Speaker 1: Today, I want to tell you about a journey that
Speaker 1: I've been on for most of my life. Ever since
Speaker 1: I was a kid, I've heard tales of bigfoot and
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Speaker 1: my interest in encryptids and other things strange only deepened.
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Speaker 2: Open up to an A.
Speaker 3: C are there's something in the woods?
Speaker 2: Anata te you what you're about to see you or
Speaker 2: something in the woods?
Speaker 3: Knocking in the parking change your rye the olm and said,
Speaker 3: don't go outside.
Speaker 2: There's something in the woods tonight.
Speaker 1: I hear rim knocking, shaking bushits foot, Prince Howland on
Speaker 1: my lung.
Speaker 2: Open up to an A see something.
Speaker 3: In the woods?
Speaker 1: Her folks, don want to welcome our guest to the show.
Speaker 1: It is the man, the myth, the legend himself, Daniel Perez.
Speaker 1: Welcome to the show, sir.
Speaker 4: Great to see you. Let's talk to that squatch.
Speaker 1: I have been looking forward to this. I was talking
Speaker 1: before we hit the record button. How we've ran in
Speaker 1: the same circles, We've known some of the same people
Speaker 1: for so long, and we're just now getting to sit
Speaker 1: down face to face and have a conversation. Let's start
Speaker 1: with the easy question where I like to start with everybody.
Speaker 1: What got you interested in the subject of Sasquatch? To
Speaker 1: begin with by.
Speaker 3: Watching a movie at the walk In Theater when I
Speaker 3: was about ten years old called the legend of Boggy Creek.
Speaker 4: Prior to that, I knew.
Speaker 3: Nothing about bigfoot monsters, Stasquatchydie.
Speaker 4: I didn't know any of it.
Speaker 3: So when I saw there movie, it was presented you
Speaker 3: should take this seriously. The way it was being broadcast
Speaker 3: at the theater. The whole presentation of that movie hit
Speaker 3: me like a ton of bricks. I couldn't believe that
Speaker 3: this was happening in Arkansas. At ten years old. Of
Speaker 3: course I knew, you know, if you look at map
Speaker 3: and you know where Arkansas is.
Speaker 4: I couldn't believe this was really happening.
Speaker 3: My next logical move, because by then I already had
Speaker 3: a library card, was to go to the library look
Speaker 3: up what available literature they had on the subject matter.
Speaker 3: The lady there at the counter directed me to the
Speaker 3: Big Boot Book and Stapsquatching Yetti. That's how I got started,
Speaker 3: and I never let go. I'm sixty one now and
Speaker 3: I was in when I got started, and I find
Speaker 3: it beyond fascinating.
Speaker 4: What a topic.
Speaker 1: It is definitely one of those topics that keeps you
Speaker 1: coming back for more. I love the mystery that's involved
Speaker 1: in this. There's a ton of things that will hopefully
Speaker 1: get to during the interview. But the first place I
Speaker 1: want to start, obviously is with the Patterson Gimlin film.
Speaker 1: That is something that comes up with everybody. I think
Speaker 1: anybody who's interested in Bigfoot, most people who aren't even
Speaker 1: interested in the subject, has seen that famous image of
Speaker 1: Patty looking back at the camera. When did you really
Speaker 1: get involved in looking in depth into this film? Where
Speaker 1: were you then and where have you ended up in
Speaker 1: that journey since you've been looking into this Patterson Gimlin film.
Speaker 3: When it started to be broadcast on television in advertisements
Speaker 3: for the movies, I guess there was another movie called
Speaker 3: The Mysterious Monsters that came out at the movie theaters.
Speaker 3: In their advertisements on TV was a short clip of
Speaker 3: the Patterson Gimlan film. Parents had an eight millimeter movie camera,
Speaker 3: so I thought to myself, the first time I really
Speaker 3: used their camera, I wondered to myself if I could
Speaker 3: take the movie that was shown on the TV screen
Speaker 3: and film it with the camera, and.
Speaker 4: It actually worked out pretty good.
Speaker 3: So we had this hallway, and so when we got
Speaker 3: the film developed, we had a hallway in our house
Speaker 3: that I grew up in Norwalk. I did a lot
Speaker 3: of not strange things, but innovative things that a young
Speaker 3: teenager would do. I closed all the doors, and I
Speaker 3: had some tell so I locked off all the lights
Speaker 3: in the hallway, and I had an extension cord with
Speaker 3: the projector, and I was looking at the film just
Speaker 3: to see what I could see.
Speaker 4: To me, it looked very impressive, very real.
Speaker 3: So that's how I started to get intrigued by the
Speaker 3: film itself. I didn't realize at the time, and this
Speaker 3: was probably the mid seventies that even today, in twenty
Speaker 3: twenty five, this would still be the most important piece
Speaker 3: of evidence for the entire Big Book mystery. As I
Speaker 3: was checking out books, there were two books, one by
Speaker 3: John Green and one by Renee to Hindon. In both
Speaker 3: of those books they had addresses at the back of
Speaker 3: the book to write to the authors if you wanted
Speaker 3: more information. So I wrote to John Green lo and behold.
Speaker 3: I didn't say I'm a thirteen year old care or whatever,
Speaker 3: but Team wrote back, so it got me more stocked in.
Speaker 3: And then when I wrote to Renee to Hindon, Team
Speaker 3: wrote back to me, and I just thought to myself,
Speaker 3: this is incredible. So I got even more book on
Speaker 3: the whole thing. I did not know at the time
Speaker 3: that if you were thinking maybe baseball and basketball, that
Speaker 3: you're dialing into Michael Jordan and channeling Babe Bruce at
Speaker 3: the same time. I went straight to the top people instantly,
Speaker 3: and they were my sources of information. That's how I
Speaker 3: started to grow in the field, and I just got
Speaker 3: that interest up.
Speaker 4: Over all these years.
Speaker 1: I have always been on the fence with Bigfoot in general. Frankly,
Speaker 1: I had experiences when I was a child that I
Speaker 1: believe I was paced out of the woods by one
Speaker 1: of these things when I was twelve, and I've always
Speaker 1: been fascinated with it, and I've always been fascinated with
Speaker 1: the Patterson Gimblin film. But I've always been a very
Speaker 1: skeptical person. I was telling you before we started the interview.
Speaker 1: I did sixteen years in law enforcement. I have a
Speaker 1: very nuts and bolts kind of brain. I'm a very
Speaker 1: Okham's raisor scientific method kind of guy. I've got to
Speaker 1: see the evidence, and for me, that film was always compelling.
