia Patterson Roger's

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<v Speaker 2>Widow maintained the film was authentic. Believers pointed to the

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<v Speaker 2>creature's apparent muscle movement beneath the skin, the proportional differences

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<v Speaker 2>between its limbs and a human skeleton, the mid tarsal

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<v Speaker 2>brake visible in the foot as it lifted off the ground,

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<v Speaker 2>and the overall level of detail as things that couldn't

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<v Speaker 2>be faked with nineteen sixty seven technology. The debate ground

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<v Speaker 2>on year after year, decade after decade, with no definitive resolution,

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<v Speaker 2>The PG film became the single most studied piece of

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<v Speaker 2>amateur footage in history, with the possible exception of the

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<v Speaker 2>Zapruder film of the Kennedy assassination. And much like the

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<v Speaker 2>Zapruder film, the closer people looked, the more they found

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<v Speaker 2>to argue about. Until now or so, the makers of

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<v Speaker 2>Capturing Bigfoot would have you believe, here's what is being reported.

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<v Speaker 2>In June of twenty twenty four, Mark Evans, a documentary

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<v Speaker 2>filmmaker who teaches at Olympic College in Washington State, received

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<v Speaker 2>an email from a colleague named Teresa Brooks. Brooks was

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<v Speaker 2>a part time instructor at the same college. Her father,

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<v Speaker 2>a man named Norm Johnson, had recently passed away. Johnson

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<v Speaker 2>had spent years running a film lab for Boeing in Seattle,

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<v Speaker 2>and he had been connected to Patterson and Gimlin through

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<v Speaker 2>his brother Dave. After Johnson's death, Foks found a canister

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<v Speaker 2>of sixteen millimeter film that had been sealed inside a

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<v Speaker 2>locked safe in her father's possession. Her mother had insisted

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<v Speaker 2>that the film be hidden away, apparently because she feared

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<v Speaker 2>that her husband's connection to what she believed was a

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00:14:13.559 --> 00:14:17.519
<v Speaker 2>hoax could get him into legal trouble. Johnson's wife told

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<v Speaker 2>him to put it away and never speak about it again.

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<v Speaker 2>The film had sat in that safe for over half

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<v Speaker 2>a century. Brooks brought the canister to Evans, who had

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<v Speaker 2>it developed. What he found was a forty second clip

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<v Speaker 2>shot on Coda Chrome's sixteen millimeter film stock, showing what

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<v Speaker 2>appears to be a figure in a bigfoot costume walking

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<v Speaker 2>through a wooded area that bears a striking resemblance to

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<v Speaker 2>the landscape scene in the nineteen sixty seven footage. The figure,

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<v Speaker 2>according to those who have seen the documentary, appears slightly

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<v Speaker 2>thinner and less polished than Patty from the Patterson Gimlin film,

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<v Speaker 2>leading Evans and others to interpret it as a practice run,

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<v Speaker 2>a dress rehearsal filmed in nineteen sixty six, a full

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<v Speaker 2>year before the famous Bluff Creek footage was sh stay

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<v Speaker 2>tuned for mor sasquatch Ott to see We'll be right

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<v Speaker 2>back after these messages. The logic is straightforward. If the

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<v Speaker 2>PG film was a genuine chance encounter with a real creature,

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<v Speaker 2>there shouldn't be rehearsal footage. You don't rehearse a documentary.

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<v Speaker 2>You don't do a dry run of a chance encounter.

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<v Speaker 2>As Folklore's Ben Radford put it in his analysis for

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<v Speaker 2>Skeptical Inquirer, documentaries shouldn't have rehearsals. Evans recognized immediately what

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<v Speaker 2>he believed he was looking at and began the work

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<v Speaker 2>of building a documentary around it. He reached out to

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<v Speaker 2>Clint Patterson, Roger's son, who was sixty six years old

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<v Speaker 2>at the time. Evans expected the family to shut him down,

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<v Speaker 2>as they had shut down every previous attempt to discuss

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<v Speaker 2>the film's origins, but Clint surprised him. It turned out

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<v Speaker 2>that Clint had learned what he says is the truth

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<v Speaker 2>from his own mother roughly ten years earlier. Patricia Patterson

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<v Speaker 2>after decades of publicly defending the film, had privately told

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<v Speaker 2>her son that the footage was staged. The weight of

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<v Speaker 2>that knowledge had been crushing Clint for years. He'd been

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<v Speaker 2>contemplating writing a tell all book when Evans approached him.

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<v Speaker 2>Instead of turning the filmmaker away, Clint agreed to speak

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<v Speaker 2>on camera. What Clint revealed in Capturing Bigfoot is, if accurate, significant.

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<v Speaker 2>According to the documentary, Clint stated that his father orchestrated

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<v Speaker 2>the hoax with the help of Gimlin and Hieronymous. He

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<v Speaker 2>described his father as a complex man, charismatic, creative, deeply driven,

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<v Speaker 2>and also, in Clint's own words, a liar. Roger Patterson

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<v Speaker 2>had been a rodeo writer, an amateur boxer, a self

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<v Speaker 2>published author, and a relentless self promoter who saw in

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<v Speaker 2>the Bigfoot phenomenon an opportunity to make something of himself.

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<v Speaker 2>He had a documented history of financial problems and what

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<v Speaker 2>some have characterized as a pattern of theft of services,

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<v Speaker 2>running up long distance charges on a neighbour's phone, borrowing

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00:16:59.679 --> 00:17:02.679
<v Speaker 2>a whipment and money with no intention of returning either,

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<v Speaker 2>none of which proves the film was faked, but it

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<v Speaker 2>paints a picture of a man for whom a lucrative

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00:17:08.400 --> 00:17:11.759
<v Speaker 2>hoax would not have been out of character. Clint told

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<v Speaker 2>Evans that he actually watched his father burn what he

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<v Speaker 2>says was the Bigfoot suit behind the family house one night,

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<v Speaker 2>feeding it piece by piece into a barrel fire over

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<v Speaker 2>the course of about thirty minutes. That detail, if true,

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00:17:24.279 --> 00:17:26.519
<v Speaker 2>would explain why no one has ever been able to

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00:17:26.559 --> 00:17:30.400
<v Speaker 2>produce the original costume, the single piece of physical evidence

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00:17:30.440 --> 00:17:34.160
<v Speaker 2>that would have settled the debate decades ago. The documentary

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00:17:34.200 --> 00:17:37.319
<v Speaker 2>also captures a remarkable scene filmed at a twenty twenty

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00:17:37.319 --> 00:17:41.839
<v Speaker 2>four Bigfoot event. Clint and Hieronymus attended together and waited

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<v Speaker 2>in line to speak with Bob Gimlin, who at this

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<v Speaker 2>point was in his nineties and had become a beloved

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<v Speaker 2>fixture at Bigfoot conferences across the country. They told Gimblin

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<v Speaker 2>they wanted to finally come clean, to tell the truth

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<v Speaker 2>publicly together, and according to the film, Gimlin initially agreed.

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<v Speaker 2>He was willing to go on camera and reveal the hoax,

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00:18:02.920 --> 00:18:06.599
<v Speaker 2>but Gimlin's wife intervened and stopped it from happening. Evans

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00:18:06.640 --> 00:18:11.200
<v Speaker 2>reportedly captured the entire exchange on film. The implication, at

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<v Speaker 2>least as the documentary presents it is noteworthy. If Gimblin

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<v Speaker 2>truly believed the footage showed a real creature, why would

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<v Speaker 2>he initially agree to confess to a hoax. That's a

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00:18:22.279 --> 00:18:25.880
<v Speaker 2>question worth sitting with, even if it's not necessarily conclusive

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00:18:25.920 --> 00:18:30.279
<v Speaker 2>on its own. The documentary also features interviews with Yakama

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00:18:30.319 --> 00:18:33.319
<v Speaker 2>locals who knew Patterson and Gimlin in the nineteen sixties,

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<v Speaker 2>many of them now in their eighties, and many of

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00:18:36.279 --> 00:18:40.720
<v Speaker 2>whom corroborate various elements of the hoax narrative. Greg Long,

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00:18:40.799 --> 00:18:43.039
<v Speaker 2>the author whose two thousand and four book laid out

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00:18:43.039 --> 00:18:46.400
<v Speaker 2>the case against the film in exhaustive detail, appears in

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00:18:46.440 --> 00:18:50.200
<v Speaker 2>the documentary as well, and the film credits Long's earlier

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00:18:50.240 --> 00:18:55.839
<v Speaker 2>research and recorded interviews as foundational material. Anthropologist Jeffrey Meldrum,

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00:18:56.039 --> 00:18:59.079
<v Speaker 2>who passed away in late twenty twenty five, was also

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<v Speaker 2>interviewed for the Doctors documentary, and his reaction to being

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<v Speaker 2>shown the newly discovered footage is reportedly one of the

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<v Speaker 2>most affecting moments in the film. According to The Hollywood

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<v Speaker 2>Reporter's review, a visibly shaken Meldrum acknowledged that the simplest

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<v Speaker 2>explanation is uncomfortable to arrive at now. I said earlier

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<v Speaker 2>that I've been picking up the phone and talking to people,

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<v Speaker 2>and I meant it. So let me share with you

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<v Speaker 2>what I've learned from those conversations, because I think it

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<v Speaker 2>adds important texture to what's being reported in the mainstream press.

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<v Speaker 2>Shortly after Capturing Bigfoot premiered, Eric Pelasios attended a screening

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<v Speaker 2>of the film. For those of you who don't know Eric,

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<v Speaker 2>he's a well known figure in the Bigfoot content space

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<v Speaker 2>and someone whose opinion carries weight with a lot of people.

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<v Speaker 2>Eric posted a reaction video after the screening, and his

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<v Speaker 2>conclusion was unequivocal. He walked away convinced that the Patterson

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<v Speaker 2>Gimlin film is one hundred percent of hoax. He was

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<v Speaker 2>shaken by it. According to Eric, the forty second clip

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<v Speaker 2>that serves as the docum menary centerpiece absolutely shows Bob

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00:20:02.680 --> 00:20:05.640
<v Speaker 2>Gimlin sitting atop his horse in the background, while the

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00:20:05.680 --> 00:20:09.240
<v Speaker 2>Patty suit is in the foreground being warned by someone

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<v Speaker 2>allegedly al Diatley, Patterson's brother in law, who was walking

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<v Speaker 2>for the camera. Eric felt that what he saw was undeniable,

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<v Speaker 2>that it was clearly a rehearsal and that the game

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00:20:20.839 --> 00:20:24.559
<v Speaker 2>was over. Now, I respect Eric, I think he's sincere

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<v Speaker 2>in his reaction. He sat in that theater, he watched

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<v Speaker 2>the footage on a big screen, and he came away convinced.

