AREA52 - DEBRIEFED With Chris Ramsay - Bob Lazar Was Holding Back.. - DEBRIEFED ep. 09 w/ ‪@ProjectGravitaurOfficial‬

Episode Date: October 15, 2024

Patreon Exclusive Content: https://www.patreon.com/Area52investigations Follow  @ProjectGravitaurOfficial  Project Gravitaur Website: https://projectgravitaur.com/ Join The Area52 Discord: https://discord.gg/x29SrGtdNu Follow me on IG: https://www.instagram.com/area52investigations/ Today, we are joined by Luigi Venditelli, creator of  @ProjectGravitaurOfficial  as we discuss his 3 year journey in to creating one of the most anticipated projects in UAP History, S4: The Bob Lazar Story. We will cover the delay, new revelations, the VR experience and Much More! Go Subscribe to their Youtube channel for further updates.

For the last three years, Luigi Vendatelli has been working with famed whistleblower Bob Lazar on the most anticipated project within the UFO community. Bob's story spans three and a half decades of controversy, conspiracy, and revelation. From his explosive claims about secret government facilities and reverse-engineered alien technology to the countless debates and investigations that have followed him, his story has shaped the modern UFO landscape. And now, amidst congressional hearings and whispers of secret UAP crash retrieval programs, Bob's story was more relevant than ever. Enter Project Gravator.

Luigi and his team have meticulously recreated the legendary S4 facility based entirely on Bob's memory, from the craft itself to the offices and the labs where it all happened. Using cutting-edge software and the latest technology, they've built a virtual replica, bringing the mystery to life like never before. But this project isn't just about the place. It's about the man behind the story. Over the last few years, Luigi has spent time with Bob, getting to know who he really is, the person behind the headlines,

behind the controversy. What drives him? And what truths still remain untold. Project Gravator will reveal insights into Bob Lazar's world like you've never seen before, and could potentially once again change the course of history. Ladies and gentlemen, welcome back to another episode of debrief today. I am joined by my good friend Luigi Venditelli.

What's up, Luigi? Hey, what's going on, man? Me and Luigi, we got, we did a lot of catching up before the pod, but we're finally ready to sit down and talk Project Gravitor. Yes. Highly anticipated. Oh, yeah, big time. Is that pressure ever?

It's, it's, the pressure never goes away, you know, So it's been like, well, I think for anybody's followed us, it's almost been three years. Yeah, that's right. So I don't think we announced it at the very beginning, but it's been like two years. I think people know about it. Like a few people knew about it two years ago. It's been about a year and a half that people really know. Some people are getting antsy about it.

There's because Project Gravator is like a three-part project. That's right. So it's the documentary film. It's the VR experience. And then there's a book. Yes. Should be a four-part experience. a project because eventually we're going to be making the die-cast model of the flying saucer,

the sports model, right? Have, um, during, during this process, have you encountered any type of resistance at all from any entity at all or like a government entity or nothing like that ever? You never get a weird phone call, hear a click on the phone or we, we've tried to keep this as quiet as possible to, to the point where Bob. was like guys you gotta talk about it more you know and we were like yeah we're about to you know we knew that there was gonna be a moment where we would kind of go we're doing this and that's when the DeLorean trailer came out and we were kind of worried about

that because we thought what if people don't perceive this right you know like this some type of sci-fi movie luckily people were super supportive on it it was really well-received so we're like okay we can kind of have our own thing too where it's not just a Bob thing, it's also a Motivo thing where we're creating the story of Bob Lazar. But at the same time, the idea was to bring some lightheartedness into this very serious project.

And I guess we were taking the project so seriously that the Delorean came across to us as a way to kind of like make it fun. Because it was, as much as it's fun to work on this, everybody's very focused and it's a very serious, process. We respect the data like diligently, very military style process to get everything accurate. So we wanted to do something fun. So that was, that was a worry for us. What was making us happy was Bob liked it. There's really no way I can prove it without revealing my identity and

getting myself into more trouble than I have already. Exactly what's going on up there? Well, there's several, actually nine flying saucers, flying disks that are out there of extraterrestrial origin. And they're basically being dismantled. Some are, well, in various stages of completion built from other parts, and they're being test flown and basically just analyzed. I was 29 years old, working on the most incredible project in the history. of the world. No one has ever been able to show exactly what I saw with my own eyes until now. Let's travel back in time to December of 1988 when this all started.

The next thing is going to be an official trailer that we're working on, which is not a DeLorean trailer, but it's an actual S4 trailer. It's the movie. It's the movie. The movie should be ready in two months. So, woo. Yeah. And this podcast is only coming out in a few weeks.

So minus that. Yeah. Dang. This is exciting. Yeah. Now, what happens is that it'll be done. Now, we don't know exactly when they're going to actually air it for everyone or it's going to be available. There's also a great other documentary that's going to be preceding ours.

And it's from James Fox called The Program. The Program, yeah. So we want to give him all that space to get his thing out there. and then ours will obviously come right after that. Highly anticipated. For those of you who don't know about Project Gravitor, Luigi, for the past, you know, three years, has been working very closely with Bob Lazar. A famous whistleblower, you know, came out in, what, 88, 89 with George Knapp

and told the whole world that he worked at this secret facility at Area 51, reverse engineering, actual UFO craft that the military had retrieved from very, various places, the most compelling story, in my opinion, in the 20th century. Oh, yeah. It is probably to date one of the greatest stories of mankind. Yes, it is. Great importance. One of the greatest revelations.

That's right. Because it says something pretty big about what's going on behind the scenes. This is something that we even discussed a little bit in an interview with George Knapp. Disclosure, right, is something that we're all hearing about these. I mean, since 2017, the Tick-Tac thing came out and that changed the whole playing field. But things are even hotter now than they were before. The people who don't know anything about flying saucers, their immediate perception of the topic is not necessarily a craft in a hangar guarded by the military in an installation that is within a compound

that is protected by the national security of the United States. In their mind, this is maybe there's potential life out there. The fact that this topic is becoming more mainstream is great, but what I thought was important with Project Gravitor was the fact that there is a reverse engineering program probably still today. And this is not reverse engineering Russians or Chinese technology or anything. This is reverse engineering, non-human intelligent technology.

First of all, if you guys want to check out anything, you can go to, I left the links below to the Instagram, but also website, if you guys want to stay up to speed. And you guys are also now posting on YouTube. Yeah, that's right. So you'll have weekly updates on YouTube about all the ongoings. All the ongoing stuff behind the scenes, how we made this thing, the effects behind it,

the interviews we have, the exclusives we got. There's going to be some pretty crazy revelations. in the film. So we're going to be giving away a big revelation plus showing hard evidence that has never been shown before. You're hearing this for the first time, folks. Oh, yeah.