Speaker 1: I always felt there was something more there when I
Speaker 1: saw the film, and I went back and forth. I've
Speaker 1: read Greg Long's book about it, being Bob haranums in
Speaker 1: this suit. But I've always, over the years concentrated more
Speaker 1: on the only thing that we really have left, which
Speaker 1: was Bob Gimlin. Roger Patterson passed away in the early
Speaker 1: seventies of cancer. I know you got to get involved
Speaker 1: in that, and I certainly want to get into that
Speaker 1: part of the story. But for me, I've always looked
Speaker 1: at what Bob has said over the years and has
Speaker 1: that evolved, Has there been any things that I've been
Speaker 1: trained in interrogation techniques and interview techniques as a law
Speaker 1: enforcement officer, so I concentrated more on some of the interviews.
Speaker 1: So I went through and looked at some of the
Speaker 1: things he had said in nineteen sixty seven, just a
Speaker 1: few days after the film was made, versus what he
Speaker 1: said later on in life. What has been your approach
Speaker 1: and how have you looked into this film? Has it
Speaker 1: been through the Bill Munn stuff, Has it been through
Speaker 1: MK Davis? Have you done your own research? What has
Speaker 1: been your approach to looking into this film and seeking
Speaker 1: the answers that Daniel wanted from the film.
Speaker 3: Everything in terms of consulting other people's learns, not his
Speaker 3: first and foremost see if you want to learn something
Speaker 3: about a subject, you have to consult or read other
Speaker 3: people's literature about their thoughts for their investigation and research
Speaker 3: in the matter.
Speaker 4: So I'm very familiar with what MK did, this has done,
Speaker 4: I'm very familiar with what pill Months has done, and
Speaker 4: all the other people that have come before them.
Speaker 3: Then I've done my own research, and I've been on
Speaker 3: the film site quite a few times to establish in
Speaker 3: twenty twelve, beyond the shadow of doubt that we were
Speaker 3: on the film site, the correct film site. We did
Speaker 3: several measurements to determine how far things were in relationship
Speaker 3: to one another, and how far things were the background
Speaker 3: creed in relationship to where.
Speaker 4: The camera was placed.
Speaker 3: But you've got to remember that Roger Patterson was on
Speaker 3: the move, so the camera wasn't all the time in
Speaker 3: one place. With regard to Bill mun Bill Munn has
Speaker 3: mentioned in my book, and I'll take a moment to
Speaker 3: show you this book just came out this month. It's
Speaker 3: on sale right now. This is it right here, Bigfoot
Speaker 3: at Block Creek, A Pictorial Discussion. It's one hundred and
Speaker 3: thirty pages long, printed here in the United States on
Speaker 3: book lost paper. It just the beautiful production. So we
Speaker 3: discussed Bill Muns. We just got MK Davis. Nolgrim has
Speaker 3: mentioned the late Eric Extort has mentioned, Bob Fitness is
Speaker 3: in here, John Green is in here.
Speaker 4: Rene to Hindon is in here.
Speaker 3: It really showcases all the important and significant work that
Speaker 3: was done on the film side. The pass in comments
Speaker 3: say that someone might put on Facebook or something that
Speaker 3: oh I could see in the background there's little one
Speaker 3: out there, but.
Speaker 4: You don't put much credence in there on that statement.
Speaker 3: You just move on that these are just colorful statements.
Speaker 3: But other people, as I've mentioned, between say Lyya Labberty
Speaker 3: who was on the film side, Bob Fitness, Jim McClaren,
Speaker 3: John Green, Renee To Hindon, they're mentioned in the sense
Speaker 3: that this is what they've done with regard to the
Speaker 3: film site that is significant. So all of that's encapsulated
Speaker 3: in this book. It's full color.
Speaker 4: So it's an incredible book and it's self published.
Speaker 3: If not something that I would allow a publisher to publish, accept,
Speaker 3: I want to do this on my own because I
Speaker 3: want to have total control of production.
Speaker 1: So was there ever a point when you saw the
Speaker 1: film that you had your doubts about it or were
Speaker 1: you always sold that they had captured a sasquatch on
Speaker 1: film as I.
Speaker 4: Was growing up.
Speaker 3: You've got to remember so when you're from tend to
Speaker 3: age twenty five, your brain is also developing as well
Speaker 3: as is your body. As you take the science courses
Speaker 3: in college and in high school.
Speaker 4: It creates a more critical thinker.
Speaker 3: So I started looking at it a little more scientifically
Speaker 3: and again consulting what other people have done, mostly today
Speaker 3: because of the film stabilization, and I think MK Davis
Speaker 3: was one of the first people to do something like
Speaker 3: that stabilize the frame, essentially take the jiggle out of
Speaker 3: the film, because Roger.
Speaker 4: Patterson was running for a portion as he was filming
Speaker 4: so the film.
Speaker 3: If he would look at my hand, it was jiggling
Speaker 3: all over, especially in the early parts of the movie.
Speaker 3: When they stabilized the film a little better, you could
Speaker 3: see it better and you could start understanding or start
Speaker 3: viewing for yourself. Oh my goodness, those look like muscle
Speaker 3: mass is moving, and they appeared to be moving in
Speaker 3: concert like a person. Would you get the expansion the
Speaker 3: contraction exactly when it should be had it been a
Speaker 3: costume as Rerenee de Hinden. You would often say if
Speaker 3: that a gorilla costume would not accentuate the muscle, it
Speaker 3: would conceal the muscle.
Speaker 4: So the fact that.
Speaker 3: You're seeing the muscle mass of moving that's very important
Speaker 3: as of today because of that work that's been done,
Speaker 3: the stabilization and the various reports, Jeff Blickman's report as well,
Speaker 3: who studied the film for Peter burn. I'm one hundred
Speaker 3: percent convinced that what can that film that last about
Speaker 3: just less than a minute is a female digbook. I
Speaker 3: have no trouble with that. Maybe a lot of other
Speaker 3: people do. It's just one of many that lives here
Speaker 3: in North America. Patty's probably passed on by now. She
Speaker 3: looked like she was an adult in nineteen fifty seven.
Speaker 3: But as we know, the primates such as gorillas and
Speaker 3: chimpanzees do not live as long as people, So she's
Speaker 3: probably passed on. What became of her remains, who knows,
Speaker 3: But that's my opinion. I can't prove it to other people.
Speaker 3: But I've discussed all of this in this book that
Speaker 3: has been a long time coming.
Speaker 1: Let's talk a little bit about the people behind the film,
Speaker 1: because again, that's what I concentrated on in my research
Speaker 1: looking into the film. Obviously, Roger passed away in the
Speaker 1: early seventies, but I know you got to spend some
Speaker 1: time with Roger's widow, and I know you spent time
Speaker 1: with Bob Gimlin. Can you talk a little bit about
Speaker 1: what you've learned in this process about the people behind
Speaker 1: those two guys, Roger Patterson Bob Gimlin, And did that
Speaker 1: go further to solidify the authenticity of the film or
Speaker 1: did it cause you to have any angst or any
Speaker 1: red flags that were thrown up in your research into
Speaker 1: the people.