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<v Speaker 2>That's his honest assessment, and he's entitled to it. But

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<v Speaker 2>an honest reaction is not the same thing as a

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<v Speaker 2>thorough analysis, and I think even Eric would acknowledge that

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00:20:40.480 --> 00:20:43.960
<v Speaker 2>there's a difference between the visceral impact of seeing something

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<v Speaker 2>for the first time in a darkened theater and the careful,

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00:20:47.079 --> 00:20:51.240
<v Speaker 2>methodical work of examining that same footage frame by frame,

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00:20:51.279 --> 00:20:56.240
<v Speaker 2>with the benefit of time, context, and expert consultation. It's

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<v Speaker 2>also worth noting something about the psychology of documentary filmmaking

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<v Speaker 2>that I think is relevant here. A good documentary director,

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<v Speaker 2>and by all accounts, Mark Evans is a very good

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<v Speaker 2>documentary director, controls the emotional experience of the audience. He

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<v Speaker 2>controls the pacing, He controls the order in which information

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<v Speaker 2>is revealed. He controls the music, the editing, the reaction shots,

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<v Speaker 2>the narrative framing. By the time the audience sees the

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<v Speaker 2>forty second clip in the context of capturing Bigfoot. They've

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<v Speaker 2>spent over an hour being led through a carefully constructed

359
00:21:30.240 --> 00:21:35.359
<v Speaker 2>emotional journey, learning about Roger Patterson's character flaws, hearing Clint

360
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<v Speaker 2>Patterson's painful testimony, watching aging cowboys wrestle with decades old

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00:21:40.240 --> 00:21:45.799
<v Speaker 2>grudges and broken promises. The audience is primed, They're emotionally invested,

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<v Speaker 2>and when the clip finally appears, it lands like a hammer.

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<v Speaker 2>That's not manipulation in a dishonest sense. It's just good filmmaking.

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<v Speaker 2>But it does mean that the in theater experience of

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<v Speaker 2>seeing the footage is fundamentally different from the cold, clinical

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00:22:01.759 --> 00:22:05.680
<v Speaker 2>experience of examining the footage in isolation, which is how

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00:22:05.720 --> 00:22:09.799
<v Speaker 2>evidence should ultimately be evaluated. I posted my own live

368
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<v Speaker 2>response on social media after watching Eric's reaction video. I

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<v Speaker 2>wanted to share my initial thoughts with the community and

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<v Speaker 2>make clear where I stood. I wasn't going to rush

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<v Speaker 2>to judgment, but I also wasn't going to pretend the

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<v Speaker 2>claims being made weren't serious. That live response apparently got

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<v Speaker 2>some attention, because shortly afterward, I got a phone call

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<v Speaker 2>from Doug Highcheck. For those of you who might not

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<v Speaker 2>know the name, Doug Highcheck is one of the most

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<v Speaker 2>respected figures in the history of bigfoot media. He's an

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<v Speaker 2>Emmy winning filmmaker and the creator and producer of Monster Quest,

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<v Speaker 2>the History Channel series that brought serious, investigative production values

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<v Speaker 2>to the study of cryptid phenomena. Doug has been around

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<v Speaker 2>this subject for a long time. He knows the players,

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00:22:53.960 --> 00:22:57.400
<v Speaker 2>he knows the evidence, he knows the history, and, perhaps

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<v Speaker 2>most importantly for this particular discussion, Doug know's filmmaking. He

383
00:23:01.960 --> 00:23:06.359
<v Speaker 2>understands how productions work. He understands b roll. He understands

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00:23:06.400 --> 00:23:09.839
<v Speaker 2>test footage. He understands the difference between a dress rehearsal

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<v Speaker 2>for a hoax and production material for a legitimate creative project.

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<v Speaker 2>When Doug Hicheck picks up the phone to call you

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<v Speaker 2>about something, you pay attention. Doug's take on the newly

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<v Speaker 2>discovered footage is different from Eric pelasiosis, and I think

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<v Speaker 2>it's an important counterpoint that deserves serious consideration.

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<v Speaker 3>Doug believes that what the forty.

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<v Speaker 2>Second clip actually shows is b roll footage, supplementary material

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<v Speaker 2>that Patterson shot as part of the documentary film he

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00:23:37.640 --> 00:23:40.440
<v Speaker 2>was already in the process of making when he allegedly

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<v Speaker 2>filmed Patty in October of nineteen sixty seven. Remember, Patterson

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<v Speaker 2>had been actively working on a docudrama about a group

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<v Speaker 2>of cowboys hunting bigfoot. He had cast actors, he had

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<v Speaker 2>a storyline, He had been shooting footage for months. He

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<v Speaker 2>had used at least nine volunteer acquaintances for three days

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<v Speaker 2>of filming. That production would have required exactly the kind

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00:24:02.960 --> 00:24:06.119
<v Speaker 2>of material that this clip appears to show someone in

401
00:24:06.160 --> 00:24:10.319
<v Speaker 2>a bigfoot suit walking through the woods, establishing shots, test

402
00:24:10.359 --> 00:24:12.759
<v Speaker 2>footage to see how the costume looked on camera in

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00:24:12.799 --> 00:24:16.079
<v Speaker 2>a natural setting. If Patterson was making a movie about

404
00:24:16.119 --> 00:24:19.039
<v Speaker 2>hunting bigfoot, he would have needed footage of a bigfoot

405
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<v Speaker 2>to cut into the film. Every docu drama needs its

406
00:24:22.519 --> 00:24:26.640
<v Speaker 2>monster shot. The existence of that footage, Doug argues, doesn't

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00:24:26.720 --> 00:24:30.079
<v Speaker 2>prove that the Bluff Creek encounter was staged. It proves

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00:24:30.119 --> 00:24:33.160
<v Speaker 2>that Patterson was making a movie which we already knew.

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<v Speaker 2>The question is whether the forty second clip is a

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<v Speaker 2>rehearsal for a hoax or simply production footage for a

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<v Speaker 2>separate creative project that happened to involve the same costume

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<v Speaker 2>or a different costume Entirely. For that matter, I want

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<v Speaker 2>to sit with that for a moment, because I think

414
00:24:48.759 --> 00:24:52.519
<v Speaker 2>it's a crucial point that the mainstream coverage has entirely ignored.

415
00:24:53.319 --> 00:24:56.880
<v Speaker 2>We know this is not in dispute. That Roger Patterson

416
00:24:56.960 --> 00:24:59.920
<v Speaker 2>was making a documentary about Bigfoot in nineteen sixty seven.

417
00:25:00.799 --> 00:25:03.799
<v Speaker 2>We know he had a storyline, we know he had actors.

418
00:25:04.400 --> 00:25:07.880
<v Speaker 2>We know he intended to include dramatic recreations of famous

419
00:25:07.880 --> 00:25:11.160
<v Speaker 2>Bigfoot encounters as part of the film. We know he

420
00:25:11.160 --> 00:25:14.960
<v Speaker 2>would have needed a Bigfoot costume for those recreations. None

421
00:25:15.000 --> 00:25:19.119
<v Speaker 2>of this is controversial. It's established historical fact. So the

422
00:25:19.160 --> 00:25:22.720
<v Speaker 2>existence of footage showing someone in a Bigfoot suit filmed

423
00:25:22.759 --> 00:25:25.799
<v Speaker 2>on sixteen millimeters coda chrome stock from the same era

424
00:25:26.440 --> 00:25:29.960
<v Speaker 2>is not, by itself evidence of a hoax. It could

425
00:25:30.000 --> 00:25:33.519
<v Speaker 2>be evidence of a hoax. It could also be evidence

426
00:25:33.559 --> 00:25:37.279
<v Speaker 2>of a legitimate film production. The footage itself doesn't tell

427
00:25:37.319 --> 00:25:41.720
<v Speaker 2>you which one it is. The interpretation depends entirely on context.

428
00:25:42.440 --> 00:25:46.319
<v Speaker 2>Context that the documentary provides through one lens, but that

429
00:25:46.440 --> 00:25:50.000
<v Speaker 2>might look very different through another. I think Doug's argument

430
00:25:50.079 --> 00:25:53.480
<v Speaker 2>is reasonable, and it illustrates exactly why I'm not willing

431
00:25:53.519 --> 00:25:57.559
<v Speaker 2>to make a final determination based on reviews and reaction videos.

432
00:25:58.279 --> 00:26:03.799
<v Speaker 2>Context matters, interpretation matters. The difference between this is rehearsal

433
00:26:03.799 --> 00:26:06.640
<v Speaker 2>footage for a faked encounter and this is b roll

434
00:26:06.680 --> 00:26:10.160
<v Speaker 2>footage for a documentary that was already in production is

435
00:26:10.319 --> 00:26:13.599
<v Speaker 2>enormous and it can't be settled by watching a reaction

436
00:26:13.759 --> 00:26:17.960
<v Speaker 2>video on social media. It requires careful examination of the

437
00:26:18.000 --> 00:26:22.559
<v Speaker 2>footage itself, the timeline, the chain of custody, the specific

438
00:26:22.640 --> 00:26:27.039
<v Speaker 2>location where it was filmed, and the corroborating testimony. I

439
00:26:27.079 --> 00:26:29.920
<v Speaker 2>also sat down and spoke with Bill Muns. If you

440
00:26:30.000 --> 00:26:33.039
<v Speaker 2>follow the Patterson Gimlin film debate at all, you know

441
00:26:33.079 --> 00:26:36.160
<v Speaker 2>who Bill is. He is regarded by many, and I

442
00:26:36.160 --> 00:26:39.359
<v Speaker 2>would say fairly as the leading authority on the Patterson

443
00:26:39.400 --> 00:26:43.480
<v Speaker 2>Gimblin film. He has spent years conducting frame by frame

444
00:26:43.559 --> 00:26:47.880
<v Speaker 2>analysis of the footage, examining the proportions, the fur movement,

445
00:26:48.200 --> 00:26:51.680
<v Speaker 2>the musculature, and the overall construction of the figure in

446
00:26:51.720 --> 00:26:54.880
<v Speaker 2>the film. He co authored a peer reviewed paper with

447
00:26:54.960 --> 00:26:58.200
<v Speaker 2>Jeffrey Mildrum arguing that the film subject was consistent with

448
00:26:58.279 --> 00:27:02.039
<v Speaker 2>a real primate and not a man manufactured costume. His

449
00:27:02.160 --> 00:27:06.319
<v Speaker 2>work includes detailed measurements demonstrating that the subject's shoulder placement,

450
00:27:06.640 --> 00:27:10.119
<v Speaker 2>arm length relative to body size and leg proportions fall

451
00:27:10.200 --> 00:27:13.880
<v Speaker 2>outside the range of normal human anatomy, even accounting for

452
00:27:13.960 --> 00:27:17.839
<v Speaker 2>padding or prosthetic extensions. He has examined the way the

453
00:27:17.880 --> 00:27:21.160
<v Speaker 2>firm moves across the creature's back and shoulders, noting that

454
00:27:21.200 --> 00:27:24.759
<v Speaker 2>it appears to shift in ways consistent with underlying musculature,

455
00:27:25.240 --> 00:27:28.240
<v Speaker 2>rather than lying flat or bunching the way fabric wood

456
00:27:28.240 --> 00:27:33.160
<v Speaker 2>on a suit. His analysis has been cited by researchers, documentarians,

457
00:27:33.160 --> 00:27:36.759
<v Speaker 2>and journalists for over a decade. Bill is not a

458
00:27:36.799 --> 00:27:39.720
<v Speaker 2>casual observer. He is not a hobbyist who watched the

459
00:27:39.759 --> 00:27:43.160
<v Speaker 2>film on YouTube and formed an opinion. He has more

460
00:27:43.200 --> 00:27:46.440
<v Speaker 2>hours invested in studying this particular piece of film than

461
00:27:46.480 --> 00:27:50.000
<v Speaker 2>probably anyone alive, and he has the professional credentials and

462
00:27:50.079 --> 00:27:53.880
<v Speaker 2>practical effects and creature fabrication to back up his assessments.