This is a big deal. Yeah. To hype you guys up even a little bit further, check out this exclusive little teaser to Project Gravitor, S4, the Bobbazar story. Is that what it called? That's the new name. So for about a year now,

we advertised, Lazar, the original whistleblower, as the name of the film. And that was going to be the name we're going to run with. But we changed it. And it's called S4, the Bob Lazar story. And I think it's better, you know, because it's really about S4. So we figure we go, you know, this is this whole thing we did was we built S4. Like we basically recreated it.

So that's the best name to give this film is calling it what it's really all about. out. You guys heard it here first. Check out this clip from S4, the Bob Lazar story. We'll be right back. Some people just have natural abilities, and that was my natural ability, was just dismantling things to find out how things worked. I think I had either an engineering or scientific quirk to me as a kid. Well, you know, most of the kids would be out playing baseball and things like that. I'd be down. in the basement taken apart my mother's favorite clock or something like that. So I think it's something that just I had in me for a long time and that interest in science, technology and engineering grew as time went on. The first time I went to S4,

the bus arrived at the facility and we got off. I was with Dennis who basically led me outside and took me around the side of the small cutout in the hill. And there was no one around, it was just deserted, and we came to a small door, which was, like I would find out later on, the hangar doors were camouflage just to match the general area. Above the door was a camera in a housing, a little white housing, focused down at us. The door was unlocked, and Dennis just led me inside. while I was at S4, I was brought into a briefing room and sat down and instructed to review a pile of documents. The project I worked on, Project Galileo, the information in the briefing was accurate. Everything that it mentioned in there matched what I discovered working with the materials hands on.

So there we have it. That's exciting. Yeah. Getting that out there. I mean, you've probably, you know, shouldered an immense amount of weight because in, as far as UAP, as far as any of what concerns the UAP phenomenon, this particular story, also, you know, told by Jeremy Corbell, had a different, you know, a different documentary on it as well. But this particular story is, if not the most, but one of the most fascinating story. Oh, for sure. In the history of the UAP subject. Oh, for sure. So are you feeling that pressure to deliver?

Yeah. I've always felt it. And excuse me. So the first thing was about, the first pressure was to be, to make sure that everything we did was going to be exactly what Bob Lazar, like basically the recreation of it, the accuracy, the details. had to be exactly what Bob Lazar said. So we didn't divert, we didn't take,

other than the only creative liberties we would have taken in this is very mundane things. He says this is a great opportunity to kind of put closure to all the little details. Yeah, and there's a difference between, I think, sitting down, you know, through an interview, trying to recall things.

Right. And then spending two years going through the details meticulously. And not only that, but it was interesting when we started, it was just the craft. So that was a big job in itself. That took like six months, just the craft, right? And from the craft, then we went into the hangar, the equipment, the benches, the tables, the tools. Then we went into the hallway.

Then we're like, okay, what about that? So break room. That was something that was a challenge because Bob, I would always, you know, be like, okay, where were the fire extinguishers? And it'd be like, fuck, I don't know. He goes, I know there were some, but I don't remember exactly where they were. But a lot of stuff he did remember. Like, there was no computers in there. Like, we wanted to put little computers from the 80s.

He's like, no, we had built them, put them in the scene. And he's like, no, no, no, get that out of there. There was no computers in there. There was no computers in the lab. No computers in the hangers. There was nothing. As we were progressing and building it, we would Zoom call. him share screen and go, look, we followed your, he would send us emails with like all the

listing equipment. He would go online and try to find us some pictures. He was great. Once we built it, he would go into it and you'd be like, oh, wait a second, no, that, my mistake, he goes, it was much smaller than that. Because when you're saying something from memory, yeah, you kind of be like, oh, maybe it was like 30 feet, you know, and then you don't see it. And then when you actually measure out, you go, okay, no, that's not 30 feet. That's just another testament of you were, if you were somebody trying to cover up a lie, you would just go with whatever you just said initially. Yeah, that's right.

You would never go back and try to correct yourself. Yeah. So stuff like that, Bob just didn't remember all the details. So we took creative liberties there. But as far as accuracy of the facility, the coordinates of the actual real coordinates of the facility, the environment out there, the craft, obviously, the most important, the propulsion lab, the equipment in there, the reactor, the element 115,

the briefing room, the briefing documents, the nurse station, the hand scanner, the adenamatt 2000 hand scanner, the personnel? Oh, the personnel, yeah, Barry Castileo, Dennis Mariani, Renee, the security guards that were there. There was other scientists as well.

And then you can actually talk, like the guards will be NPCs and the nurse will be an PC. Yeah, so. Check that out. Let's say I go here. We just want to do a little quick shoot of this guy. You really get in detail?

What was Bob's reaction to all of this? He's freaking out. At the very beginning, he was hesitant to share too much information. Yeah. And as the project went on, he kind of got confident with us and remembered more. Remembered more, yeah. It's like you're navigating his memories. I mean, if we ask each other questions about, like, hey, Chris, remember 25 years ago when you were at work,

do you remember what the color? Do you remember what the color of the table was? You'll remember that you were there, but if I actually give you a picture of that place where you used to work, you'll go like, oh yeah, and right next to there there, because you'll remember by visually seeing it. This kept happening with Bob. We actually went in and filmed the mocap here. That's you, yeah. It was me doing all the movements.

Yeah, yeah. So this one's just called Touching Craft. So it's just an example of somebody. Like somebody walking up. And you can kind of look around, put your camera at different angles, see what looks cool. Like while the animation is happening. The bus, the bus route, the Janet Jum Lake, the groom facility. Yeah, the EG and G special projects building.

Wow. The, you know, resume going out to a bunch of different labs when he was applying for a job. And he sent his resume to the Lawrence Livermore Lab word. at Teller was working. Right. You know, so a lot of this stuff is covered in the film, and you'll get to see that. You could fully interact with everything. You'll be able to turn on lights, turn off lights.

If you want to go into the briefing room, you just open the door and walk in and actually read inside the briefing documents. Take the papers. You could hold them up. The coolest thing, I think, is going into the propulsion lab, which is very nearby at the briefing room. Again, everything's interactable. So all the equipment there, the X-ray scanner, the oscilloscope, the welding machine, the scale, everything works. Inside the propulsion lab, you'll have the reactor that was inside the craft. It'll be unassembled on the bench.

You could physically pick up Element 115. You could put it on the scale, and it'll measure 223 grams. Put it all together, rotate the emitter, you can create gravity. It will not allow you in the game to go closer to the hemisphere unless you re-rotate the emitter. You'll be able to pick it up. The whole reactor, you could walk it out. You could walk into the hangar with the reactor in your hand. You could walk up the steps, put the thing down because you'll have to crawl into the craft.