Speaker 3: The only thing that I would like to know today
Speaker 3: is where the film was processed. In this book we
Speaker 3: discussed it. The location would be the Technicolor in Seattle,
Speaker 3: which is no more, and the other options were a
Speaker 3: Ford Motion Picture Lab, also in Seattle, and there was
Speaker 3: also another one there in Seattle as well as possible Canada.
Speaker 3: I never met Roger Patterson, but I have met his widow,
Speaker 3: Patricia Patterson.
Speaker 4: I met her one time. I was in her house.
Speaker 3: By then she had moved from the outskirts of the
Speaker 3: Acama into the city. Because I guess when she was
Speaker 3: living on the outskirts. The snow accumulation, she'd have to
Speaker 3: hire people to come in and clean everything off, and
Speaker 3: she just said the heck withus. IM getting older, she
Speaker 3: moved into the city into a much smaller home. So
Speaker 3: when they had the Yakama Bigfoot round up, I guess
Speaker 3: that was June of two thousand and nine. I attended
Speaker 3: that meet. I went over to see pat Patterson the
Speaker 3: first and only time I.
Speaker 4: Met her at the time when Roger got the film.
Speaker 3: She had three small children, so she was a full
Speaker 3: time off Roger was always doing his thing. Once he
Speaker 3: found out about Bigfoot, he was stung ho all the way,
Speaker 3: no stopping me, one hundred miles per hour. It probably
Speaker 3: never occurred to Roger that he had a family to
Speaker 3: support and had three kids, so she was really like
Speaker 3: the mom and dad of those kids. But Roger was
Speaker 3: phoning and had phone calls from various people, such as
Speaker 3: the late doctor John nay Pierre, who wrote a book
Speaker 3: about the subject in nineteen seventy three, I believe, and
Speaker 3: he had all these phone calls coming in from very
Speaker 3: important people, from the news people, from John Green, from
Speaker 3: Renee to Hendon, and she would often overhear some of
Speaker 3: this stuff, and so she would tell me, Yeah, she
Speaker 3: told me point blank that in terms of where the
Speaker 3: film was processed, she goes Seattle, but she never knew
Speaker 3: where in Seattle, only that Seattle was the location.
Speaker 1: And stay tuned for more Sasquatch out Toesy. We'll be
Speaker 1: right back after these messages.
Speaker 3: And that kind of fits with my research and other
Speaker 3: people who have researched the matter in terms of where
Speaker 3: the film was bossed. Then we could jump over to
Speaker 3: Bob Gimmlin. I met Bob Gimlin originally in the summer
Speaker 3: of nineteen ninety. I was coming home from the Seattle
Speaker 3: Good Wold Games at the time.
Speaker 4: Actually, believe it or not.
Speaker 3: When I was up at the Goodwool Games at the
Speaker 3: Husky Stadium, Ed Turner was there because it was his game.
Speaker 3: I was there for the track and field. He had
Speaker 3: a security detail around him, and Jane Fonda was with
Speaker 3: him too, his wife at the time. So here I was,
Speaker 3: whatever age I was in nineteen ninety, I'm on the
Speaker 3: outside of the stadium. He's on the outside of the stadium.
Speaker 3: He had in security detail with him. Reflectively, I did
Speaker 3: go oh, Ted Turner and I reached my hand through
Speaker 3: the security and he reached his hand out and I
Speaker 3: shook his hand.
Speaker 4: So that was incredible. I'm not shook.
Speaker 3: On the way home back to Los Angeles, I said
Speaker 3: I should probably stop in and see Bob Gimlin.
Speaker 4: He didn't know I was coming, and at the time.
Speaker 3: I think he had sold off some of the properties,
Speaker 3: but he had horses.
Speaker 4: When I drove up to his house, he was actually
Speaker 4: outside from He.
Speaker 3: Had a broken I guess maybe forearm or part of
Speaker 3: his arm was broken because it was in a flame,
Speaker 3: and in his other hand he was training a horse.
Speaker 3: Even with a broken arm, he was training a horse.
Speaker 3: I pulled up and stopped and I go, uh, something like,
Speaker 3: are you Bob Dimlin, And he shook his head in affirmative,
Speaker 3: and I told him I was Daniel Perez and he
Speaker 3: knew who I was nineteen ninety. So we started talking
Speaker 3: our first chat, and when I got out of it,
Speaker 3: this is almost his exact word.
Speaker 4: He said, it moved like a well oiled machine.
Speaker 3: It was just a very smooth. He was one hundred
Speaker 3: percent condemned in that nineteen ninety discussion with me. He
Speaker 3: didn't know I was dumping, but he knew who I was,
Speaker 3: so he entertained me, and that's what I got out
Speaker 3: of it. I remember, quote for quote that it moved
Speaker 3: like a well oiled machine. Then he tethered his horse,
Speaker 3: and then he took me to the house. He introduced
Speaker 3: me to his wife and she came out and said hello,
Speaker 3: And that was basically it. I just wanted to stop
Speaker 3: and see him. He allowed me to take a few
Speaker 3: photos and I did, and it was very positive about what.
Speaker 4: He had told me.
Speaker 3: That it further confirmed that everything that happened in sixty seven.
Speaker 4: Was probably legit.
Speaker 3: Like I said, my only thing is that what would
Speaker 3: be interesting would be, you know what the film was processed?
Speaker 3: And Roger Patterson did talk with a man from the newspaper,
Speaker 3: and it's discussed in this new book of mine. A
Speaker 3: newspaper article where the reporter said where did you have
Speaker 3: the film process? He says, I got it process or
Speaker 3: I got them process the footprint film and the creature
Speaker 3: film at a private place. Then he also said, this
Speaker 3: is almost exact quote. He said something to the fact
Speaker 3: that it would jeopardize the man's job if it were told.
Speaker 3: So we know for a fact, based on what Roger
Speaker 3: said is that the person who processed the film was
Speaker 3: a man, but at a private place. Maybe he just
Speaker 3: said private place to throw people off, because everything kind
Speaker 3: of points to Ford the Motion Picture Lab at a
Speaker 3: place where it was processed.
Speaker 4: Gene Bade from Renton.
Speaker 3: Washington also wrote a book and he has interviewed some
Speaker 3: people who will also point in that direction, and he
Speaker 3: discusses in his book about the possible venue where the
Speaker 3: film was shot developed at the Technicolor lab. It was
Speaker 3: called Technicolor in Seattle, and that's what Genis come to
Speaker 3: the conclusion, and that seems to be my conclusion as well.