463
00:27:54.720 --> 00:27:58.039
<v Speaker 2>Bill appears in Capturing Bigfoot. He has seen the so

464
00:27:58.200 --> 00:28:01.559
<v Speaker 2>called smoking gun footage, the forty second clip that the

465
00:28:01.599 --> 00:28:05.720
<v Speaker 2>documentary presents as a nineteen sixty six dress rehearsal, and

466
00:28:05.799 --> 00:28:08.920
<v Speaker 2>his conclusion is markedly different from the narrative the film

467
00:28:08.960 --> 00:28:12.359
<v Speaker 2>is selling. Bill believes that what the clip shows is

468
00:28:12.400 --> 00:28:15.279
<v Speaker 2>some sort of replica film, something that could have been

469
00:28:15.319 --> 00:28:19.839
<v Speaker 2>produced at any point after nineteen sixty seven, not necessarily before.

470
00:28:20.680 --> 00:28:23.680
<v Speaker 2>He does not accept the documentary's framing that it represents

471
00:28:23.680 --> 00:28:27.720
<v Speaker 2>a pre production rehearsal for the Bluff Creek footage. Now,

472
00:28:27.799 --> 00:28:30.079
<v Speaker 2>I want to be careful here because I don't want

473
00:28:30.079 --> 00:28:32.759
<v Speaker 2>to put words in Bill's mouth or overstate what he

474
00:28:32.839 --> 00:28:35.279
<v Speaker 2>told me. What I can tell you is that Bill

475
00:28:35.400 --> 00:28:39.039
<v Speaker 2>was measured and specific in his assessment. He didn't rant,

476
00:28:39.440 --> 00:28:43.720
<v Speaker 2>he didn't make sweeping pronouncements. He laid out his concerns methodically,

477
00:28:44.200 --> 00:28:47.920
<v Speaker 2>the way someone with decades of forensic film analysis experience would.

478
00:28:48.759 --> 00:28:51.079
<v Speaker 2>Bill told me that he was able to physically hold

479
00:28:51.119 --> 00:28:54.319
<v Speaker 2>the film and examine it with a loop. He confirmed

480
00:28:54.319 --> 00:28:57.720
<v Speaker 2>that it is indeed Coda Chrome sixteen millimeter film stock,

481
00:28:58.039 --> 00:29:01.480
<v Speaker 2>and that the film cartridge is date stamped nineteen sixty six.

482
00:29:02.000 --> 00:29:05.000
<v Speaker 2>That much appears to be factual. But here's the thing,

483
00:29:05.559 --> 00:29:07.799
<v Speaker 2>and this is an important distinction that I think is

484
00:29:07.799 --> 00:29:10.960
<v Speaker 2>getting lost in the headlines. A date stamp on a

485
00:29:11.000 --> 00:29:14.440
<v Speaker 2>film cartridge tells you when the film was manufactured. It

486
00:29:14.440 --> 00:29:17.559
<v Speaker 2>does not necessarily tell you when it was exposed and shot.

487
00:29:18.400 --> 00:29:22.119
<v Speaker 2>Film stock, particularly in the nineteen sixties and seventies, could

488
00:29:22.119 --> 00:29:24.799
<v Speaker 2>sit on a shelf for months or even years before

489
00:29:24.839 --> 00:29:29.319
<v Speaker 2>being used. A cartridge manufactured in nineteen sixty six could

490
00:29:29.319 --> 00:29:31.720
<v Speaker 2>have been loaded into a camera and shot in nineteen

491
00:29:31.759 --> 00:29:35.640
<v Speaker 2>sixty six, or in nineteen sixty seven, or in nineteen

492
00:29:35.680 --> 00:29:39.799
<v Speaker 2>sixty eight or later. The date stamp confirms the age

493
00:29:39.880 --> 00:29:43.279
<v Speaker 2>of the physical medium, it does not by itself confirm

494
00:29:43.319 --> 00:29:46.480
<v Speaker 2>when the images on that medium were captured. You would

495
00:29:46.480 --> 00:29:51.440
<v Speaker 2>need additional forensic analysis, chemical testing of the emulsion, examination

496
00:29:51.559 --> 00:29:55.519
<v Speaker 2>of the process in chemistry, analysis of the environmental conditions

497
00:29:55.559 --> 00:29:58.920
<v Speaker 2>visible in the footage to make a more definitive determination

498
00:29:59.000 --> 00:30:03.720
<v Speaker 2>about when the film was actually exposed. Stay tuned for

499
00:30:03.799 --> 00:30:06.160
<v Speaker 2>more sasquatch ott to see. We'll be right back after

500
00:30:06.240 --> 00:30:12.720
<v Speaker 2>these messages. As far as I can tell from everything

501
00:30:12.720 --> 00:30:15.880
<v Speaker 2>I've read and from my conversation with Bill, that level

502
00:30:15.920 --> 00:30:19.200
<v Speaker 2>of forensic analysis has not been conducted, or at least

503
00:30:19.200 --> 00:30:20.920
<v Speaker 2>has not been publicly disclosed.

504
00:30:21.680 --> 00:30:24.160
<v Speaker 3>I've also reached out to those close to Bob Gimlin.

505
00:30:24.880 --> 00:30:27.400
<v Speaker 2>As of this writing, I am working on getting either

506
00:30:27.440 --> 00:30:30.920
<v Speaker 2>a direct interview with Bob or at minimum a statement

507
00:30:30.960 --> 00:30:35.079
<v Speaker 2>from him regarding the documentary, the newly discovered clip, and

508
00:30:35.119 --> 00:30:39.519
<v Speaker 2>the authenticity of the Patterson Gimlin film itself. Gimlin is

509
00:30:39.519 --> 00:30:42.200
<v Speaker 2>in his nineties. He has spent the last two decades

510
00:30:42.240 --> 00:30:44.960
<v Speaker 2>as the face of the PG film at conferences and

511
00:30:45.000 --> 00:30:48.799
<v Speaker 2>events across the country. He is, by virtually all accounts

512
00:30:48.839 --> 00:30:52.000
<v Speaker 2>from people who have met him, a genuinely likable man,

513
00:30:52.559 --> 00:30:55.480
<v Speaker 2>a charming old school cowboy who enjoys the company of

514
00:30:55.480 --> 00:30:57.160
<v Speaker 2>the people who come to hear his story.

515
00:30:58.000 --> 00:30:59.480
<v Speaker 3>Whatever role he played.

516
00:30:59.200 --> 00:31:01.960
<v Speaker 2>In the creation of the PG film, and whatever he

517
00:31:02.039 --> 00:31:05.240
<v Speaker 2>knew or didn't know about Patterson's intentions, he is a

518
00:31:05.319 --> 00:31:07.599
<v Speaker 2>human being who has built the last chapter of his

519
00:31:07.640 --> 00:31:11.960
<v Speaker 2>life around this piece of footage. The documentary reportedly shows

520
00:31:12.000 --> 00:31:15.240
<v Speaker 2>that he was willing, at least initially, to come forward

521
00:31:15.240 --> 00:31:18.720
<v Speaker 2>and tell the truth, whatever his truth is, before his

522
00:31:18.799 --> 00:31:23.559
<v Speaker 2>wife intervened. That moment, captured on camera suggests a man

523
00:31:23.559 --> 00:31:25.759
<v Speaker 2>who may have been carrying something heavy for a very

524
00:31:25.799 --> 00:31:29.240
<v Speaker 2>long time and was ready to set it down. Whether

525
00:31:29.279 --> 00:31:31.599
<v Speaker 2>he's still willing to talk and what he would say

526
00:31:31.599 --> 00:31:35.160
<v Speaker 2>if he did, I don't know, But his perspective matters.

527
00:31:35.720 --> 00:31:38.640
<v Speaker 2>It matters to the historical record, it matters to the

528
00:31:38.680 --> 00:31:41.799
<v Speaker 2>research community, and it matters to the thousands of people

529
00:31:41.839 --> 00:31:44.240
<v Speaker 2>who have shaken his hand at conferences over the years

530
00:31:44.519 --> 00:31:46.720
<v Speaker 2>and looked him in the eye and asked him if

531
00:31:46.759 --> 00:31:49.960
<v Speaker 2>what he filmed was real. Those people deserve to hear

532
00:31:49.960 --> 00:31:52.680
<v Speaker 2>from him directly, not through the filtered lens of a

533
00:31:52.720 --> 00:31:56.440
<v Speaker 2>documentary or the speculation of people on the internet. If

534
00:31:56.480 --> 00:31:59.440
<v Speaker 2>and when I secure that interview or statement, you'll hear

535
00:31:59.440 --> 00:32:02.480
<v Speaker 2>about it imediately. Now, I want to be fair and

536
00:32:02.519 --> 00:32:05.839
<v Speaker 2>thorough here, because there are legitimate questions being raised on

537
00:32:05.920 --> 00:32:09.200
<v Speaker 2>both sides of this debate, and all of them deserve airtime.

538
00:32:10.000 --> 00:32:13.200
<v Speaker 2>On the side of the documentary's credibility, the existence of

539
00:32:13.240 --> 00:32:17.559
<v Speaker 2>Clint Patterson's testimony is significant. This is not some distant

540
00:32:17.559 --> 00:32:22.240
<v Speaker 2>acquaintance or barstool gossiper claiming insider knowledge. This is the

541
00:32:22.279 --> 00:32:25.160
<v Speaker 2>son of the man who shot the film, speaking on camera,

542
00:32:25.680 --> 00:32:29.640
<v Speaker 2>describing specific details about the creation and destruction of the suit.

543
00:32:30.599 --> 00:32:33.279
<v Speaker 2>His account that his mother privately confessed the hoax to

544
00:32:33.359 --> 00:32:35.759
<v Speaker 2>him and then disowned him when he threatened to go

545
00:32:35.839 --> 00:32:39.680
<v Speaker 2>public has the messy, painful texture of real family drama,

546
00:32:40.119 --> 00:32:44.359
<v Speaker 2>not manufactured controversy. The scene at the Bigfoot conference where

547
00:32:44.359 --> 00:32:47.480
<v Speaker 2>Gimlin allegedly agreed to come clean before his wife stopped

548
00:32:47.559 --> 00:32:50.880
<v Speaker 2>him is explosive If it played out the way it's described,

549
00:32:51.640 --> 00:32:54.519
<v Speaker 2>and the fact that Evans reportedly captured it on camera

550
00:32:54.920 --> 00:32:59.279
<v Speaker 2>means it's not just hearsay, it's documented. On the side

551
00:32:59.279 --> 00:33:03.160
<v Speaker 2>of skepticism toward the documentary's claims, the chain of custody

552
00:33:03.160 --> 00:33:06.960
<v Speaker 2>for the newly discovered film reel is not independently verified.