So you have to get on all fours and then slowly bring this thing, bring the wave guide down, put it on. Start up the craft and fly away. Our desert floor is real because we went to the desert. Our desert mountains are real because we went to the desert. So there's a lot of stuff that we physically did. It wasn't just online, right? Yeah. That is, I think, for, you know, most people who follow this is probably a giant relief.

Yeah. You know, the last thing I think anyone wanted was like fluff or, you know, Do you know what I mean? I think people are just give us the facts, man. What went down? What happened? How does Bob remember it? Like, and it's nice because Bob is never, in my opinion and in the interviews that he's shared, it doesn't seem like someone who ever not only doesn't exaggerate, but he also never speculates. We actually really wanted to make sure that in this piece, all the, all the things that were related to the main meat of the story, which is what happened at S4. Let's all agree that the reason why there's so much interest regarding the Bob Lazzar story is because he worked at a facility that had extraterrestrial technology. And it's spacecrafts, okay? So that's a big deal.

That's a really big deal. And when we look at stuff that's been done in the past, there's been a lot of things that have been done, whether they be commercial product projects or things we see online, A lot of this story has been covered in the past. So George Knapp did incredible work in the past. There was also Bob and his friend Gene that had created the Bob Lazare and government Bible tape back in 1990, I believe. Jeremy Corbell did a great movie back in 2018, I believe, and covered a lot of topics.

So let me ask you this. How does one make an original film about Bob Lazar knowing that there's so much history out there that's available? It all started because I wanted to recreate the craft. Okay, so the whole project, Project Gravitor, started because I wanted to recreate the sport model in a professional die cast, like a collector edition flying saucer, which doesn't exist. Does that have to do with the old model that used to exist? We got one here. That's right. That was done in 1994 from the Tester's Corporation with a guy called John Andrews that was running testers.

It was a plastic model made in the USA. We said we got to make that, but we got to make it out of die cast and we got to make it better. Bob was really interested in that because he says it would be great to see it in metal. And we needed to create the schematics, like the measurements and all that stuff. And even though that was accurate, there's the interior as well. I needed Bob, yeah, I need a Bob. So out of all the stories out there, who worked on a flying saucer that we know about that we could potentially get information on? Well, that's Bob Lazar.

Yeah. And if, so we started, I started going online and going, okay, if we're going to do this, let's get the data. And the data was all wrong. Like, not wrong. It was very inaccurate or not, not cohesive online. Not consistent. So I was like, okay, well, we got to get the right information. And by doing that, by doing this process and made me realize, I think it's, it's something that should be done. Right. I think if we, if we consider the story of Bob, are, it's 35 years today. In December, it'll be 35 years. He's, he's getting, it's getting older. And this information will eventually, well, it's already history. It's just going to become more important history as we keep going into this field. I'm pretty certain of that. Absolutely. We'll be coming back to this for decades to come. Oh, yeah. And so I think it's, I think it's important to do something that really demonstrates or really elaborates the details of what he actually saw and not what people understood it to be. So you said the word elaborate.

So that's, I think, one of the main focuses here with this project is to like, okay, you said this. Oh, we really went deep. Let's go deep. Oh, yeah. Was it hard to get that out of Bob? Because it seems like in a lot of interviews, I don't know if it's like a recollection thing or just. like maybe just details or something he's not interested? I don't know, but like, was that hard to like extract? I got to say he was extremely amazing to work with. Okay. So when I first

approached him, it was about a model. So he was obviously a little bit worried about who am I? Yeah. You know, who's this guy, you know, reaching out. And I think he went, check me out, checked my background, saw that I had a history in making stuff. And so he got that from me and kind of felt confident that I really knew how to go about doing this. All I needed was to sit down with the man himself and get the information. So I was a little nervous because I was like, is he going to give me the information? Am I going to get, you know, and it was a lot easier than I thought. we sat down the very first time we sat down together i had brought with me in my luggage like these

big like blank sheets of paper color markers and rulers and all color color palette examples material textures and because i'm like if it's you know how what what did it feel like what did it you know was it rough was it smooth was it so we spent two full days sitting down just recreating the craft on paper, which was a huge endeavor. This thing here. Yeah, the sport model. The design of the craft is pretty simplistic. It's not like there's a lot of, there's no bolts, there's no rivets, there's no,

there's nothing like that. But the way it's made, it's obviously not made by us. So the way it was designed was a very, I had to carefully measure things because if I was going to replicate it in metal, I had to make sure that it would look as close to the real thing as possible in a human, yeah, with human technology in miniaturized models. So that was the beginning. And he was great to work with. He was very forthcoming. In fact, we went through so many details that we went through physical details. I mean, Bob would stand up and I would say how, how narrow is the entrance to the craft, you know?

So he didn't know how to do that at the beginning. I remember he was like, because he didn't have a measuring tape when he was there. And something that a lot of people should know is that when he was working there, nothing was permitted except for whatever he was told to do. So it's not like you're told you could go into the craft. You don't just go grab a tape measure in a pen and a paper. And you can't do any of that. You are, just go in there, do exactly what you were told.

Don't talk. Talk only to your partner and whisper. Do not look elsewhere. Do not communicate with anybody else. So it's a very stressful, slightly toxic environment. So it's not like he had a lot of leisure time to measure things. So everything was very based on his proportion of his body. So if I said how narrow is the entrance, well, he's like, okay, well, he would get up and he would just be like, hold on.

And I remember the patio door, he opens up the patio door, stands in the middle, closes the patio door, and uses the patio door as the measuring. And he goes, okay, that's about it. And he moves out and he goes, measure that. That's pretty much, you know, how much space I had. And that's like, great, you know, because that's a perfect way of, like, measuring, right? Right. So that was a, that's how we started, started doing that, measuring the, the little seats. He said the little seat, because three little seats in that. And what he says, what they perceived as seats, he says they were never confirmed the seats, but he pretty much thinks they were. And they were very tiny compared them to Fisher Price little seats for children, for toddlers, which is not something that he was expecting to see in a, in a craft. Right. You know, obviously, you know, we would have adults in there.

What does the adult craft look like? Right. Exactly. I remember when he sat with me, when we finished, he said, this is probably the most details I've ever gone through on the craft. I never even went this deep with John Andrews when he helped John Andrews with the Tester's Corporation. Wow. So he says, you really asked a lot of questions. I had a lot of questions.