Speaker 3: So that's the only thing that I would love to
Speaker 3: know after who wrote the original piece in the Eureka
Speaker 3: Time Standard, because that was the original publicity that the
Speaker 3: world found out about the film was an article the
Speaker 3: thestike Footest Film. There's something along those lines, but no
Speaker 3: one ever knew who wrote the article, And as the
Speaker 3: years went by, a lot of budding researchers speculated, oh
Speaker 3: much have been Andrew Jim Joyly because he was always
Speaker 3: writing the Bigfoot pieces for the Eureka Time Standards.
Speaker 4: But in that article there's no bylock. So I researched
Speaker 4: the matter, and in two thousand and six.
Speaker 3: I went to the microfilms of the newspaper to find
Speaker 3: out if we could find out an answer low and behold,
Speaker 3: one week or maybe two weeks after that, there was
Speaker 3: a secondary article about the Patterson Genland film. The writer
Speaker 3: of it was al Soascatto coos Pado. I believe that's
Speaker 3: how he sell the last name. He's deceased now, but
Speaker 3: it looks like he was the individual who picked up
Speaker 3: the phone when Roger called to the newspaper, alerting the
Speaker 3: world about his film. So I was able to establish
Speaker 3: that through the library research, in which the secondary article
Speaker 3: on the film has some of the same phrases that
Speaker 3: you see in the original article. But back then with newspapers,
Speaker 3: if you were to left copy from one newspaper and
Speaker 3: put it in another without quotation, that would be considered plagiarism.
Speaker 3: And back then the newspaper was the World Wide Web,
Speaker 3: and if he did that, he basically got fired. But
Speaker 3: if you're borrowing from your fel it's not plagiarism because
Speaker 3: it's your own writing. So the first article, Missus Bigfooted
Speaker 3: Film had no byline, the second one didn't have a byline,
Speaker 3: and so based on the fact that you've seen the
Speaker 3: same passages in both articles, I determined that the person
Speaker 3: who wrote the article was out style and that was
Speaker 3: me who did that, and not the stuff in the
Speaker 3: book as well.
Speaker 1: That's the kind of stuff that you've got to get
Speaker 1: Daniel Perez on your show for everybody to find out,
Speaker 1: because nobody ever goes to those places. And I love it.
Speaker 1: Let me ask you this. This is something that's always
Speaker 1: bugged me a little bit about the movement in the film.
Speaker 1: And I know there's been a lot of hoopla over
Speaker 1: the years about the actual camera. I had MK Davis
Speaker 1: and Todd Gatewood on the show last year and we
Speaker 1: talked a little bit about Todd Gatewood actually has one
Speaker 1: of those cameras. He was talking about the possibility of
Speaker 1: the film being filmed at a certain speed versus another
Speaker 1: speed and how that would affect the movement. Can you
Speaker 1: talk a little bit about that. Has has that ever
Speaker 1: been a concern for you or in your research into
Speaker 1: the film, What if anything, have you found about what
Speaker 1: you think about the speed at which this was filmed
Speaker 1: and how that would affect Patty's movement in the film.
Speaker 4: I've got a copy of the camera right in front
Speaker 4: of me. Here.
Speaker 3: This is the Kodak K one hundred movie camera, and
Speaker 3: this particular model here, if you look at it is
Speaker 3: equipped with the lens. This's where my finger is. This
Speaker 3: is the filming lens, and back in the day, this
Speaker 3: one's care is also the viewing lens. So when you
Speaker 3: look in the camera on the backside here, you will
Speaker 3: see a rectangle and within that rectangle is what you're filming,
Speaker 3: so it'll show you edge to edge what you're picking up.
Speaker 3: But you got to remember when Roger was filming, he
Speaker 3: was on the run, so it's not certain whether his
Speaker 3: I was on the camera at all time. He may
Speaker 3: have just been pointing in that general or direction, hoping
Speaker 3: for the best. But in terms of frames per second,
Speaker 3: it was probably filmed at sixteen frames per second. I
Speaker 3: think there's somewhere in the literature where Rogers said something
Speaker 3: to the fact that it was filmed at sixteen frames
Speaker 3: per second. It's not in my book, but I have
Speaker 3: it in my file. I don't know why I did
Speaker 3: not put it in here. It probably would have been
Speaker 3: a good idea. But the late Renee the Hindon stated
Speaker 3: that it was filmed that the slower speed, because the
Speaker 3: slower the speed, the more the blur in the film.
Speaker 3: And that's correct.
Speaker 4: So if it were filmed at a higher speed, you'd
Speaker 4: have left blur.
Speaker 3: You start slowing it down, you'll have a lot more
Speaker 3: blur in the film. And that's what the film shows.
Speaker 3: This particular model, like the one that Roger yeused, it
Speaker 3: has sixteen jumps to twenty four, thirty two, forty eight
Speaker 3: and sixty four frames per second when the lake rover
Speaker 3: France said the film was shot at eighteen frames per second.
Speaker 3: How would you know that because there's no dial bit
Speaker 3: it goes from sixteen to twenty four.
Speaker 4: To get to eighteen. It would be just.
Speaker 3: Again GloBL Krantz never had a copy of the camera.
Speaker 3: He did speak with Roger Patterson. There's the speed dial
Speaker 3: right there, so it goes from sixteen to twenty four.
Speaker 4: So if if we're filmed at eighteen.
Speaker 3: You're not going to physically know that because it's between
Speaker 3: sixteen and twenty four, but it was probably filmed that's
Speaker 3: sixteen frames per second. And in terms of how that
Speaker 3: effects what you're seeing in the movie in today's technology,
Speaker 3: it's somewhat irrelevant because you could make that film go
Speaker 3: at any seed you want. So the correct answer to
Speaker 3: dial it in exactly is on that same reel of film.
Speaker 4: There's nine hundred and fifty four frames in.
Speaker 3: The PG film, but the whole reel of film has
Speaker 3: shop of the horses that.
Speaker 4: Were with us. Because we don't know what a stop
Speaker 4: Courts is supposed to look like or a bigfoot.
Speaker 3: But when we're looking at horses on a movie, we
Speaker 3: know for a fact how fast they should be moving
Speaker 3: or what they should look like at a certain speed.
Speaker 3: So what you do is you dial in the horses
Speaker 3: perfectly at the frames per second and whatever speed that is.
Speaker 3: The Bigfoot in the later part of the rail is
Speaker 3: the same.
Speaker 4: Does that make sense?
Speaker 1: For the first time in my life, it actually makes
Speaker 1: sense because nobody's ever talked about the horses while we're
Speaker 1: on the horses. I've always had this theory that they
Speaker 1: played a role in how Bob and Roger were able
Speaker 1: to get so close to Patty. I host multiple podcasts.
Speaker 1: The other show that I do is called that Bigfoot Podcast.