553
00:33:07.720 --> 00:33:10.680
<v Speaker 2>We are being told that Norm Johnson developed the original

554
00:33:10.680 --> 00:33:13.799
<v Speaker 2>PG film, that he kept this additional footage locked in

555
00:33:13.839 --> 00:33:17.160
<v Speaker 2>a safe for decades at his wife's insistence, and that

556
00:33:17.240 --> 00:33:19.599
<v Speaker 2>his daughter found it after his death and brought it

557
00:33:19.640 --> 00:33:23.599
<v Speaker 2>to Evans. That's a compelling story, but a compelling story

558
00:33:23.720 --> 00:33:27.079
<v Speaker 2>is not the same thing as verified providence. Has the

559
00:33:27.079 --> 00:33:30.440
<v Speaker 2>film stock been independently analyzed by a forensic lab to

560
00:33:30.559 --> 00:33:34.440
<v Speaker 2>determine when it was actually exposed? Has the location shown

561
00:33:34.480 --> 00:33:37.720
<v Speaker 2>in the clip been definitively identified and matched to a

562
00:33:37.759 --> 00:33:43.039
<v Speaker 2>specific site. Has anyone established through independent evidence that Patterson

563
00:33:43.119 --> 00:33:47.000
<v Speaker 2>was filming in that location in nineteen sixty six. These

564
00:33:47.000 --> 00:33:50.039
<v Speaker 2>are the kinds of questions that a genuine forensic investigation

565
00:33:50.079 --> 00:33:52.960
<v Speaker 2>would answer, and based on everything I've read and heard,

566
00:33:53.279 --> 00:33:56.400
<v Speaker 2>the documentary doesn't appear to address them in a rigorous way.

567
00:33:57.319 --> 00:34:01.240
<v Speaker 2>The website Northwest Bigfoot published a detailed analysis making many

568
00:34:01.279 --> 00:34:04.960
<v Speaker 2>of these same points. They argued that the documentary provides

569
00:34:05.000 --> 00:34:08.679
<v Speaker 2>compelling human drama but falls short as a forensic investigation.

570
00:34:09.639 --> 00:34:12.920
<v Speaker 2>They noted that the film relies heavily on emotional testimony

571
00:34:13.239 --> 00:34:16.840
<v Speaker 2>rather than physical proof, and that it uses several techniques

572
00:34:16.880 --> 00:34:22.039
<v Speaker 2>common in modern revelatory documentaries withholding evidence to create mystery,

573
00:34:22.519 --> 00:34:26.639
<v Speaker 2>framing speculation is fact through confident narration and presenting a

574
00:34:26.679 --> 00:34:31.800
<v Speaker 2>single interpretation while ignoring alternatives. Matt Moneymaker, founder of the

575
00:34:31.800 --> 00:34:36.840
<v Speaker 2>Bigfoot Field Researchers organization, dismissed the documentary before it even screened,

576
00:34:37.320 --> 00:34:40.119
<v Speaker 2>telling reporters that this sort of chicanery has been going

577
00:34:40.159 --> 00:34:43.199
<v Speaker 2>on since at least the nineties and insisting that the

578
00:34:43.239 --> 00:34:47.559
<v Speaker 2>film itself debunks any attempts to debunk it. Now, you

579
00:34:47.599 --> 00:34:51.719
<v Speaker 2>can agree or disagree with Moneymaker's approach and dismissing something

580
00:34:51.840 --> 00:34:54.639
<v Speaker 2>sight unseen is precisely the kind of thing I'm arguing

581
00:34:54.719 --> 00:34:58.239
<v Speaker 2>against in this newsletter, but is underlying point that the

582
00:34:58.239 --> 00:35:02.079
<v Speaker 2>PG film has weathered previous debunking attempts and emerged with

583
00:35:02.159 --> 00:35:06.280
<v Speaker 2>its defenders intact is historically accurate. And then there's the

584
00:35:06.320 --> 00:35:11.159
<v Speaker 2>interpretation question that Doug Hicheck raised the b Roll theory.

585
00:35:11.239 --> 00:35:14.639
<v Speaker 2>If Patterson was shooting a documentary about hunting Bigfoot, and

586
00:35:14.719 --> 00:35:18.719
<v Speaker 2>that documentary required footage of a Bigfoot creature, then test

587
00:35:18.719 --> 00:35:21.320
<v Speaker 2>footage of someone in a suit walking through the woods

588
00:35:21.400 --> 00:35:25.599
<v Speaker 2>is not a smoking gun. It's a production artifact. The

589
00:35:25.679 --> 00:35:29.320
<v Speaker 2>question becomes whether this particular clip can be conclusively linked

590
00:35:29.360 --> 00:35:32.760
<v Speaker 2>to the Bluff Creek location, the specific timeline of the

591
00:35:32.800 --> 00:35:36.639
<v Speaker 2>alleged hoax, and the specific individuals involved in a way

592
00:35:36.639 --> 00:35:40.519
<v Speaker 2>that eliminates the b Roll explanation. Based on what's been

593
00:35:40.519 --> 00:35:43.960
<v Speaker 2>publicly reported so far, I'm not convinced that threshold has

594
00:35:44.000 --> 00:35:46.840
<v Speaker 2>been met, but I'm also not convinced it hasn't been.

595
00:35:47.360 --> 00:35:50.119
<v Speaker 2>That's why I need to see the film. Let me

596
00:35:50.199 --> 00:35:53.239
<v Speaker 2>also address something about the emotional dimension of this story,

597
00:35:53.639 --> 00:35:55.679
<v Speaker 2>because I think it's getting lost in the rush to

598
00:35:55.719 --> 00:35:58.719
<v Speaker 2>declare winners and losers, and I think it's actually one

599
00:35:58.719 --> 00:36:02.440
<v Speaker 2>of the most important aspect of the whole affair. Multiple

600
00:36:02.440 --> 00:36:05.360
<v Speaker 2>reviewers have pointed out that Capturing Bigfoot is not really

601
00:36:05.440 --> 00:36:09.519
<v Speaker 2>a debunking film. It's a human story. It's about family,

602
00:36:10.000 --> 00:36:13.440
<v Speaker 2>about legacy, about the bonds and the rifts that this

603
00:36:13.559 --> 00:36:16.039
<v Speaker 2>piece of film created in the lives of the people

604
00:36:16.039 --> 00:36:20.320
<v Speaker 2>who were closest to it. Director Mark Evans, by all accounts,

605
00:36:20.360 --> 00:36:23.280
<v Speaker 2>did not set out to make a takedown piece. He

606
00:36:23.360 --> 00:36:26.119
<v Speaker 2>stumbled into the story when Teresa Brooks brought him that

607
00:36:26.199 --> 00:36:29.559
<v Speaker 2>film canister, and he followed the thread wherever it led.

608
00:36:30.440 --> 00:36:32.960
<v Speaker 2>The result, according to those who have seen it, is

609
00:36:33.039 --> 00:36:36.039
<v Speaker 2>less of a forensic investigation and more of an elegy.

610
00:36:36.599 --> 00:36:39.519
<v Speaker 2>A portrait of a small town in Washington State where

611
00:36:39.519 --> 00:36:42.679
<v Speaker 2>a sixty year old secret has been slowly eating people alive.

612
00:36:43.519 --> 00:36:46.719
<v Speaker 2>Clint Patterson lost his father to Hodgkins lymphoma when.

613
00:36:46.599 --> 00:36:48.360
<v Speaker 3>He was just twelve years old.

614
00:36:48.639 --> 00:36:50.800
<v Speaker 2>He and his siblings used to keep their dying father

615
00:36:50.880 --> 00:36:54.159
<v Speaker 2>company in a shed on the family property. A twelve

616
00:36:54.199 --> 00:36:56.679
<v Speaker 2>year old boy watching his hero die in a shed,

617
00:36:57.599 --> 00:36:59.719
<v Speaker 2>Clint spent most of his life looking up to a

618
00:36:59.760 --> 00:37:02.519
<v Speaker 2>man who, by his own account, lied to him about

619
00:37:02.559 --> 00:37:05.800
<v Speaker 2>one of the defining achievements of his career. His mother

620
00:37:05.880 --> 00:37:08.679
<v Speaker 2>eventually told him her version of the truth, and then

621
00:37:08.719 --> 00:37:11.920
<v Speaker 2>when he tried to come forward with it, she disowned him,

622
00:37:11.960 --> 00:37:15.320
<v Speaker 2>apparently more concerned about the loss of licensing revenue than

623
00:37:15.360 --> 00:37:19.199
<v Speaker 2>about her son's need to unburden himself. That's a tragedy,

624
00:37:19.239 --> 00:37:22.440
<v Speaker 2>Regardless of whether the PG film is real or fake,

625
00:37:23.239 --> 00:37:26.320
<v Speaker 2>A family torn apart by a piece of film, a

626
00:37:26.320 --> 00:37:29.360
<v Speaker 2>son carrying the weight of his father's secrets for a decade,

627
00:37:29.880 --> 00:37:32.440
<v Speaker 2>wanting to speak the truth as he understood it, and

628
00:37:32.480 --> 00:37:36.039
<v Speaker 2>being punished for it by his own mother. Whatever you

629
00:37:36.079 --> 00:37:38.840
<v Speaker 2>think about the authenticity of the footage, I hope you

630
00:37:38.880 --> 00:37:42.639
<v Speaker 2>can recognize the human cost of this story. Bob Gimlin,

631
00:37:42.880 --> 00:37:45.559
<v Speaker 2>now in his nineties, has spent the last twenty years

632
00:37:45.599 --> 00:37:47.960
<v Speaker 2>of his life as a beloved elder statesman of the

633
00:37:48.000 --> 00:37:54.320
<v Speaker 2>Bigfoot community, attending conferences, signing autographs, posing for photographs, telling

634
00:37:54.360 --> 00:37:58.039
<v Speaker 2>the same stories over and over. He withdrew from public

635
00:37:58.119 --> 00:38:01.559
<v Speaker 2>life for nearly three decades, starting in the late nineteen seventies,

636
00:38:02.119 --> 00:38:07.000
<v Speaker 2>reportedly because the constant speculation about the film's authenticity had

637
00:38:07.039 --> 00:38:08.559
<v Speaker 2>become too much for him and his.

638
00:38:08.480 --> 00:38:09.159
<v Speaker 3>Wife to bear.

639
00:38:09.960 --> 00:38:13.400
<v Speaker 2>He only re emerged around two thousand and five, ironically,

640
00:38:13.480 --> 00:38:17.599
<v Speaker 2>in response to Hieronymus's public claims, and reinvented himself as

641
00:38:17.599 --> 00:38:21.440
<v Speaker 2>a conference celebrity. Whatever the truth of his involvement, the

642
00:38:21.519 --> 00:38:25.960
<v Speaker 2>personal cost of this revelation is enormous. The Austin Chronicles

643
00:38:26.000 --> 00:38:29.079
<v Speaker 2>review noted that by the end of the documentary, nobody

644
00:38:29.159 --> 00:38:33.800
<v Speaker 2>is particularly happy. There's no triumphant, gotcha moment. Even the

645
00:38:33.840 --> 00:38:36.599
<v Speaker 2>skeptics who feel vindicated have to reckon with the human

646
00:38:36.639 --> 00:38:40.880
<v Speaker 2>wreckage left behind. One reviewer from The Sight Unseen Films

647
00:38:41.159 --> 00:38:43.639
<v Speaker 2>wrote that you can't be a feeling person and walk

648
00:38:43.639 --> 00:38:46.440
<v Speaker 2>out of the screening feeling good because too many people

649
00:38:46.480 --> 00:38:49.840
<v Speaker 2>have been hurt. The reviewer wrote that the film's strength

650
00:38:49.920 --> 00:38:52.760
<v Speaker 2>is that Evans doesn't paint the ending as something glorious,

651
00:38:53.199 --> 00:38:56.119
<v Speaker 2>but allows the moment to be colored by sadness as

652
00:38:56.199 --> 00:39:00.280
<v Speaker 2>everyone realizes what the last six decades have ultimately called lost.