And I wanted to get it right. I said it's like we got to have, I don't think that the community in general, there's nothing. You know, we see these pictures of the craft everywhere. And do you, as someone who's worked meticulously, and maybe this question is also directed to Bob indirectly, but do you guys ever see those and kind of cringe and be like, oh, they've got this wrong? I got to say I do Bob doesn't really comment much He'll just say it's wrong

He's not on the internet either Yeah if ever I show him something I remember on the second trip I went out there I had created a book We had a 374 page book on the craft Which we created it was an internal document For the craft and he was impressed with that And

There was other pictures that I had of people online that had the craft designed or whatever. So I would say, you know, people show this and he would just go, that's wrong, that's incorrect. Sometimes he would look at things and say, it's okay, you know, but it needs to be a little bit fatter. You know, it's too sleek or it's, or some people made it too thick, you know. And so that also was a huge challenge. the, that's bringing a point, the height, yeah. When he did the model with the Tester's Corporation,

it ended up being that the height of the craft, including its little antenna on the top, because there was a little antenna on the top of the craft, which is the Wave Guide Terminator, was 16 and a half feet. Now, it was really, what was really interesting, and you've been to our office, our entire office is the exact size of the craft.

Whoa. It wasn't even like we, I had measured. Really? Yeah, it's literally the size of the craft. Wow. So when I took a measuring tape and I went 52 feet with diameter, which is exactly the size of our office, it's 52 feet by, well, one portion of it is 52 by 52. That's big. And then we have our other side, but one of the main areas is 52 feet.

I said, shit, we have the size of the craft right here, right? And then our ceilings are 12 feet, sorry, they're 12 feet high. So I thought, hmm, I need an extra four and a half feet to achieve the height of the craft. So, but what that did is we started actually physically manipulating equipment in the office, imagining the lower floor level because we could, we were like on the floor. Right, with Bob there. Yeah. Yeah.

So we really went through a lot of details. detail in terms of like, does that even make sense? And if it was that height, where is the edge of the craft? So we, by knowing what was on the lower level where the emitters, these cylindrical emitters are, these big cylinders, what would be the height of the bottom level where the disc, the bottom disc portion, the plate would reach. So where's the edge of the craft? and we determined that it was at around a six-foot height from the ground. And then from that point, we were able to determine the little stairs that were in the hangar. So there was a lot of things that were making sense as we built it in a 3D model and also for real.

We never actually really built it, but we used scale to do that. And a lot of things that Bob had said to us prior to us building it in the 3D environment or having something physical could not have been verified until we had done that. And when we did that, they were verified. So the angle of the ceiling inside the craft, when you crawl into this because you have to crawl into the craft, how many steps, how many crawl steps until you can actually start standing, right? So he had measured, he says, well, you know, maybe like four, five until you could start. He was actually crawling in your office at one point?

Yeah, we have him crawling on the green screen, actually. It was really funny because we have, well, it'll be in our film where you actually see Bob crawling into the craft. Oh, cool. You know what I mean? So we had him on a green screen, so that'll be a super cool shot. So we have Meta Bob, which we digitally de-aged. And then we have live-action Bob, which we built a green screen set. I'll show you guys that later.

And then we have Modern Day Bob. So, like, there's this dynamic, right? So you'll have young Bob who's acting out the things. And then older Bob, who's explaining it on a green screen. Wow. So it's kind of him going back in time. I guess that's our cell. That's why we got the Delorean.

That's why we got the Delorean. Bringing you back in time. There you go. If you want a one-liner for the movie. I'll show you guys some green screen stuff. Yeah. We kind of filmed even something as simple as, hey, Bob, let's go down the hallway.

and kind of look into the side door, do little fun scenes like that. So we actually, right behind you is where we set up the entire green screen, put some tracking markers, some tennis balls to track everything. Because what I'm going to do is I'm going to take this camera movement and copy it onto an unreal camera. And then he's in the hangar. What it is is you can take an actor, let's say walking in the middle of the desert. I can take it and just completely replace him without any green screen or anything.

Yeah, we did show him what we got in the office here. I'll let you, I'll let that settle in for a bit. Oh. Yeah, yeah, yeah. You regret to all of this. Totally. I tried to like, hey, or it replaces him in the scene. No way.

No green screen, nothing. What the hell, dude? Isn't that crazy? Yeah. Because he'll explain. He's actually, it's real live action film of him explaining, I'm crawling into the craft, as you could see, because it'll have the 3D craft in the environment. So it looks like he's in the craft. So we really, we really did a lot of

work on precision. And he was impressed with that part. And I think that led us to be, to take the project of just a craft. Yeah. And really evolve the project and say, full documentary. The full documentary of S4. So that's how that happened. Yeah. You know, I've seen the work that you guys have been putting in. You and Chris, Chris Meadow. Yeah, and the Romé.

And your whole team. You guys have been working tirelessly on this project. And every time I go there, I see these incredible updates, you guys. I'm, you know, not going to spoil too much, but there are some really, really banana things that you guys have recreated in, you know, using the most high. tech software. One thing that really stood out to me, and this is, you know, we're going beyond the movie a little bit, but you also let me put the VR goggles on. Yeah.

I can film this. So if you let me walk around, you can film the screen. Physically actually filming as if you had a camera in the environment. Yeah. So if you look right now, the camera's at an 18-mill on the top left. Yeah. It's just like a real camera. So you can change the...

Oh, wow. Who needs cameras? Right. That's crazy. It's way better than photo mode in games. Yeah, there's. Here, look, wow. Oh, there's the reactor. It's not seven-inch. You can't walk with it.

Okay. Whoa. Oh. Whoa. That's the door? Yeah, that's the entrance. Yeah, yeah, yeah. I know about when you started that way.

that way yeah that's the end that's the angle wow and this is just like that's a video that's a 360 video yeah eventually you'll be able to walk around in an open space and and everything will be interactive interactive yeah that is wow that's breathtaking this is what bob saw that's what bob saw that demo that oh my god there's something there's something terrifying about this isn't there yeah yeah i'll tell you right now like for myself experiencing this when I just did the small test you guys had me do, it felt, part of me felt like I wasn't allowed to be there. And it was such a weird, and I'll use the term ominous because that's what it felt like.

It didn't feel like it was evil, didn't feel like it was wrong, but it felt like there was something greater than myself that I was witnessing. And, you know, I can only imagine what it would be like to see the actual craft, but I can imagine that feeling being amplified. quite a bit. So that's how I know

that you guys are doing something really interesting because I got that feeling. There is a very ominous feeling when you're doing this. This isn't, and I never, like I kind of understood it

when Bob was talking about it, how like there's this like, the sense of dread almost, like this ominous. It's true. When you see that in a militarized facility and you realize how earth shatteringly paradigm shifting

this, this object you're looking at is for humanity as a whole, that weighs heavy on you when you stare at it and you feel that instantly. Is that something that Bob felt while you guys were recreating? Did he have any of those feelings come back? Yeah, it's really interesting, you asked that, because there was an evolution in the 3D space

and the evolution was different from the cinematics to the VR experience. So the environment is the same, but the quality of the environment is much higher in cinematics. So when you have a cinema, whatever you'll see in the film is incredible. I mean, the quality of the shots are going to be,

I hope people like them, but they're very realistic. They look real. And we had to, it took a while to evolve the VR experience to give that realism. That was a different technique, a different process.