Speaker 1: Wwayne and I have talked about this multiple times that
Speaker 1: we want to do a horseback expedition in what would
Speaker 1: be considered a modern day hotspot for Bigfoot, because I
Speaker 1: think there's something to be said about some of the
Speaker 1: film that we've gotten aka the most important the Patterson
Speaker 1: Gimlin film was because these guys were back there for
Speaker 1: almost a month on horseback. In looking into this film
Speaker 1: and just subjectively your opinion about it, do you think
Speaker 1: that played a role and the horses were integral in
Speaker 1: possibly getting closer to the Sasquats than we ever have
Speaker 1: since then, I.
Speaker 3: Would say one hundred percent, one hundred percent of the
Speaker 3: horse a big factor, and John, the later author John
Speaker 3: Green the step of that too, because that horses must
Speaker 3: have been a critical factor for their success. And the
Speaker 3: reason I say that is that in their natural life
Speaker 3: of Bigfoot may or may not see a horse in
Speaker 3: person their entire life. But if they do, horses do
Speaker 3: not present any sort of danger to them, and if anything,
Speaker 3: it'd be a full food source. But maybe not really
Speaker 3: because they probably don't see a hole lot of horses
Speaker 3: in their lifetime. But the fact that the horses were there,
Speaker 3: Roger and Bob were on top of these horses, that
Speaker 3: the Bigfoot Patty may have not recognized the fact immediately
Speaker 3: that oh there's people on top of these horses, because
Speaker 3: if she had seen a horse before, she had probably
Speaker 3: seen just the horse by itself in someone's farm or something,
Speaker 3: and the horse was by itself, and so they see
Speaker 3: the horse, they don't equate any danger aspect to it.
Speaker 3: Then also too, and this is in the literature, is
Speaker 3: that Roff Creek they were going upstream, and based on
Speaker 3: the testimony, I think it's either from Roger or Bob
Speaker 3: or bow is there was a slight breeze going in
Speaker 3: the direction of the creek, which would be they were
Speaker 3: coming up the creek. The breeze was coming down the creek.
Speaker 3: So whatever smell they were putting out between Roger involved
Speaker 3: and the horses, it wasn't going upspring where Patty was.
Speaker 3: It was going downstring. If she was very keen with
Speaker 3: her nose, she was not able to pick up any mouth.
Speaker 3: In this rare instance, the two writers, Roger and Bob,
Speaker 3: took her by supply.
Speaker 1: Let's talk a little bit about the testimony of Bob
Speaker 1: and Roger. Obviously, Bob has been around and done tons
Speaker 1: of interviews over the subsequent years after the film was filmed.
Speaker 1: He hasn't done anything in a while He's ninety three
Speaker 1: years old at this point, so he's not doing a
Speaker 1: whole lot of interviews and conferences and things that he
Speaker 1: used to do. But one of the things I did
Speaker 1: when I was really looking into the film, I'm not
Speaker 1: a film expert. I don't even play one on television.
Speaker 1: So I looked more at the testimony and what they said.
Speaker 1: So I dug into the archives, and I actually reached
Speaker 1: out to Todd Prescott over at the Sasquatch Archives last
Speaker 1: year when we wanted to do a show about this
Speaker 1: over on that Bigfoot podcast. I asked him for permission
Speaker 1: to use some of what he had up. There's an
Speaker 1: interview that takes place with Jack Webster, the host, on
Speaker 1: a radio program six days after this film was filmed,
Speaker 1: back on October twenty sixth, nineteen sixty seven, and some
Speaker 1: of the things that I was focused on, I wanted
Speaker 1: to obviously hear what Roger said. I tried to find
Speaker 1: some interviews after that with Roger to see if there
Speaker 1: was any inconsistencies. But Bob is more prevalent because there's
Speaker 1: a lot more material out there. I looked back at
Speaker 1: an interview when he was eighty seven, back in twenty nineteen,
Speaker 1: and some of the things that he said, And there's
Speaker 1: a couple of things I want to get your opinion
Speaker 1: on and if it causes you any angst at all,
Speaker 1: because it's kept me up at nights a couple of times.
Speaker 1: But ultimately I came down on the fact I think
Speaker 1: it was just age playing into this. So I'll get
Speaker 1: to the point here. A couple of things that Bob
Speaker 1: said that stuck out to me. One was huge in
Speaker 1: twenty nineteen. He did this interview and he says it
Speaker 1: multiple times. They have him repeat the story a couple
Speaker 1: of times. I think this was actually a gotcha interview.
Speaker 1: I think they were trying to catch Bob saying something
Speaker 1: that was incorrect or trying to debunk That was just
Speaker 1: my feeling from the interview. But he said in the
Speaker 1: interview he describes this beautiful sunny Saturday if you look
Speaker 1: back October the twentieth, nineteen sixty seven, was a fright.
Speaker 4: I've heard that, and I knew that was a mistake.
Speaker 1: That's what I thought. Ultimately, it's on the record if
Speaker 1: you guys listen to that Bigfoot podcast. I said, I
Speaker 1: think it was just a failure in his mind. But
Speaker 1: they even pressed him on it and said, look, there's
Speaker 1: some guys that were building a road nearby, and Bob
Speaker 1: was adamant about it being a Saturday, because they said,
Speaker 1: do you think somebody was pulling a fast one? Did
Speaker 1: you think these guys could have put a suit on?
Speaker 1: And Bob was like, no, it was a saturday. There
Speaker 1: was no machinery going there was nothing going on. But
Speaker 1: again I went back to Okay, it was probably age.
Speaker 1: The other thing he said. In the sixty seven interview,
Speaker 1: they talk about Roger's horse falling and him having to
Speaker 1: get out from under it and have the presence of
Speaker 1: mind to reach it in the left siddle bag to
Speaker 1: pull the camera out and get the shots. Then this
Speaker 1: twenty nineteen interview, Bob says, because of his skill as
Speaker 1: a horseman, Roger was able to stay on his feet.
Speaker 1: I know you've talked about this before. Can you clear
Speaker 1: that up for the listeners. Did Roger's horse go down
Speaker 1: or not? And how do you think he was able
Speaker 1: to get the camera out and get the film that
Speaker 1: he got.
Speaker 3: Here's the thing from the original newspaper article, Roger's talking
Speaker 3: to the reporter. He talks about falling over and having
Speaker 3: the bent surrup from the horse because the horse fell
Speaker 3: over with him. So when this incident initially took place, say,
Speaker 3: for instance, it's a bank robbery at the Bank of
Speaker 3: America and you're in there with your spouse, the guy
Speaker 3: all of a sudden pulls his gun out. You're not
Speaker 3: going to be looking at your spouse. You're going to
Speaker 3: be looking at him. Your direction is directed at the
Speaker 3: person with the gun.