653
00:39:01.039 --> 00:39:02.880
<v Speaker 2>Now here's where I need to say something that might

654
00:39:02.920 --> 00:39:06.599
<v Speaker 2>surprise some of you and that might upset others. I've

655
00:39:06.639 --> 00:39:10.079
<v Speaker 2>never staked my belief in Sasquatch on the Patterson Gimlin film,

656
00:39:10.599 --> 00:39:14.039
<v Speaker 2>not once, not ever. Let me say that again, so

657
00:39:14.119 --> 00:39:18.320
<v Speaker 2>it's absolutely clear my belief in the existence of Sasquatch

658
00:39:18.360 --> 00:39:21.000
<v Speaker 2>has nothing to do with fifty nine seconds of sixteen

659
00:39:21.079 --> 00:39:24.920
<v Speaker 2>millimeter film shot by a rodeo cowboy in northern California

660
00:39:25.119 --> 00:39:26.440
<v Speaker 2>in nineteen sixty seven.

661
00:39:27.280 --> 00:39:28.360
<v Speaker 3>The PG film is.

662
00:39:28.360 --> 00:39:33.159
<v Speaker 2>A cultural artifact. It's a historical curiosity. It's a remarkable

663
00:39:33.199 --> 00:39:36.760
<v Speaker 2>piece of Americana that launched a million conversations and built

664
00:39:36.800 --> 00:39:40.320
<v Speaker 2>an entire industry. But it is not the foundation of

665
00:39:40.360 --> 00:39:43.000
<v Speaker 2>the sasquatch phenomenon, and it never was.

666
00:39:43.800 --> 00:39:44.559
<v Speaker 3>And I think this is.

667
00:39:44.559 --> 00:39:48.159
<v Speaker 2>Where the broader public, the media, and even some people

668
00:39:48.199 --> 00:39:51.239
<v Speaker 2>within our own community have made a critical error in

669
00:39:51.280 --> 00:39:54.800
<v Speaker 2>their thinking. They've confused the symbol with the thing itself.

670
00:39:55.199 --> 00:39:58.639
<v Speaker 2>The PG film became so synonymous with Bigfoot and popular

671
00:39:58.679 --> 00:40:02.880
<v Speaker 2>culture that people start to believe, consciously or unconsciously, that

672
00:40:02.920 --> 00:40:05.679
<v Speaker 2>debunking the film was the same as debunking the creature.

673
00:40:06.280 --> 00:40:07.960
<v Speaker 3>It's not. It never was.

674
00:40:08.719 --> 00:40:11.599
<v Speaker 2>It's like arguing that because a particular photograph of a

675
00:40:11.639 --> 00:40:15.280
<v Speaker 2>mountain was proven to be doctored, the mountain must not exist.

676
00:40:16.280 --> 00:40:19.639
<v Speaker 2>The photograph and the mountain are two different things. One

677
00:40:19.719 --> 00:40:23.039
<v Speaker 2>is a piece of media, the other is a physical reality.

678
00:40:23.880 --> 00:40:28.440
<v Speaker 2>The phenomenon predates the film by centuries. Indigenous peoples across

679
00:40:28.480 --> 00:40:32.519
<v Speaker 2>North America have oral traditions describing large, hair covered bipedal

680
00:40:32.599 --> 00:40:37.599
<v Speaker 2>beings going back generations beyond count The Shameless people of

681
00:40:37.639 --> 00:40:41.880
<v Speaker 2>British Columbia have the Sasquatch, the Lummy have the Tissimequays.

682
00:40:42.599 --> 00:40:46.000
<v Speaker 2>The Stolo have the Sasquatch tradition, from which the English

683
00:40:46.079 --> 00:40:51.440
<v Speaker 2>word itself derives the Hoopa have stories, the Yakama have stories.

684
00:40:52.199 --> 00:40:55.440
<v Speaker 2>Tribes across the continent, from the Pacific Northwest to the

685
00:40:55.440 --> 00:40:59.000
<v Speaker 2>Great Lakes to the Deep South have traditions of large

686
00:40:59.039 --> 00:41:02.480
<v Speaker 2>wild haircover beings that live in the forests and mountains.

687
00:41:03.199 --> 00:41:05.960
<v Speaker 2>These are not traditions that were invented in nineteen sixty

688
00:41:06.000 --> 00:41:09.920
<v Speaker 2>seven in response to Roger Patterson's film. These are traditions

689
00:41:09.920 --> 00:41:12.559
<v Speaker 2>that are woven into the cultural fabric of peoples who

690
00:41:12.559 --> 00:41:15.760
<v Speaker 2>have lived on this land for thousands of years. Are

691
00:41:15.760 --> 00:41:18.480
<v Speaker 2>we really prepared to dismiss all of that because a

692
00:41:18.519 --> 00:41:20.719
<v Speaker 2>cowboy from Yakima might have put his buddy in a

693
00:41:20.719 --> 00:41:25.639
<v Speaker 2>guerrilla suit. European settlers reported encounters with similar creatures long

694
00:41:25.679 --> 00:41:29.880
<v Speaker 2>before Roger Patterson was born. The Ape Canyon incident happened

695
00:41:29.920 --> 00:41:33.039
<v Speaker 2>in nineteen twenty four, more than forty years before the

696
00:41:33.039 --> 00:41:36.320
<v Speaker 2>PG film existed, when a group of miners in Washington

697
00:41:36.360 --> 00:41:39.280
<v Speaker 2>State reported being attacked by a group of large ape

698
00:41:39.400 --> 00:41:42.440
<v Speaker 2>like creatures that hurled rocks at their cabin through the night.

699
00:41:43.320 --> 00:41:47.400
<v Speaker 2>Albert Osman's alleged abduction story dates to nineteen twenty four

700
00:41:47.440 --> 00:41:51.960
<v Speaker 2>as well. William Rose detailed encounter report from British Columbia.

701
00:41:52.239 --> 00:41:55.800
<v Speaker 2>One of the most carefully documented early accounts was filed

702
00:41:55.840 --> 00:42:00.480
<v Speaker 2>as a sworn affidavit in the nineteen fifties. Fifty eight

703
00:42:00.519 --> 00:42:04.360
<v Speaker 2>Bluff Creek track discoveries, which notably occurred at the same

704
00:42:04.440 --> 00:42:08.159
<v Speaker 2>general location where Patterson would later film his footage, put

705
00:42:08.199 --> 00:42:12.079
<v Speaker 2>the word bigfoot into the American vocabulary nearly a decade

706
00:42:12.079 --> 00:42:16.519
<v Speaker 2>before the PG film existed. Yes, some of those nineteen

707
00:42:16.599 --> 00:42:19.840
<v Speaker 2>fifty eight tracks were later attributed to Ray Wallace's pranking,

708
00:42:20.400 --> 00:42:23.199
<v Speaker 2>but not all of them, and the sighting reports from

709
00:42:23.239 --> 00:42:27.920
<v Speaker 2>the area predated Wallace's involvement. Thousands upon thousands of sighting

710
00:42:28.000 --> 00:42:30.400
<v Speaker 2>reports have been collected from every corner of the North

711
00:42:30.440 --> 00:42:34.280
<v Speaker 2>American continent, from the deep forests of the Pacific Northwest

712
00:42:34.519 --> 00:42:37.599
<v Speaker 2>to the swamps of Florida to the hollers of Appalachia

713
00:42:37.639 --> 00:42:41.599
<v Speaker 2>to the vast wilderness of northern Canada. The Bigfoot Field

714
00:42:41.679 --> 00:42:46.679
<v Speaker 2>Researchers Organization's database alone contains thousands of reports, and that's

715
00:42:46.800 --> 00:42:51.599
<v Speaker 2>just one organization. State wildlife agencies receive reports that never

716
00:42:51.639 --> 00:42:55.800
<v Speaker 2>make it into any public database. Law enforcement agencies take

717
00:42:55.840 --> 00:42:59.719
<v Speaker 2>reports that are filed and forgotten. Private researchers collect a

718
00:42:59.719 --> 00:43:03.599
<v Speaker 2>caunts that are shared in confidence and never published. The

719
00:43:03.639 --> 00:43:06.400
<v Speaker 2>actual number of encounters that have occurred over the past

720
00:43:06.400 --> 00:43:10.559
<v Speaker 2>century is almost certainly far larger than what's been formally documented,

721
00:43:11.360 --> 00:43:16.239
<v Speaker 2>and the consistency of those reports, the physical description, the behavior,

722
00:43:16.280 --> 00:43:22.280
<v Speaker 2>the habitat, the vocalizations, the reactions of witnesses across geographic regions,

723
00:43:22.320 --> 00:43:26.320
<v Speaker 2>time periods, and demographic groups is striking. These are not

724
00:43:26.400 --> 00:43:29.840
<v Speaker 2>people reading each other's reports and copying them. These are

725
00:43:29.880 --> 00:43:34.880
<v Speaker 2>independent witnesses, separated by hundreds or thousands of miles, describing

726
00:43:34.880 --> 00:43:37.760
<v Speaker 2>the same kind of creature in the same kind of environment,

727
00:43:38.079 --> 00:43:42.000
<v Speaker 2>exhibiting the same kind of behavior. That pattern means something,

728
00:43:42.360 --> 00:43:45.239
<v Speaker 2>and it means it whether the PG film is real

729
00:43:45.639 --> 00:43:49.360
<v Speaker 2>or not. I am one of those witnesses. I've told

730
00:43:49.360 --> 00:43:51.960
<v Speaker 2>this story before, and I'll tell it again as many

731
00:43:52.039 --> 00:43:54.960
<v Speaker 2>times as it takes. Something happened to me in the

732
00:43:54.960 --> 00:43:57.920
<v Speaker 2>woods of North Georgia in nineteen eighty six when I

733
00:43:58.000 --> 00:44:00.480
<v Speaker 2>was a kid. I didn't go look at for it.

734
00:44:00.880 --> 00:44:03.840
<v Speaker 2>I wasn't on a Bigfoot expedition. I was a young

735
00:44:03.880 --> 00:44:06.559
<v Speaker 2>boy in the woods and I experienced something that I

736
00:44:06.559 --> 00:44:09.800
<v Speaker 2>have never been able to explain. I don't embellish it,

737
00:44:10.239 --> 00:44:12.480
<v Speaker 2>I don't dress it up with details that aren't there.

738
00:44:13.079 --> 00:44:15.400
<v Speaker 2>But it happened, and it lit a fire in me

739
00:44:15.480 --> 00:44:18.679
<v Speaker 2>that has been burning for nearly forty years. It's the

740
00:44:18.719 --> 00:44:21.400
<v Speaker 2>reason I do what I do. It's the reason I've

741
00:44:21.400 --> 00:44:24.800
<v Speaker 2>spent decades researching this subject with the same rigor and

742
00:44:24.840 --> 00:44:28.280
<v Speaker 2>tenacity I brought to sixteen years of law enforcement with

743
00:44:28.360 --> 00:44:31.920
<v Speaker 2>the Atlanta Police Department. When you've spent that much time

744
00:44:31.960 --> 00:44:36.719
<v Speaker 2>working cases, interviewing witnesses, separating the credible from the incredible,

745
00:44:37.079 --> 00:44:41.639
<v Speaker 2>evaluating evidence under pressure, and making decisions based on incomplete information,

746
00:44:42.280 --> 00:44:45.000
<v Speaker 2>you develop a finely tuned sense for when something is

747
00:44:45.079 --> 00:44:48.519
<v Speaker 2>real and when it isn't. I've carried that skill set

748
00:44:48.599 --> 00:44:52.079
<v Speaker 2>into every aspect of my Sasquatch research, and I've applied

749
00:44:52.119 --> 00:44:55.920
<v Speaker 2>it to every encounter report I've ever investigated. And in

750
00:44:55.960 --> 00:44:58.119
<v Speaker 2>the summer of twenty twenty four, while I was in

751
00:44:58.239 --> 00:45:01.440
<v Speaker 2>Washington State filming the documentary Read My big Foot Life,

752
00:45:01.639 --> 00:45:04.679
<v Speaker 2>I saw one and stay tuned.