And so it evolved. And so at the very, very beginning, when we showed Bob Lazar, we actually had this video. We were in Las Vegas with him. And we were also meeting up with Gene Huff. And we put the goggles on him for the first time. And we got his reaction. And he was just, he couldn't believe it. And he goes, it's like you downloaded this from my brain.

That's what he said. That's how accurate he said. He goes, you guys did it. He goes, it's exactly like what it was. Right. And that was what we considered to be our version two. And when we were super happy about that. I mean, that's the ultimate compliment.

Oh, yeah. That was, we felt a sigh of relief because we're like, my God, thank God. You know, because we had a lot of work to do that. And we were like, let's just really hope he thinks this is accurate. He was like, he couldn't stop looking around. and he was like, this is incredible, this is exactly what it looked like. I, that was it, that was last year in Las Vegas. And then earlier this year, I went back to see him and his wife in Oregon and I brought the VR goggles.

And we had a V3, we had a version 3 in, in, in the new goggles. And I'll never forget this. There was, there was a friend of theirs at the house and, Joy was upstairs and I remember the friend puts these on and she's like, oh my God, you know, this is, this is crazy. This is amazing. This is, and she takes them off. And I have, we have different scenes in there. So I wanted to change the scene from the standard hangar scene where the door is closed and it's what mainly Bob experienced when he was there.

But sometimes they would open, when, not sometimes, when they would open. the main hangar door to take take it out there's light that comes in obviously right there's there's daylight it's it's it's the times that he was there that they did that it was it was still daylight so there was a scene that we created with daylight and i'll i'll never forget that and we i should have recorded it my team freaking is pissed off that i didn't record this but i wasn't expected so i say here bob check this out this is what the hanger door open so he goes okay and he puts it on and usually Bob is kind of like immediately going to comment and be like wow this is this is and he's just so quiet and he's just looking around and I got worried because I'm like oh no we we we mess something up like there's he's not saying he's not telling me anything and he's just looking around and I'll never forget this he takes them off now their friend was there she saw this and he just gives me the goggles and he just clenches up a little bit he goes give me a minute and he walks away. And I thought, is everything okay? And he looks at me, he goes, I didn't think I could get those

feelings again. He goes, I remember that. That really, and that, what, and that scene with the door open, there's a shadow that there's a hard shadow created by the craft because the sun beams into the hangar. And it, it's almost even more ominous with the door open at that time of the day. So I could totally understand. It makes real. Yeah, it really gives you this like creepy feeling. So you can actually, when you put on the headset when our VR game comes out, you'll be able to have a button, open the hangar door, walk outside.

We're going to have a free mode where you can kind of do whatever you want. Sandbox mode? Yeah, exactly. Dude, just this shot right here of the light leaking through. Isn't that great? It's something that like, if you. let yourself imagine what it would be like to work in that hangar. Yeah.

You know, with the lighting the way it is and all this stuff, because what we built is like we can actually change the lighting in real time. So you can be like, oh, what did it look like at midnight? Oh, ray tracing. So when we actually do our cinematics, right, what we do is we use something called path tracing, which is like a higher visual quality. So you would get something like this and just to load one single frame, a photo, takes this long. Wow.

Yeah. So there's a lot of steps that go into it. Because as much as it's really cool to see a flying saucer, it is a different feeling when you're actually standing next to it. People will see this with our VR experience. You put the goggles on and you're in the hangar. Yeah. It's a different vibe. There's something else that happens.

Yeah, it's a different vibe. And, you know, there's one thing about seeing, you know, flying saucer at night. And there is a totally different vibe to seeing a craft during the day. In the day. You know, you look at all the, you know, the famous pictures of crafts during the day. Yeah. Those are always more impressive to me.

And so there's something about that that makes it real. That's like, oh, this is interacting with my world now. Yeah. You know, this isn't some, like, dark fantasy. This is interacting with, you know, me taking a walk and going to the store. Like, that's how real that is. And there's something about that that, yeah, like you said, like is ominous in itself because it's like, it shows you how close we are. Yeah.

To this, to this, to this extraterrestrial existence. Yeah. And, you know, yet how strong the, you know, government or these secret, you know, projects resolve is to keep it from us. Absolutely. They're equally as strong. Absolutely. And the one thing standing between both of these things happening, our objective reality and their, you know,

like safe like security is Bob and his story. Yeah. And it's just really fascinating that he is sort of, and you by extension have become this gatekeeping of, you know, an ultimate shift in how we, view the phenomenon. Like that is just so massive for me. View it and experience it. And that's why we call it, the VR, it'll be called S4 the experience. Oh, I love that. You know, because it's, it's like we've heard, for the people who've never heard

about reverse engineering programs, this is all new, right? So, you know, it's very interesting. We're hearing this in congressional hearings. There's one that's coming up soon, actually. but for those of us who have heard about reverse engineering programs, if not since Bob came out or even within the last five to six years, it's something to hear about it, but it's something else to be standing in the middle of it. And there's, I have to say, you know, there's a lot of people out there who are iffy about the story. I spent almost three years with Bob there's not one time that I felt him

ever being dishonest not even my team there's not one person on my team who ever walked away thinking maybe this guy is not telling us the truth that says a lot to me

because it's an entire team we're not like two people there's quite a lot of people interacted that story is possibly the most important story that ever came out about what was actually going on behind the scenes with at least the American government. We don't know about other governments.

It clearly indicated that the United States government or a portion of it was in possession of artifacts and crafts that were not made by humans. that they had them hidden away from everybody including congressional oversight presidents presidents vice presidents generals there's military leaders who had no idea about this we people who've been doing the research know very well that this is not something

that has been disclosed or talked about openly even behind the scenes and the fact that you we have an opportunity now to have the experience of it. We've heard the story a lot. We've heard the concept a lot. But like anything, when you actually walk through a place, it's different. I just recently, with my whole team, there's a 3D experience that is happening in the old

port of Montreal. And it's, I think, the great, I think it's called Keops, the Great Pyramid of Giza. You could go in and actually walk around the Great Pyramid of Giza. So we went, we all did. that we all put our goggles on, we all walk through this, it's freaking amazing. And I don't want to diss it. Ours is more realistic. Yeah.