Speaker 1: Stay tuned for more sasquatch out to sell right back
Speaker 1: after these messages.
Speaker 3: So when Patty was there, you could think of Patty
Speaker 3: as the person with the stick of up gun. Is
Speaker 3: that Bob Gimlin's attention was directed at her, and so
Speaker 3: was Roger Patterson. So whatever was happening with Patterson on
Speaker 3: the horse, he probably missed all that action. He told
Speaker 3: me to and I found it hard to believe. He said,
Speaker 3: Roger really didn't have any incidents with the horse. But
Speaker 3: Roger fell over with the horse. And we talk about
Speaker 3: that in this book as well. Because Phil McCoy, who's
Speaker 3: now deceased, who was saw Roger Patterson the same day
Speaker 3: in the evening with Al Hodgson, stated that he said,
Speaker 3: I knew something definitely happened because Roger was limping, and
Speaker 3: he's saying Roger, within hours after the film, Roger was
Speaker 3: limping and he said he was shouting the ben dura
Speaker 3: that Roger had. This is testimony from Phil McCoy, who
Speaker 3: lived up in Willow Creek in that area, who said
Speaker 3: that this is what he saw that same day, and
Speaker 3: I originally met him where I was seventeen years old.
Speaker 3: There's a photo of Phil McCoy and myself in this
Speaker 3: book and the discussion about the ben sura as well.
Speaker 3: Like I said, when the initial occurrence happened, I don't
Speaker 3: think Bob Gimlan was looking at Roger Patterson. He was
Speaker 3: looking at Patty because this was entirely unprecedented in terms
Speaker 3: of thing with something like that, So he wasn't paying
Speaker 3: attention to Roger. He was paying attention to this unknown
Speaker 3: subject on the sandbags. The focus is somewhere else, not
Speaker 3: on Roger Patterson. But what happened to Roger Patterson. His
Speaker 3: horse fell over. He got caught on the side of
Speaker 3: the horse. Roger was I think five to three, but
Speaker 3: he got it realized this horse was not a big horse,
Speaker 3: as Bob Gimlin said, it was just a small horse.
Speaker 3: So the horse falls over on its side and then
Speaker 3: gets back up by the way he ends Roger Patterson,
Speaker 3: which causes in to limp and also then the stirrup.
Speaker 3: And so when David Murphy, a bigfoot investigator researcher here
Speaker 3: in southern California, went up to do a book, he
Speaker 3: was up in Yakama in about two thousand and five.
Speaker 3: He said he visited with pat Patterson. The Patterson home
Speaker 3: at the time was out of Yakama, and there was
Speaker 3: a separate building called the tack room. And in this
Speaker 3: tack room on now side, according to Dave Murphy, there
Speaker 3: was nailed to the wood a ben stirrup. And I
Speaker 3: discussed this book. I said, of what possible significance whether
Speaker 3: a rancher or a horse breeder or a horse person
Speaker 3: nail up a ben stirrup to the side of your
Speaker 3: tack room. Usually they throw that stuff away. David said
Speaker 3: that he got a photo of it with his wife's camera,
Speaker 3: but because the farmat was sold, he could never retrieve
Speaker 3: it back. But that's what he told me, and that's
Speaker 3: what found its way into this book. Bob Gimlin's memory
Speaker 3: on that even at the time in question. It probably
Speaker 3: doesn't have that bit of a memory because he's not
Speaker 3: looking at Roger, He's looking at Patty.
Speaker 1: It makes perfect sense. I want to be respectful of
Speaker 1: your time. So there's a couple of other things that
Speaker 1: I want to breeze through here and just get your
Speaker 1: opinion on. Because you've been doing this for a ton
Speaker 1: of years, You've seen tons of things come and go
Speaker 1: in the Bigfoot zeitgeist. Has there been any other footage
Speaker 1: that you've seen? I guess most people in the community, I,
Speaker 1: for one, consider the Freeman footage to be the second
Speaker 1: gold standard when it comes to bigfoot footage. But I
Speaker 1: know there's a lot of naysayers out there. I've been
Speaker 1: in arguments with people online because I'm friends with Michael Freeman,
Speaker 1: Paul Freeman's son. I don't believe Paul Freeman was a hoaxer,
Speaker 1: but I could be wrong. I'm open to being wrong.
Speaker 1: But where are you on the Freeman footage, maybe in
Speaker 1: comparison or just stand alone when it comes to the pgfilm,
Speaker 1: Where do you rank that Freeman footage, whether it be
Speaker 1: the first video or the second, in authenticity for lack
Speaker 1: of a better term, or just your opinion in general
Speaker 1: on the Freeman footage.
Speaker 3: My opinion in general, specifically about the video that was
Speaker 3: shot August.
Speaker 4: Twentieth of nineteen ninety two, is ling.
Speaker 3: Very heavily positive and light of the fact that Michael Freeman,
Speaker 3: his son, has produced the book and I got a
Speaker 3: hold of the book and I read it because whenever
Speaker 3: there's something that is in support of the film, I
Speaker 3: want to know about it. I want to read about it.
Speaker 4: In the summer of twenty twenty two, I was up.
Speaker 3: In Eugene, Oregon for the World Championships of Track and Field,
Speaker 3: and I thought to myself, Wow, I'm up here.
Speaker 4: I'm this far up into Oregon.
Speaker 3: I may as well go out to Wall of Washington
Speaker 3: and see if I could go to the Freeman film site,
Speaker 3: which I did pluck for Rockman. I stopped at his museum.
Speaker 3: He gave me some directions on how to get there,
Speaker 3: so it's pretty easy to find. There's a big main
Speaker 3: dirt road and it sees off and it's right there.
Speaker 3: He could almost literally drive to it. It was my
Speaker 3: first time to see the film site for myself. It's
Speaker 3: a very good location. And the fact that Freeman got
Speaker 3: the big football until his dying day and has never
Speaker 3: left him that he was always out looking for more
Speaker 3: big put information. I think it might be difficult to
Speaker 3: fake a film like that, especially in why of the
Speaker 3: fact the second part of the footage shows what seemingly
Speaker 3: might be a juvenile or a baby. I met Paul
Speaker 3: Freeman one time in June of nineteen eighty nine. No
Speaker 3: disrespected him, but he never struck me as someone like
Speaker 3: a brilliant engineer or a build brilliant scientist. He just
Speaker 3: struck me as a kind of guy that had to
Speaker 3: make a living. You got to realize in June of
Speaker 3: nineteen eighty nine he hadn't shot his video because that
Speaker 3: would happen in ninety two, a couple of years later.
Speaker 3: But by eighty nine he was hot and heavy on
Speaker 3: the whole thing. But what really fascinated me that even
Speaker 3: in nineteen eighty nine, however old he was at the time,
Speaker 3: he was already walking with a king. He had a
Speaker 3: walking cane with him, And I thought to myself, this
Speaker 3: guy is finding all this big good evidence and he's
Speaker 3: walking with it.