753
00:45:04.360 --> 00:45:06.559
<v Speaker 3>For more Sasquatch ot to see We'll be right back.

754
00:45:06.599 --> 00:45:08.320
<v Speaker 3>After these messages.

755
00:45:11.920 --> 00:45:15.519
<v Speaker 2>I stood approximately ten feet away from a Sasquatch. I

756
00:45:15.559 --> 00:45:18.320
<v Speaker 2>won't rehash the full account here many of you have

757
00:45:18.400 --> 00:45:21.320
<v Speaker 2>heard it, but I will say this. There is a

758
00:45:21.360 --> 00:45:25.840
<v Speaker 2>profound difference between believing something exists based on evidence you've

759
00:45:25.840 --> 00:45:29.320
<v Speaker 2>studied and knowing something exists because you've seen it with

760
00:45:29.400 --> 00:45:33.400
<v Speaker 2>your own eyes, when you're standing that close, when everything

761
00:45:33.440 --> 00:45:35.239
<v Speaker 2>in your body is telling you that you are in

762
00:45:35.280 --> 00:45:38.400
<v Speaker 2>the presence of something that should not exist, but does.

763
00:45:39.280 --> 00:45:43.320
<v Speaker 2>No piece of film, no documentary, no skeptics blog post,

764
00:45:43.679 --> 00:45:47.039
<v Speaker 2>no clever debunking can touch that. It's as real as

765
00:45:47.079 --> 00:45:49.840
<v Speaker 2>the ground under your feet. I know what I saw.

766
00:45:50.440 --> 00:45:52.880
<v Speaker 2>No documentary about a sixty year old piece of film

767
00:45:52.920 --> 00:45:55.559
<v Speaker 2>is going to change that. And this is the point

768
00:45:55.599 --> 00:45:58.239
<v Speaker 2>I really want to drive home, because it's the most

769
00:45:58.280 --> 00:46:02.000
<v Speaker 2>important thing I'll say in this entire newsletter. The Patterson

770
00:46:02.039 --> 00:46:05.599
<v Speaker 2>Gimlin film can be fake and Sasquatch can still be real.

771
00:46:06.519 --> 00:46:10.000
<v Speaker 2>These two things are not mutually exclusive. They never were.

772
00:46:10.880 --> 00:46:13.320
<v Speaker 2>This is a point I've been making for years, long

773
00:46:13.360 --> 00:46:16.880
<v Speaker 2>before Capturing Bigfoot existed, and I'll continue making it until

774
00:46:16.920 --> 00:46:21.480
<v Speaker 2>people understand how critical the distinction is. The PG film

775
00:46:21.760 --> 00:46:25.519
<v Speaker 2>is evidence, one piece of evidence among many. If it

776
00:46:25.559 --> 00:46:28.639
<v Speaker 2>turns out to be fraudulent, then it's bad evidence, and

777
00:46:28.719 --> 00:46:32.920
<v Speaker 2>bad evidence should be discarded. That's how rational inquiry works.

778
00:46:33.559 --> 00:46:35.960
<v Speaker 2>You don't throw out the entire case. Because one piece

779
00:46:36.000 --> 00:46:39.079
<v Speaker 2>of evidence turns out to be compromised, You throw out

780
00:46:39.119 --> 00:46:42.000
<v Speaker 2>the compromised evidence, and you look at what's left. And

781
00:46:42.039 --> 00:46:45.599
<v Speaker 2>what's left in the case of Sasquatch is an enormous

782
00:46:45.639 --> 00:46:50.079
<v Speaker 2>body of eyewitness testimony from credible witnesses spanning hundreds of years,

783
00:46:50.360 --> 00:46:57.079
<v Speaker 2>and every imaginable demographic hunters, hikers, law enforcement officers, park rangers,

784
00:46:57.320 --> 00:47:04.639
<v Speaker 2>wildlife biologists, military veterans, truck drivers, families on camping trips, children, grandparents,

785
00:47:05.000 --> 00:47:07.400
<v Speaker 2>people who had never thought about Bigfoot for a single

786
00:47:07.440 --> 00:47:10.360
<v Speaker 2>second of their lives until the moment they found themselves

787
00:47:10.360 --> 00:47:14.480
<v Speaker 2>face to face with something they couldn't explain. What's left

788
00:47:14.639 --> 00:47:17.159
<v Speaker 2>is a pattern of track evidence that has been studied

789
00:47:17.159 --> 00:47:22.360
<v Speaker 2>by qualified scientists. What's left is audio recordings of vocalizations

790
00:47:22.400 --> 00:47:25.840
<v Speaker 2>that don't match any known animal. What's left is a

791
00:47:25.880 --> 00:47:29.239
<v Speaker 2>phenomenon that refuses to go away, no matter how many

792
00:47:29.280 --> 00:47:33.400
<v Speaker 2>times skeptics declare it dead. Even Brian Dunning, the host

793
00:47:33.480 --> 00:47:36.280
<v Speaker 2>of the Skeptoid podcast, who has been arguing for years

794
00:47:36.519 --> 00:47:39.920
<v Speaker 2>that the PG film is a hoax, acknowledged this point

795
00:47:39.960 --> 00:47:43.519
<v Speaker 2>in his analysis of the documentary. He wrote, and I'm

796
00:47:43.559 --> 00:47:47.039
<v Speaker 2>paraphrasing here, that the Patterson Gimlin film being a hoax

797
00:47:47.320 --> 00:47:50.639
<v Speaker 2>says nothing about the existence of Bigfoot any more than

798
00:47:50.760 --> 00:47:54.239
<v Speaker 2>Ray Wallace's family's admission that the footprints he laid across

799
00:47:54.280 --> 00:47:58.880
<v Speaker 2>the Pacific Northwest since nineteen fifty eight were fake. That's

800
00:47:58.920 --> 00:48:02.559
<v Speaker 2>coming from a committed skin and he's right. A fake

801
00:48:02.639 --> 00:48:05.480
<v Speaker 2>piece of evidence doesn't disprove the thing it was faking.

802
00:48:06.119 --> 00:48:09.079
<v Speaker 2>It just means that particular piece of evidence is worthless.

803
00:48:09.840 --> 00:48:13.440
<v Speaker 2>The underlying question remains open. I understand why the PG

804
00:48:13.599 --> 00:48:17.800
<v Speaker 2>film became the centerpiece. It was visual, it was dramatic.

805
00:48:18.440 --> 00:48:21.599
<v Speaker 2>It was tangible in a way that eyewitness testimony isn't.

806
00:48:22.360 --> 00:48:24.280
<v Speaker 2>You could freeze it on a frame and point to

807
00:48:24.320 --> 00:48:28.360
<v Speaker 2>it and say, there, right there, that's what we're talking about.

808
00:48:29.119 --> 00:48:32.719
<v Speaker 2>It gave the community a totem, a rallying point, something

809
00:48:32.719 --> 00:48:36.119
<v Speaker 2>to organize around. But that dependence on a single piece

810
00:48:36.119 --> 00:48:39.199
<v Speaker 2>of evidence was always a vulnerability, and some of us

811
00:48:39.199 --> 00:48:42.000
<v Speaker 2>have been saying so for a long time. When you

812
00:48:42.039 --> 00:48:45.119
<v Speaker 2>build your house on one pillar and that pillar cracks,

813
00:48:45.480 --> 00:48:49.199
<v Speaker 2>the house comes down, But Sasquatch doesn't live in that house.

814
00:48:49.639 --> 00:48:52.800
<v Speaker 2>Sasquatch lives in the forest. I want to talk about

815
00:48:52.800 --> 00:48:55.639
<v Speaker 2>what this means for the community going forward, because I

816
00:48:55.639 --> 00:48:59.519
<v Speaker 2>think we're at a crossroads. The reaction to capturing Bigfoot

817
00:48:59.559 --> 00:49:02.679
<v Speaker 2>is going to follow predictable lines, and in many cases

818
00:49:02.920 --> 00:49:06.480
<v Speaker 2>it already has. The skeptics are doing their victory lapse,

819
00:49:06.800 --> 00:49:08.719
<v Speaker 2>and some of them have been waiting a long time

820
00:49:08.760 --> 00:49:11.760
<v Speaker 2>for this moment. On the other end of the spectrum,

821
00:49:11.840 --> 00:49:13.920
<v Speaker 2>there will be people who refuse to engage with the

822
00:49:13.920 --> 00:49:17.679
<v Speaker 2>evidence at all, who will dismiss the documentary Sight Unseen,

823
00:49:18.280 --> 00:49:20.960
<v Speaker 2>who will accuse Clint Patterson of being a paid shill

824
00:49:21.079 --> 00:49:25.719
<v Speaker 2>or a grifter looking for attention. Matt Moneymaker's preemptive dismissal

825
00:49:25.800 --> 00:49:28.119
<v Speaker 2>is a preview of what's to come from that camp.

826
00:49:28.960 --> 00:49:32.400
<v Speaker 2>Bigfoot researcher Matt Crowley pose the question on social media

827
00:49:32.440 --> 00:49:34.760
<v Speaker 2>that I think is the most precient thing anyone has

828
00:49:34.800 --> 00:49:38.760
<v Speaker 2>said about this so far. Will Bigfoot content creators with

829
00:49:38.840 --> 00:49:43.119
<v Speaker 2>podcasts and YouTube channels rush to interview Clint Patterson or

830
00:49:43.159 --> 00:49:46.320
<v Speaker 2>will he be sidelined and never spoken of again, Like

831
00:49:46.400 --> 00:49:50.199
<v Speaker 2>previous debunkings of prominent Bigfoot evidence that have been conspicuously

832
00:49:50.239 --> 00:49:53.159
<v Speaker 2>ignored by even the most prominent names in the field.

833
00:49:54.039 --> 00:49:56.119
<v Speaker 2>That's a question that cuts to the heart of whether

834
00:49:56.199 --> 00:49:59.880
<v Speaker 2>this community is genuinely interested in truth or only interested

835
00:50:00.039 --> 00:50:03.400
<v Speaker 2>in maintaining the narrative. I'll tell you something else that

836
00:50:03.440 --> 00:50:07.239
<v Speaker 2>concerns me. We've seen this pattern before in the Bigfoot community.

837
00:50:07.719 --> 00:50:11.440
<v Speaker 2>A piece of evidence gets challenged, the believers circle the wagons,

838
00:50:11.800 --> 00:50:16.880
<v Speaker 2>the skeptics gloat. Everybody retreats to their corners, and nothing changes.