I mean, yeah. It's like ours is really like another level of realism. I don't understand like I'm someone who, you know, I don't do any type of after effects or any of that stuff. Your team is legitimately filled with geniuses. Yeah. Like you literally have like state of the art tech. with people who know how to manipulate it like no one else. Yeah.

They do their own. Oh. They have fun with it. We've, I got people on the team that wrote the programs. Yeah. Modified the programs. It created tools in the programs. It's not like, it's not like we just took the software and used it, you know, as, as anybody would.

There's, there's been a lot of engineering going on with the actual softwares. That really made us work hard. in making this. No doubt my mind how hard you guys are working. And one thing that I think you guys, you know, you guys are promoting, but I think not promoting enough, no AI was used.

At all. So you're creating jobs and you're building all of this to spec from memory to spec from the ground up. Oh, absolutely. So these things aren't, oh, let's use this new AI and like make this landscape No, every thing was a brush stroke.

Every single piece of our project is made by our team. By people. Yeah, by people. We have the reactor. Oh, yeah. Wait, you, you remade it? Yeah, we have the reactor. Here's a reactor.

This is real size. And this is exactly what it looked like? Yeah. And it's signed by Bob. If you look underneath, it's got Bob's signature on it. Okay. You know? So, yeah.

So this is the real... If you're in one of these alien crafts... That's what you're gonna see. You're gonna see exactly this. Exactly. So this here, for those of you wondering, this here is exactly what alien tech would look like. Exactly. Not an exaggeration, not some type of Hollywood mock-up.

This is from a first-hand witness exactly what you would find on a would find on the alien craft. And he goes, I got goosebumps. It almost feels like it's going to work, you know? So you take off the hemisphere. This is what it looks like underneath too? Yeah, so this is like that, right? So basically that's like a replica of element 115, okay?

There's this little drift tube that goes on the inside and it, the element 115, there's these two little grooves that it kind of sits in like that and then you put the cap, and then you put the cap on like that. And as soon as he says, as soon as you put the hemisphere on it, he goes, it won't work until, like if you keep it like that, it won't work. He says, as soon as you do that, he goes, as long as the emitter, which is up there, by the way, you see that big cylinder on the top with the pipe sticking out? That's the emitter. That's what the emitters look like that are on the bottom level. There was three of those, right? There was three of those. And he goes, in the lab, the emitter was sitting on a table to the left of the reactor,

and there was an amplifier on the ground. And he says, as soon as Barry would rotate the emitter, that turned on. And he says... And they weren't connected. No. He says, it just worked. And he goes, and that's when you couldn't get... And he goes, and if you just...

He goes, the stronger you would push, the harder would push you back. So it kind of went with the strength. It wasn't like strong all the... time. So the more force you put, the more force... Like an actual force field. Yeah. So he goes, that was incredible because he goes, nothing does that. There's also a posseus, you know, he goes, I've been contemplating on this for 35 years. So he says, yeah, it's very likely that it's simply like some type of gravitational field or some other force that we're not aware of. This sits on the floor of the center of the craft.

So there's a seat here. There's a seat there all point at that direction. So there's one, two, three seats. And there's a center area where there's an actual indentation in the floor. That's square. That's where this sits. It doesn't lock into place. It just sits there.

And from the ceiling, there's a three inch diameter pipe that is a pipe that you could pull down from the ceiling. And it applies perfectly on top of the reactor. And what's really cool is that he said when we would pull this thing up or pull it down, he says the material, he says it wasn't a telescopic thing. He goes, it was just disappearing and re-it, like he goes, it didn't make any sense. He goes, because we couldn't see where it was going. Wow. The pipe that was on the emitters, which is on the bottom level, he says those would swing

360 and there would be no bend. There's no joints. There's no weird. He goes, it looked like it just became like that. Some meta material, some weird. Right. So that was an interesting feature. I said, I'm not going to be able to do that with the model.

I just said, unfortunately, he goes, I get that, you know. Yeah, mine will have to be telescopic. And the pipe that goes like that, you know, I said, was it something that you could push out of, you know, could you try to break it off? He goes, that thing was so solid. He says you could not, like, bend on it.

Even with the leverage of how it could really. He goes, it just stayed the way it was. So how? There was no seams. There was, everything was seamless. Everything, yeah. And this was at a time before 3D printing existed. Exactly.

So it was almost like they've 3D printed it in a way, you know. Maybe not as we do it, but. I think that's the process. Did he also mention like one of the walls was transparent? Yeah, we're working on that. Yeah. AI is not going to be able to do that. Eventually one day AI will be able to do something like that.

I'm sure it will. It's not there yet. No. You'll be able to smell it though. Yeah. You can smell it when it doesn't have a soul. I feel it would be a lot easier if you implied a lot of AI in there. But you guys chose willingly chose the hard route.

Oh, absolutely. And it's interesting that you say this because for the last, I think for the, you know, people are trying to get us to give us, give them more updates and believe. believe me, it's coming. It's really coming. That's why we're doing this. Yeah, yeah. It's like we're so close to the,

to completing this. But for a few months, we were working exclusively on the landscape. Okay. Now this is a big deal. This is something that is, I don't, I don't think I can express how much of a big deal that was,

but to actually have the most accurate terrain, terrain that is out there by Papus Lake, where this base was located, the elevations, the type of sand, the type of clumpy sand, the vegetation, the Joshua trees that are out there, the mountainside, the rocks, the realism that had to get then created, the border shore of the dry lake, the actual dry lake bed itself, all that. In order of, for the shots to actually give you that vibe that we're out there. It took months of hard work to literally recreate that. And when you see them, when you see, I'm so blown away from my team. Like I literally like, they're gods to me. You send me photos sometimes. I'm in the middle of something.

Yeah. And I'm like, how dare you? Send me this right now. Because I have to drop everything. Same thing happens to me. They'll be like, check this out. We just got this render. And I I'm like, holy shit, is that a picture? Yeah. You know, and they're like, no, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, that's, I'm like, wow. So the, the, the, the, the, the thing was if we got to do something, if we're going to make this project happen. Yeah. Yeah.

If we're going to make. Yeah. This environment. Where is it in the world with that we cannot go to? Yeah. Right. Yeah. Yeah.

So even places that are really out of reach like Antarctica, you could still go to Antarctica. You could still figure it out, get enough money, get a few people, get the equipment, and go out to Antarctica. You cannot go to Papus Lake. You cannot go there. No, you can't. Period. You cannot only go there. You can't even take a picture of it. Exactly. It exists only on satellite. Yeah, exactly. Right. That meant a lot to us because we said, we got to bring people there. If we're going to do this, we got to do this absolutely right. And we also had to get. Bob's approval as we were building the details of that landscape. So it's like, hey, Bob, what do you remember out there? Well, he was like, there was much out there. He goes,

and don't forget, Bob was there in 88 and 89. So we have satellite data that we actually got from the late 1980s to all the way to 2024. And there's a lot of shift and difference in that terrain over the last three and a half decades. There's a lot of foliage that grew there that was not there back in the late 80s. Bob was very clear about the fact that, yeah, there was, but it wasn't, it wasn't like extreme foliage versus what you will see on satellite data today. So there's clearly a chain, obviously, there's three and a half decades. It's things grow.