Speaker 4: Came and I'm saying, this must all.
Speaker 3: Be on the side of the road, because this guy
Speaker 3: was not capable of going up a mountain side or
Speaker 3: anything like that. And sure enough, the video that he
Speaker 3: shot August twentieth of ninety two at the d Duck
Speaker 3: Springs area, you can walk right up to it if
Speaker 3: there's an incline in the area. It's very mild and
Speaker 3: easy to get to. After reading a lot about it,
Speaker 3: I have a pretty favorable point of view on his video.
Speaker 3: And I say that because the second half of it
Speaker 3: there's seems to be a juvenile or an infant that
Speaker 3: the big one seems to pick up or do something with.
Speaker 3: I don't know if Paul Flehman had the wherewithal to
Speaker 3: fake something like this, and it seems like maybe that
Speaker 3: is a real piece of footage. But there are a
Speaker 3: lot of pros and cons because he didn't give up
Speaker 3: a lecture at bray Crow's meet at a restaurant after
Speaker 3: the fact, and the things that he said there if
Speaker 3: not necessarily in concert with what happened.
Speaker 4: So he's his own worst enemy in the.
Speaker 3: Fact that he had a recounting of what transpired in
Speaker 3: ninety two that doesn't seem to be entirely consistent with
Speaker 3: what really happened. So I splashed my head. We had
Speaker 3: a discussion about this in the Bigfoot Times newsletter.
Speaker 2: I know.
Speaker 3: I turned one person who is a big Paul Freeman
Speaker 3: fand he just said, no more big Foot Times for me,
Speaker 3: because you're not telling me what I want to hear.
Speaker 3: I said, that's okay, go on your way. There'll be
Speaker 3: other people to get the big Foot Front.
Speaker 1: I just re up to my subscription today. There will
Speaker 1: be a link in the show notes for everybody to
Speaker 1: get the Bigfoot Times for sure, really quickly. Where are
Speaker 1: you on the Sierra Sounds? That's probably number three? The
Speaker 1: PG film, the Freeman footage and the Sierra Sounds always
Speaker 1: comes up on everybody's radar as far as evidence of
Speaker 1: the existence of these creatures. Where are you on the
Speaker 1: Sierra Sounds? Have you always been in support of have
Speaker 1: you moved your opinions on them as the years have
Speaker 1: gone on? Just in general? Where are you on the
Speaker 1: Sierra Sounds.
Speaker 4: I'm such a big reader of the whole topic. I've
Speaker 4: read all the stuff on the.
Speaker 3: Theerra Sounds as it was coming out, and especially the
Speaker 3: report that was published in Manlike Monsters on Trial, which
Speaker 3: came out I think in.
Speaker 4: Nineteen eighty two or thereabout the.
Speaker 3: Publication of that book, and there was a technical, scientific
Speaker 3: discussion about the Sierra down and what it would take
Speaker 3: to make those sounds artificially. The person who was writing
Speaker 3: the article said that it seemed to be far beyond
Speaker 3: the vocal range of a normal person. I've met al Berry,
Speaker 3: I've met Don Moorehead. I'm one hundred percent convent that
Speaker 3: what al Berry recorded is the real deal. They have
Speaker 3: to realize that al Berry was a reporter who came
Speaker 3: up there to expose this whole thing on behalf of
Speaker 3: Peter Burn, because Peter Burn put him onto the track
Speaker 3: about these guys up in the Sierra at a hunting
Speaker 3: camp to go find out more, and he was entirely
Speaker 3: convinced he would be able to pull the curtains back
Speaker 3: and find out, Ah, you guys have been hoaxing.
Speaker 4: But he found nothing like that.
Speaker 3: I've met both of them, had brief discussions with folk
Speaker 3: about the Thierown. I'm one hundred percent then, because this
Speaker 3: was happening not just to Ron Moorehead and Alberry, but
Speaker 3: also other that hunting party way before they got any publicity.
Speaker 3: They didn't know what it was all about, only that
Speaker 3: these things perhappen. So I'm one hundred percent convinced by
Speaker 3: the samurai chatter that is heard on the gate. And
Speaker 3: you got to remember, this portion of California, right out
Speaker 3: of Strawberry, California is off the beaten track from the
Speaker 3: Pacific north from the Bluff Freak area where a lot
Speaker 3: of reports have come out of.
Speaker 4: It's a whole different.
Speaker 3: Area, but very high up in elevation, and it seems
Speaker 3: like great fight to hide out because there's not a
Speaker 3: whole lot of people out there.
Speaker 1: As we talked about before we came on the air,
Speaker 1: I have had concerns about the Sierra Sounds that I
Speaker 1: have reached out to Ron. I'm actually scheduled to go
Speaker 1: up there February twenty fifth. I'm actually heading up to
Speaker 1: Ron's house. We're going to do a sit down interview
Speaker 1: with him because it came out I guess it was
Speaker 1: last year, maybe a couple of years ago. Todd Nice
Speaker 1: and Ron Morehead were over on another podcast, pielland Research,
Speaker 1: Jeff Harding's channel, and they were doing an interview and
Speaker 1: Todd just haphazardly said, Hey, Ron, you remember that time
Speaker 1: back in the nineties when we were doing this expedition
Speaker 1: and you bought the shoe Box with the other ten
Speaker 1: or twelve hours of the Sierra Sounds that you haven't released.
Speaker 1: Problem was like, yeah, we recorded a lot of that stuff,
Speaker 1: and people started asking questions. So I actually reached out
Speaker 1: to Ron a couple of days ago and asked him
Speaker 1: if I came up and did a sit down interview,
Speaker 1: would he be willing to pull out some of these
Speaker 1: unreleased tapes and play them on the air during the interview.
Speaker 1: And he has agreed to do that, so he and
Speaker 1: I are working out the details, but I'm planning on
Speaker 1: heading up to his place here in North Carolina in
Speaker 1: a couple of weeks to do that. I'm excited to
Speaker 1: hear if there's anything there that we haven't really heard.
Speaker 1: I have heard the samurai chatter in the Sierra Sounds
Speaker 1: when I was on expedition a couple of years ago
Speaker 1: up in Radium, BC, Canada with to odd standing. It
Speaker 1: was plain as day. It was very similar to what
Speaker 1: we hear their. I'm excited to hear if there's anything
Speaker 1: else that may be on those tapes that Ron hasn't released,
Speaker 1: so everybody can tune in for that once it's done.