839
00:50:17.440 --> 00:50:22.599
<v Speaker 2>Nobody learns anything, nobody raises their standards, nobody asks harder

840
00:50:22.719 --> 00:50:25.400
<v Speaker 2>questions of the next piece of evidence that comes along.

841
00:50:26.119 --> 00:50:29.920
<v Speaker 2>The community absorbs the blow, develops a callous and goes

842
00:50:30.000 --> 00:50:33.159
<v Speaker 2>right back to doing what it was doing before. If

843
00:50:33.159 --> 00:50:36.320
<v Speaker 2>that's what happens after capturing Bigfoot, then we will have

844
00:50:36.400 --> 00:50:40.639
<v Speaker 2>wasted this moment entirely, because here's the uncomfortable truth that

845
00:50:40.679 --> 00:50:44.639
<v Speaker 2>nobody wants to hear. The Patterson Gimlin film was always

846
00:50:44.639 --> 00:50:48.719
<v Speaker 2>a weak foundation for the Sasquatch phenomenon, regardless of whether

847
00:50:48.760 --> 00:50:52.079
<v Speaker 2>it was authentic or not. Even if the PG film

848
00:50:52.159 --> 00:50:55.440
<v Speaker 2>is one hundred percent genuine footage of a real Sasquatch,

849
00:50:55.920 --> 00:50:58.760
<v Speaker 2>it was still a single piece of ambiguous evidence from

850
00:50:58.840 --> 00:51:02.400
<v Speaker 2>nineteen sixty seven, shot by a man with a complicated

851
00:51:02.440 --> 00:51:08.119
<v Speaker 2>reputation under circumstances that were inherently difficult to verify. Hanging

852
00:51:08.159 --> 00:51:10.920
<v Speaker 2>the credibility of an entire field of research on that

853
00:51:11.000 --> 00:51:14.760
<v Speaker 2>kind of evidence was always a strategic error, and it

854
00:51:14.800 --> 00:51:17.679
<v Speaker 2>was an error that some of us pointed out quietly

855
00:51:17.920 --> 00:51:21.719
<v Speaker 2>and not so quietly for years. Now the bill is

856
00:51:21.719 --> 00:51:25.320
<v Speaker 2>coming due. The path forward, in my view, is not

857
00:51:25.360 --> 00:51:28.079
<v Speaker 2>to mourn the PG film or to defend it to

858
00:51:28.159 --> 00:51:31.280
<v Speaker 2>the last breath. The path forward is to build a

859
00:51:31.320 --> 00:51:34.559
<v Speaker 2>body of evidence that doesn't need the PG film. That

860
00:51:34.639 --> 00:51:39.599
<v Speaker 2>means rigorous field work. That means standardized reporting protocols. That

861
00:51:39.639 --> 00:51:44.159
<v Speaker 2>means environmental DNA sampling. That means trail camera networks and

862
00:51:44.199 --> 00:51:49.679
<v Speaker 2>acoustic monitoring stations and thermal imaging surveys conducted with scientific methodology,

863
00:51:50.119 --> 00:51:54.480
<v Speaker 2>not just with enthusiasm. That means partnering with mainstream scientists

864
00:51:54.480 --> 00:51:58.079
<v Speaker 2>wherever possible, and being willing to accept negative results with

865
00:51:58.159 --> 00:52:03.079
<v Speaker 2>the same openness that we accept positive ones. That means frankly,

866
00:52:03.440 --> 00:52:05.960
<v Speaker 2>growing up as a research community and demanding more of

867
00:52:06.000 --> 00:52:09.440
<v Speaker 2>ourselves than we have demanded in the past. And in

868
00:52:09.480 --> 00:52:11.639
<v Speaker 2>the middle of all of this, there will be a

869
00:52:11.760 --> 00:52:15.039
<v Speaker 2>large number of people who are genuinely shaken, who feel

870
00:52:15.079 --> 00:52:17.119
<v Speaker 2>like the ground has been pulled out from under them,

871
00:52:17.480 --> 00:52:20.639
<v Speaker 2>who aren't sure what to believe anymore. I want to

872
00:52:20.639 --> 00:52:24.280
<v Speaker 2>speak directly to that last group, to you, if you're

873
00:52:24.320 --> 00:52:27.679
<v Speaker 2>feeling rattled by this, if you're questioning everything you thought

874
00:52:27.679 --> 00:52:29.880
<v Speaker 2>you knew, I want you to take a breath and

875
00:52:29.920 --> 00:52:33.119
<v Speaker 2>think about what actually changed. A piece of film from

876
00:52:33.199 --> 00:52:35.719
<v Speaker 2>nineteen sixty seven has been credibly challenged.

877
00:52:36.199 --> 00:52:36.679
<v Speaker 3>That's it.

878
00:52:37.199 --> 00:52:40.519
<v Speaker 2>That's all that happened. The forest didn't get smaller. The

879
00:52:40.519 --> 00:52:45.840
<v Speaker 2>eyewitness reports didn't evaporate, The tracks didn't disappear, the vocalizations

880
00:52:45.840 --> 00:52:50.159
<v Speaker 2>didn't go silent. The indigenous oral traditions didn't rewrite themselves.

881
00:52:50.880 --> 00:52:54.280
<v Speaker 2>Your own experiences, if you've had them, didn't become less real.

882
00:52:55.119 --> 00:52:58.280
<v Speaker 2>One piece of evidence, however famous, and however central to

883
00:52:58.320 --> 00:53:02.400
<v Speaker 2>the popular narrative, is not the phenomenon itself. The map

884
00:53:02.440 --> 00:53:05.679
<v Speaker 2>is not the territory. I think this moment could ultimately

885
00:53:05.719 --> 00:53:09.239
<v Speaker 2>be healthy for the Sasquatch research community, painful as it

886
00:53:09.360 --> 00:53:12.760
<v Speaker 2>might feel right now. For too long, the PG film

887
00:53:12.800 --> 00:53:17.000
<v Speaker 2>has been treated as sacred ground, an untouchable artifact that

888
00:53:17.039 --> 00:53:20.000
<v Speaker 2>couldn't be questioned without being accused of betraying the cause.

889
00:53:20.960 --> 00:53:24.760
<v Speaker 2>That kind of thinking is antithetical to genuine inquiry. It's

890
00:53:24.800 --> 00:53:29.000
<v Speaker 2>the mindset of religion not research. I've watched people get

891
00:53:29.000 --> 00:53:32.119
<v Speaker 2>shouted down at conferences for even suggesting that the film

892
00:53:32.280 --> 00:53:36.280
<v Speaker 2>might not be authentic. I've seen researchers have their credibility

893
00:53:36.280 --> 00:53:39.920
<v Speaker 2>attacked and their motives questioned simply for applying the same

894
00:53:40.000 --> 00:53:43.039
<v Speaker 2>standards of skepticism to the PG film that they would

895
00:53:43.039 --> 00:53:45.920
<v Speaker 2>apply to any other piece of evidence. That's not how

896
00:53:45.920 --> 00:53:48.639
<v Speaker 2>you build a credible field of research. That's how you

897
00:53:48.679 --> 00:53:51.079
<v Speaker 2>build a cult. And I say that as someone who

898
00:53:51.119 --> 00:53:53.840
<v Speaker 2>loves this community and has devoted the better part of

899
00:53:53.880 --> 00:53:57.440
<v Speaker 2>his adult life to it. If we're serious about understanding

900
00:53:57.440 --> 00:54:00.199
<v Speaker 2>what's out there in the forests of North America, and

901
00:54:00.239 --> 00:54:02.960
<v Speaker 2>I am deadly serious about it, then we have to

902
00:54:02.960 --> 00:54:06.280
<v Speaker 2>be willing to follow the evidence wherever it leads, even

903
00:54:06.280 --> 00:54:10.400
<v Speaker 2>when it leads to uncomfortable places. If the evidence ultimately

904
00:54:10.440 --> 00:54:14.079
<v Speaker 2>shows that the PG film was staged, then we acknowledge that,

905
00:54:14.519 --> 00:54:16.760
<v Speaker 2>we learn from it, and we move on to the

906
00:54:16.800 --> 00:54:20.400
<v Speaker 2>evidence that remains. If the evidence shows that the newly

907
00:54:20.440 --> 00:54:23.719
<v Speaker 2>discovered footage is something other than what the documentary claims,

908
00:54:24.280 --> 00:54:28.320
<v Speaker 2>b roll, a replica, or something else entirely, then we

909
00:54:28.360 --> 00:54:31.920
<v Speaker 2>acknowledge that too. We follow the truth, we don't pick

910
00:54:31.920 --> 00:54:34.440
<v Speaker 2>a side, and then fight to the death defending it.

911
00:54:34.920 --> 00:54:38.760
<v Speaker 2>That's not research, that's tribalism. I've been in the field.

912
00:54:38.960 --> 00:54:42.079
<v Speaker 2>I've talked to hundreds of witnesses. I've heard accounts from

913
00:54:42.079 --> 00:54:45.360
<v Speaker 2>people who had no reason to fabricate their stories, no

914
00:54:45.440 --> 00:54:49.360
<v Speaker 2>book to sell, no podcast to promote, no social media

915
00:54:49.440 --> 00:54:50.280
<v Speaker 2>following to build.

916
00:54:51.079 --> 00:54:52.239
<v Speaker 3>I've talked to hunters.

917
00:54:51.920 --> 00:54:54.280
<v Speaker 2>Who refused to go back into woods they'd hunted their

918
00:54:54.440 --> 00:54:56.119
<v Speaker 2>entire lives after what they saw.

919
00:54:56.880 --> 00:54:57.480
<v Speaker 3>I've talked to.

920
00:54:57.480 --> 00:55:00.599
<v Speaker 2>Law enforcement officers who kept their mouths shut for decades

921
00:55:00.920 --> 00:55:03.480
<v Speaker 2>because they were afraid of being laughed out of their careers.

922
00:55:04.239 --> 00:55:06.559
<v Speaker 2>I've talked to families who packed up their campsites in

923
00:55:06.599 --> 00:55:09.159
<v Speaker 2>the middle of the night and drove home without speaking

924
00:55:09.159 --> 00:55:12.199
<v Speaker 2>a word to each other, too shaken to even process

925
00:55:12.239 --> 00:55:15.280
<v Speaker 2>what had just happened. Those people don't give a damn

926
00:55:15.320 --> 00:55:18.280
<v Speaker 2>about the Patterson Gimlin film. Most of them have never

927
00:55:18.320 --> 00:55:21.880
<v Speaker 2>even seen it. Their evidence is their own experience, and

928
00:55:21.920 --> 00:55:25.159
<v Speaker 2>no documentary is going to erase it. So where does

929
00:55:25.199 --> 00:55:27.519
<v Speaker 2>this leave us? I'll tell you where it leaves me

930
00:55:28.719 --> 00:55:32.639
<v Speaker 2>in exactly the same place I was before Capturing Bigfoot premiered,

931
00:55:33.159 --> 00:55:36.159
<v Speaker 2>but with more work to do and more conversations to have.

932
00:55:37.079 --> 00:55:40.000
<v Speaker 2>I'm a man who has spent nearly four decades researching

933
00:55:40.039 --> 00:55:43.599
<v Speaker 2>these creatures. I'm a former law enforcement officer who knows

934
00:55:43.599 --> 00:55:47.280
<v Speaker 2>how to evaluate evidence and assess the credibility of witnesses.