That's just so interesting that you guys would like, like anybody else wouldn't have cared. Like, I feel like, I feel like I almost wouldn't care if I watched it, but maybe I would have sensed it. You would have sensed it. And that's exactly the point is we don't want to give people just an entertainment piece. We want to provide a historical piece. So there's a little bit of a difference. It's like, if we're going to entertain you, but it's such an important topic and an important story, there's a history component to it that has to be accurate. You want me to repeat that? Okay. So, I'll say in like a fun way. Yeah, we'll have some music and stuff here.

So the most illegal thing I feel like we did, other than building a whole military facility, you know, was creating the outside of S4. And the reason for that is we averaged out the height map data. And what that means is we created the outside of S4, and we used satellite data to create the little hills and mountains. So we pulled it from government websites, and we pulled some American ones.

ones from the early 2000s, some American ones from the 80s, and some Russian ones from the 80s. And that was hard to find. I will say there was weird loopholes to get to the Russian ones. What we did is we averaged that out and we created all the little mountains so you could have the most accurate outside of Apous Lake, of Area 51, of Groom Lake. We really tried to take that whole area. Was there any discrepancies between satellite images from the year or two? thousands to the 80s? Was there any differences there that you noticed that were like, oh, why is this not consistent or?

Yeah, the data in hot spots or flat. Yeah, yeah. Back in the 80s, the hot spots were not flat. They had bumps and stuff, indentations and you actually got a feel for it the landscape. Yeah, now, why do you think they would do that if this wasn't real? Exactly. That's a weird thing we do. Yeah. Yeah. So it's like when I pull it up into my 3D modeling software. Yeah. And I just see it's completely. completely flat, I go, okay, wait a minute, it's not. It's not flat. I mean, that's an anomaly. Like, we can see that from a plane.

Right. So, if you want to sense a scale on what we did for the satellite data. Yeah, so you have all these like, oh, here, we'll put it back in the mold, it's a little foggy. So all these like bumps are error accurate to the bumps you would get if you pulled satellite data from the 80s. Oh, and that's, that's a legislative where everything happened. That's right. Mountain here. Those are the hangers?

Those are the hangers. Those are the nine hangers. Well, I tell you, as someone who's been following the story for a long time, to me, this is music to my ears. Now, I know that out in the nether of the internet, there are people who have their own opinions about Bob and about his story, and there are some controversies here and there. I trust your judgment as a friend.

You know, I've always been biased because I want to believe this. But I do trust your judgment. I know you're a good judge of character. And, you know, for you to say that you've spent three years with him, and there wasn't once where you, you know, thought he was, you know, throwing something over your head here. Not once. That, you know, for me, really instills a lot of confidence.

And then to hear the amount of care and love and to see the amount of care and love that you guys have put into this really, again, conveys to me the confidence that you have in Bob and the story. Oh, yeah. Because I think any deviation from that would present itself in the project. And all I've seen so far is full steam ahead. And you guys are literally doing something that might end up, you know, changing the course of history, I believe. I thank you.

And I hope that this does, it does the story justice. One of the things that I was going to add to what you were saying is that, there's there's this is just this is a team effort right so it's not just me obviously there's a whole team behind it and the fact that i never felt anything bad from bob yeah or any BS if you want to call no red flags that also applies to the team and i think what happened was as time progressed and they really started feeling because a lot of them came in some of them came in completely not believing the story but they didn't even know of them lots of stories. Didn't care. It was a job. For them, it was a job. They're like,

some people didn't even know Bob Lazar was. Sure. Right. So they're like, who's this guy? And so, you know, you start telling the story and they're like, really? Are you kidding me? Like a flying saucers. It really was the beginning of, of how they perceived it. And as time progressed and they met Bob, worked with Bob, they're also looking at, you know, listening to him trying to be like, is this for real? You know, and they've told me, they said, you know, nothing. We're not getting any vibe that this guy's telling a lie. And so I think that motivated them because they finally like, well, dude, this is like a big deal. Like this is, this shit happened.

Then we got to make this look even better. So how many times have I left the office? Because I don't just work on the project. I got to take care of the company. Right. So I go home and I do boring stuff on my computer when I'm home, but I'll ask them, hey, guys, what's going on? They're like, oh, we're still at the office and it'll be 9 p.m. Yeah. I'm like, wow. I will never say thank you enough to the team because they come in on weekends. I know.

Some of them work until midnight and they're back at work early in the morning the next day, like super prep, like ready to go. They're like, oh, yesterday we got up to here. We check this out. you know, like we got to finish this and we'll get. It's so cool to see that. Beautiful. You know what I mean?

Like everybody just wants to get it better and better. Even the fact that like your team has gone through an arc. Yeah. I think it's a story in itself that, you know, maybe one day will be explored in a documentary. It's so cool to hear that. Because, you know, a lot of your team as well, like especially like Chris and Ramay, I think are very left-brained. Yeah. You know, they're logical thinkers, incredibly intelligent.

extremely. Probably a lot in common with Bob. Yeah. On that front where they're like, just give me the facts. I don't really care about the fluff. And so, you know, to even talk to like Chris and, you know, see how he sort of progressed on, you know, where that is.

It's really incredible to see, you know, because not everybody gets to have this type of experience either. Yeah. If we could take every skeptic out there and walk them through what you guys have been through, you know, with this story. and all the evidence and all the things that you guys are going to shed light on. Oh, yeah. You know, maybe we would have far fewer skeptics in the world.

And so how is that sentiment changed for them? I think what I remember from talking to some of them was at the beginning, everybody was, like, excited because they knew he's a very well-known person. He's on-charrow. You know, like he's, but when you get into the, you know, reverse engineering, a craft from another star system. Exactly. You know, they're like, okay, you know, there's a lot to digest, right? How has your point of view changed after meeting Bob?

How has it changed and how much has it changed? And what was that like? Man, it was like you don't know the guy until you meet him in person. Did your opinion on the whole subject change? Yeah, I mean, look, as someone who is filming and editing a lot of it, I'm also looking for loopholes, right? I'm still looking for a story to tell. And if it's completely one-sided, then it's not really a duck.

documentary or a story. So even in editing, the way he says stuff, the way he's, like I have interviews of the same topic over maybe a three-month period, and it's just, it's the same story locked down, you know, like word per word, especially when like we're interviewing Bob and we're talking about the technical stuff, like the propulsion systems and how it actually work. That's when I'm like, okay, wait, wait a minute. Yeah. Other than Bob, you might be like the closest person to working on an alien craft. Technically, I guess. Yeah, that's true.