Speaker 1: You mentioned it a couple of times I want to
Speaker 1: be very respectful of the longest running newsletter in the
Speaker 1: history of the world. Can you talk a little bit
Speaker 1: about the genesis of the Bigfoot Times, how that came
Speaker 1: about for you, and how you've kept it going all
Speaker 1: of these years as the one man band.
Speaker 3: This edition of the Bigfoot Time started by me in
Speaker 3: January of nineteen ninety and at the.
Speaker 4: Time it was the dawn of the internet.
Speaker 3: We're in our twenty eighth year, so this is the
Speaker 3: only ink on paper in the postal mail newsletter that
Speaker 3: you can buy today.
Speaker 4: No one has decided to compete with me. The reason
Speaker 4: why the longevity of.
Speaker 3: This newsletter is because this newsletter dares to ask questions
Speaker 3: that most people would not, So that's what's kept it going.
Speaker 3: You just go to Bigfoot Times dot net if you
Speaker 3: want to get a membership to it. The genesis of
Speaker 3: it was that in January of nineteen ninety eight, I
Speaker 3: was subscribing to other people's newsletters. There was a Bigfoot
Speaker 3: co Op in California. There was Ray Crow's newsletter, Dohn
Speaker 3: Keating had a newsletter, Ron Schaffner had a newsletter. There
Speaker 3: was maybe five or six of them at the time.
Speaker 3: But as the Internet and social media and the world
Speaker 3: Wide Web started to get more up and running that
Speaker 3: these newsletters the market for them.
Speaker 1: I started diminish, stay tuned for more Sasquatch out to
Speaker 1: sea right back after these messages.
Speaker 3: And I thought to myself, because some of the literature
Speaker 3: that I saw on the newsletters that were existing at
Speaker 3: that time, I said, for the people who are paying
Speaker 3: money to get this newsletter, the level of scholarship could
Speaker 3: be better, or should be better. So I thought to myself,
Speaker 3: I'll go out to the office depot or whatever and
Speaker 3: buy my first IBM laptop and launched my own newsletter, which.
Speaker 4: Is exactly what I did.
Speaker 3: We started off with just a handful of subscribers and
Speaker 3: it just continued to grow and grow and hear it
Speaker 3: is and just so you can see here, our big
Speaker 3: Quoter of the Year for twenty twenty four is Tohn
Speaker 3: Prescott from Canada. I'm presently working on the February edition
Speaker 3: of the newsletter, and the people who gave it they
Speaker 3: love it.
Speaker 1: I have been a long time subscriber. I just re
Speaker 1: upped my description literally today, so you guys go over
Speaker 1: to Bigfoot Times dot net. I'll have it linked in
Speaker 1: the show notes. All you got to do is click
Speaker 1: it and sign up. It is an amazing newsletter. We've
Speaker 1: talked about the book one more time. Give us a
Speaker 1: synopsis of the book and where they can pick up
Speaker 1: their coffee today.
Speaker 3: If you just go to Bigfoot Times dot net, you
Speaker 3: will see my email address in there and you just
Speaker 3: send an email.
Speaker 4: For the American customers, it's thirty nine fifty four per coffee.
Speaker 4: That's post paid elsewhere rest of the world because the
Speaker 4: postage to get it to Canada and the UK. Check
Speaker 4: us out.
Speaker 3: The postage for this book just to go to Canada
Speaker 3: or the UK.
Speaker 4: Is thirty dollars.
Speaker 3: That's not my cost, that's what the postal people charge you.
Speaker 3: So the price for the UK edition Canadian edition is
Speaker 3: fifty nine to fifty. But yeah, you can just drop
Speaker 3: me an email, set up a PayPal we'll go out in.
Speaker 4: The mail tomorrow.
Speaker 3: It's just really my proudest thing I've ever done, The
Speaker 3: Bigfoot at block Break of Victoria discussion and let's just
Speaker 3: open up here and you get to see a.
Speaker 4: Little bit of it.
Speaker 3: The guy on my right hand below, his name is
Speaker 3: Richard Henry. He since passed away, but he saw the
Speaker 3: footprints that Patty left on November fifth of nineteen fifty seven.
Speaker 3: The Matthew see here is what he did for me
Speaker 3: in two thousand and four as to how the creek
Speaker 3: was laid out and how the tracks were. This is
Speaker 3: the big tree that's seen in the film. Everything is
Speaker 3: here so far. The people who have got the book
Speaker 3: are very impressed with it, and so I'm happy to
Speaker 3: be the author behind it.
Speaker 1: I am stoked that you stopped by to talk about it.
Speaker 1: I am going to order my copy literally as soon
Speaker 1: as we get off of this interview, because I wanted
Speaker 1: as soon as possible you guys go check it out.
Speaker 1: It'll be linked in the show notes. Go to Bigfoot
Speaker 1: Times dot need get the newsletter, get a copy of
Speaker 1: Daniel's books.
Speaker 3: Since you are a duced paying members of the Bigfoot
Speaker 3: Time is the pdf that I sent you about the
Speaker 3: super limited edition. Let me just show you what a
Speaker 3: super limited edition. There's going to be three hundred and
Speaker 3: fifty two copies that will look like this. You could
Speaker 3: see there is a Bigfoot ink stamp right there, my signature,
Speaker 3: and if you look right here there is a small
Speaker 3: soil sample from the Patterson Genland Stump site. So this
Speaker 3: book literally is the first book in Bigfoot history that
Speaker 3: has the dirt in it.
Speaker 4: And I mean that quite literally. There's never been a
Speaker 4: book that's been published with dirt in it that's part
Speaker 4: of the book. And so there's three hundred and fifty two.
Speaker 3: Copies and tomorrow morning at twelve oh one am.
Speaker 4: For the members who get the big Foot Times, you
Speaker 4: could get in a digital line. Send me an email
Speaker 4: to get one. So seventeen of them already went out
Speaker 4: to viewers and from eighteen to three hundred and fifty two.
Speaker 4: If you put your name in the digital line and
Speaker 4: you're a member of the Bigfoot Times, you could get
Speaker 4: the super limited edition, which this is one of them
Speaker 4: right here.
Speaker 1: Go over to Bigfoot Times dot net become a member
Speaker 1: of the Bigfoot Times newsletters so you can get in
Speaker 1: on that limited edition of the book. Daniel Perez, I
Speaker 1: cannot thank you enough for coming by and spending some
Speaker 1: time with us. I've had a blast talking to you.
Speaker 3: Thank you for having me. We'll see how the reviews
Speaker 3: go for the book. If time goes on.
Speaker 2: They say you don't gotta go home, but you castay.
Speaker 2: I don't want to be open stop chart, this child,
Speaker 2: that chid. Everything come right back, right back, Joy for me,
Speaker 2: Enjoy staying right You come in right away and still
Speaker 2: still stay still.
Speaker 1: Doss still steps.
Speaker 2: Stasst Us usses