935
00:55:48.039 --> 00:55:51.000
<v Speaker 2>I'm a podcaster who has interviewed hundreds of people about

936
00:55:51.000 --> 00:55:54.199
<v Speaker 2>their encounters and heard the trembling in their voices and

937
00:55:54.280 --> 00:55:57.639
<v Speaker 2>seen the tears in their eyes as they described experiences

938
00:55:57.639 --> 00:56:02.119
<v Speaker 2>that changed their lives. Researcher who has spent countless hours

939
00:56:02.199 --> 00:56:05.159
<v Speaker 2>in the field, in the forests, in the places where

940
00:56:05.159 --> 00:56:07.960
<v Speaker 2>these things are seen. And I'm a witness who has

941
00:56:08.000 --> 00:56:11.199
<v Speaker 2>seen one of these beings from ten feet away and knows,

942
00:56:11.880 --> 00:56:16.719
<v Speaker 2>not believes, not hopes, not wishes, knows that they are real.

943
00:56:17.880 --> 00:56:20.719
<v Speaker 2>The Patterson Gimlin film was never the reason I believed.

944
00:56:21.159 --> 00:56:23.719
<v Speaker 2>It was never the foundation of my work. It was

945
00:56:23.800 --> 00:56:27.000
<v Speaker 2>never the bedrock of the Sasquatch phenomenon, no matter how

946
00:56:27.079 --> 00:56:29.519
<v Speaker 2>much the media and the popular culture wanted to treat

947
00:56:29.559 --> 00:56:33.320
<v Speaker 2>it that way. If the evidence in capturing Bigfoot holds up,

948
00:56:33.719 --> 00:56:37.480
<v Speaker 2>and what's being reported certainly sounds damning, then the research

949
00:56:37.519 --> 00:56:40.960
<v Speaker 2>community needs to reckon with that, honestly, But I'm not

950
00:56:41.000 --> 00:56:43.960
<v Speaker 2>going to make that call based on secondhand reports, and

951
00:56:44.000 --> 00:56:47.559
<v Speaker 2>neither should you. I'm pursuing an interview with Mark Evans.

952
00:56:47.960 --> 00:56:50.800
<v Speaker 2>I'm working on getting an advanced screening of the film.

953
00:56:51.079 --> 00:56:54.800
<v Speaker 2>I've spoken with Doug Hichek, who offers a credible alternative

954
00:56:54.800 --> 00:56:58.400
<v Speaker 2>interpretation of the footage. I've spoken with Bill Munz, who

955
00:56:58.440 --> 00:57:01.559
<v Speaker 2>has physically examined the film and believes it doesn't prove

956
00:57:01.639 --> 00:57:05.159
<v Speaker 2>what the documentary claims. I've reached out to those close

957
00:57:05.199 --> 00:57:08.159
<v Speaker 2>to Bob Gimlin and am working to secure his perspective.

958
00:57:08.679 --> 00:57:11.519
<v Speaker 2>I'm doing the work, and when I've examined the evidence

959
00:57:11.519 --> 00:57:16.079
<v Speaker 2>for myself, I'll share my conclusions with you openly, honestly,

960
00:57:16.519 --> 00:57:20.400
<v Speaker 2>and without agenda. Because the sasquatch phenomenon is bigger than

961
00:57:20.440 --> 00:57:23.480
<v Speaker 2>one piece of film, bigger than one group of cowboys

962
00:57:23.480 --> 00:57:28.599
<v Speaker 2>from Yakima, bigger than one family's sixty year secret. It is,

963
00:57:28.880 --> 00:57:31.840
<v Speaker 2>in my view, one of the most fascinating and important

964
00:57:31.920 --> 00:57:35.199
<v Speaker 2>zoological questions of our time, and the answer to that

965
00:57:35.320 --> 00:57:38.199
<v Speaker 2>question will not be found by arguing about whether a

966
00:57:38.239 --> 00:57:42.199
<v Speaker 2>retired pepsi bottler fit inside a modified guerrilla suit in

967
00:57:42.280 --> 00:57:45.559
<v Speaker 2>nineteen sixty seven. It will be found in the field

968
00:57:45.840 --> 00:57:48.559
<v Speaker 2>in the forests by researchers who are willing to do

969
00:57:48.639 --> 00:57:53.159
<v Speaker 2>the hard, unglamorous, patient work of seeking the truth. It

970
00:57:53.199 --> 00:57:55.400
<v Speaker 2>will be found by people who go into the woods,

971
00:57:55.400 --> 00:57:58.599
<v Speaker 2>not with cameras and costumes, but with open minds and

972
00:57:58.599 --> 00:58:01.719
<v Speaker 2>steady nerves and a willingness to accept what they find,

973
00:58:02.199 --> 00:58:05.480
<v Speaker 2>whatever that turns out to be. I'm still doing that work.

974
00:58:05.800 --> 00:58:08.599
<v Speaker 2>I hope you'll keep doing it with me. One more thing.

975
00:58:08.960 --> 00:58:11.719
<v Speaker 2>I know this newsletter is going to generate some heated discussion,

976
00:58:12.119 --> 00:58:14.760
<v Speaker 2>and I welcome it. If you want to talk about this,

977
00:58:15.360 --> 00:58:18.079
<v Speaker 2>really talk about it, not just shout past each other.

978
00:58:18.519 --> 00:58:21.920
<v Speaker 2>I'm here, reach out on social media, drop a comment,

979
00:58:22.320 --> 00:58:26.360
<v Speaker 2>send an email Brian at Paranormalworldproductions dot com.

980
00:58:27.000 --> 00:58:27.840
<v Speaker 3>But I'd ask you to.

981
00:58:27.800 --> 00:58:30.320
<v Speaker 2>Remember something as you engage with this topic and with

982
00:58:30.400 --> 00:58:33.480
<v Speaker 2>each other. We're all in this because we care about

983
00:58:33.519 --> 00:58:37.639
<v Speaker 2>the same thing. Whether you think the PG film is real, fake,

984
00:58:37.800 --> 00:58:41.320
<v Speaker 2>or somewhere in between, the underlying question that brought most

985
00:58:41.360 --> 00:58:45.599
<v Speaker 2>of us together hasn't changed. Something is out there. The

986
00:58:45.679 --> 00:58:49.000
<v Speaker 2>evidence for its existence goes far, far beyond one piece

987
00:58:49.000 --> 00:58:52.679
<v Speaker 2>of film, and the search continues. I also want to

988
00:58:52.719 --> 00:58:55.360
<v Speaker 2>say this directly to any skeptics who might be listening.

989
00:58:56.320 --> 00:59:00.320
<v Speaker 2>If Capturing Bigfoot vindicates your position on the Patterson Gimlin film,

990
00:59:00.840 --> 00:59:03.960
<v Speaker 2>then fair enough. But I'd encourage you to resist the

991
00:59:04.000 --> 00:59:07.559
<v Speaker 2>temptation to extrapolate from a single debunked film to the

992
00:59:07.719 --> 00:59:11.559
<v Speaker 2>entire phenomenon. The hoaxing of one piece of evidence does

993
00:59:11.599 --> 00:59:15.079
<v Speaker 2>not constitute proof that the subject of that evidence doesn't exist.

994
00:59:15.760 --> 00:59:19.800
<v Speaker 2>That's a logical fallacy, and you know it. The question

995
00:59:19.880 --> 00:59:23.079
<v Speaker 2>of whether Sasquatch exists is an empirical one, and it

996
00:59:23.119 --> 00:59:26.199
<v Speaker 2>will be answered or not on the basis of the

997
00:59:26.239 --> 00:59:29.079
<v Speaker 2>total body of evidence, not on the basis of what

998
00:59:29.199 --> 00:59:32.599
<v Speaker 2>Roger Patterson did or didn't do in a California creek

999
00:59:32.639 --> 00:59:36.280
<v Speaker 2>bed in October of nineteen sixty seven. If your interest

1000
00:59:36.320 --> 00:59:39.480
<v Speaker 2>is in truth, then keep your mind open. If your

1001
00:59:39.519 --> 00:59:43.039
<v Speaker 2>interest is only in being right, well enjoy the moment.

1002
00:59:43.800 --> 00:59:45.920
<v Speaker 2>But the woods are still out there, and they're still

1003
00:59:45.960 --> 00:59:49.719
<v Speaker 2>full of things we don't understand. Stay tuned. I'm not

1004
00:59:49.800 --> 00:59:53.320
<v Speaker 2>done with this story, not by a long shot. When

1005
00:59:53.320 --> 00:59:55.920
<v Speaker 2>I get that screening, when I sit down with Evans,

1006
00:59:56.320 --> 00:59:59.000
<v Speaker 2>when I hear from Gimlin, you'll be the first to know.

1007
00:59:59.679 --> 01:00:02.519
<v Speaker 2>I'll dedicate a full episode to this across.

1008
01:00:02.119 --> 01:00:03.519
<v Speaker 3>One or more of our shows.

1009
01:00:04.119 --> 01:00:06.360
<v Speaker 2>I'll bring on guests who have seen the film and

1010
01:00:06.440 --> 01:00:09.880
<v Speaker 2>guests who haven't. I'll present every side of the argument

1011
01:00:10.119 --> 01:00:13.159
<v Speaker 2>and let you hear the evidence and the interpretations for yourself.

1012
01:00:13.960 --> 01:00:17.360
<v Speaker 2>That's what we do at Paranormal World Productions. We don't

1013
01:00:17.360 --> 01:00:19.880
<v Speaker 2>tell you what to think. We give you the information

1014
01:00:20.079 --> 01:00:22.719
<v Speaker 2>and the analysis, and we trust you to think for

1015
01:00:22.760 --> 01:00:27.480
<v Speaker 2>yourselves in the meantime, watch the documentary when it becomes available,

1016
01:00:28.119 --> 01:00:32.840
<v Speaker 2>examine the evidence for yourself, think critically. Don't let anyone,

1017
01:00:33.079 --> 01:00:36.239
<v Speaker 2>not a filmmaker, not a skeptic, not a true believer,

1018
01:00:36.639 --> 01:00:39.920
<v Speaker 2>and not me, tell you what to think. Look at

1019
01:00:39.920 --> 01:00:42.639
<v Speaker 2>the evidence and make up your own mind. That's all

1020
01:00:42.679 --> 01:00:45.000
<v Speaker 2>any of us can do. And if you come to

1021
01:00:45.039 --> 01:00:49.400
<v Speaker 2>a different conclusion than I do, that's fine. Honest disagreement

1022
01:00:49.440 --> 01:00:53.159
<v Speaker 2>based on genuine examination of the evidence is healthy. It's

1023
01:00:53.199 --> 01:00:56.159
<v Speaker 2>the people who form opinions without examining the evidence who

1024
01:00:56.239 --> 01:00:59.840
<v Speaker 2>worry me. And right now, in the immediate aftermath of

1025
01:00:59.840 --> 01:01:03.360
<v Speaker 2>this documentaries premiere, there are an awful lot of people

1026
01:01:03.400 --> 01:01:06.920
<v Speaker 2>doing exactly that on both sides of the aisle. Until

1027
01:01:06.960 --> 01:01:10.519
<v Speaker 2>next time, stay curious, stay skeptical in the right ways,

1028
01:01:10.880 --> 01:01:13.519
<v Speaker 2>and for the love of everything, stay in the woods.

1029
01:02:11.480 --> 01:04:23.840
<v Speaker 1>Ditto and