That's right. Yeah, that's right. I think this, I think there's going to be a lot of things that are going to be able to be shown in our film or in this project that will, besides the revelations and some of the evidence that we have, which is incredible, by the way, the fact that there's going to be some physicality to the story. in a, although it's 3D, it feels like it's physicality. It's, that's the 3D is today. And there's real physics in 3D environments, right? So that will help a lot of people who are on the, they're, they're kind of on the edge where like, they're not sure. Is this real?

Is this not real? And there's some things that will be really clarified. Yeah. And I think that I personally believe there's going to be some things that are going to to just push people to go, yeah, there's just no way he could have known that. And I think you and I even spoke about this one time was about the lighting inside the craft. I don't know if remember we had this conversation. I do remember. I remember, you know, because when you're, when he's showing me these things, first of all, like, I'm like, this is insane, okay? Because everything you're

showing me is insane. And when you're in the craft, at one point, there is, well, there is, well, Well, you can tell the story of how that came to be, maybe. We'll go there. I remember we built the craft, and I remember calling Bob and saying, I'm looking at the interior of the craft. How did you guys see in there? And Bob goes, well, there was two tripods in there. He had forgotten to mention that because he didn't think, you know,

we were only talking about the layout of the craft. And I said, Jesus, that's super super. important what kind of lights so we went through the whole thing he goes you're right you're absolutely he was even like you're absolutely right i have to give you what kind of equipment was in there because you're you're right we got the craft but now how did we see anything in there because it's it there's no lights right there's no lights that turn on so we we positioned these two industrial these yellow four spot halogen spotlights that were available back in 88 and 89 Inside the craft, they were, you know, these telescopic stems that were brought down because it's actually pretty low in there.

How high about? Five, five and a half, five feet, ten. Wow. You know, maximum. At the highest point. High height, maybe a little less than that. Wow. So it's, and that's at the highest point.

As soon as you start walking, it tapers down. It tapers down. So you immediately have to start crouching down. You eventually have to get on your hands and knees because you can't stand in the craft. Even when you're in a 3D environment, you'll see that. You actually have to start crouching down. So wait, these beings also had to like crouch down and crawl. They're much smaller.

But still? There's, I don't think because you'll actually notice the, you'll actually notice this carefully. The access from the craft, the entrance of the craft, when you walk into the crawl into the craft, but if these guys were walking into the craft, in my opinion, I don't know exactly how. how tall they were because we don't have a real size of these things. But it would almost make sense that they would maybe just do this only at the beginning. But as soon as they're like two steps in, three and a half feet, they're clear. The honeycomb hatchway, and there's a little hatchway that's in the back side. Like if you walk into the craft, the seats are pointed to the right.

And so to the left, there's a honeycomb hatchway. its position on the floor is perfectly positioned at a place where the inclination of the ceiling would not require the being to be crouched down. So I think the position was intended for their height to be standing there. Interesting. Okay. So that's also very interesting. Okay, so this light. So, yeah, going back to the light. So we basically put these two exactly where Bob.

said they were. There's these extension cords that were running in the craft, which I also thought was really interesting. That's what I thought was wild. Yeah. Because I remember I remember going, it's true. I mean, there would be extension. And Bob was like, yeah, the extension cords

were running behind and I'm like the extension cords. He's like, yeah, for the lights. Suddenly, even to us, we were like, holy shit, we were working on this. Humans were working on this. Yeah, now that you have Our technology mixed with theirs. It suddenly had a different look to us.

And we're like, and there was extension cords, because obviously the tripod has to plug into something. So there's an extension cord that goes all the way out and falls to the ground and goes into the wall. And Bob's like, of course, he says, the guards used to always tell us to watch the wires on the ground. I said, really? He goes, yeah, that was something that they used to yell at us all the time.

You know, things like that, if you're making things up, things up like the way he was saying that that was pretty interesting so I was like okay yeah that's true there's extension cords says the extension cords were orange he remembers that he says the tripod lights the fixtures were yellow and they had four and they were angled uh horizontally so that they would beam the light towards the ceiling of the craft so one of them was near the third seat to the left and one was behind the center uh um amplifier in the craft. You'll see that, obviously you'll see this. And both pointed upwards. He said to me, he says, even with those lights, it's extremely dark in there. And I said, really,

those are pretty bright lights? He goes, yeah, they're super bright, but it was really dark in there. Like swallow the light? And I thought, that's, that's weird. I go, because it still would light up the place. I mean, it's not that big, you know, it's like two big tripod lights. These are industrial lights. He goes, he looked at me, he goes, I don't know, it was pretty dark in there. So I wrote that down, you know, I'm like darken the craft, even with these spotlights on. I thought, really? You know, these are bright lights.

So we built them. We put the exact lumens. We research the whole thing. Yeah. Right? So it's not, we just put light, you know, research the whole thing, the lumines that are emitted from these. and lights pointed exactly where he said. And every time we would go in the craft,

we were like, it's, it's, it's, it's really dark in there. You know, and it's like, why? And I, I would tell the team, like, what's wrong with the lights? And they're like, they're at, they're at max capacity. But I can't see anything. They're like, I don't know. They're like, it, it's really dark in there.

I was like, but that doesn't make sense. So like, but that's, that's the physicality. Yeah. The physics in the environment are accurate. It's accurate. Okay? So there is nothing. Everything is properly turned on.

There's light bounce. There's sheen. There's a million things going on that is accurate to real life. So if we have these at 100% and it's still darkened there. Yeah. How would he know that? So cool that he said that. Yeah.

He's like, I don't know. It was just dark. It was just dark. there. And so we had to like to make some of the renders come out. We actually had to blast the light at like six, seven times their intensity. Right, just so people can see what's going on. Just so that you can see what's going on. Wild. I remember, uh, I remember looking at the stills. I think it was the skills you were showing me. And from outside the craft, you have this cable running out the door. Yeah. And then inside the craft, you have these, these tripod lights. Yeah. Yeah. And I remember feeling so weird about seeing that. There was something, about the sort of intersection between this craft that can, you know, fly through, I don't know, land, sea and air and space and whatever, as fast as it, you know, whatever. Like this craft that can go anywhere, technology, that's maybe millions of years ahead of hours.

And then a stupid, stupid extension cable coming out the hatch is, there was something so insane about it. I know. Like, just seeing it, I realized, I was like, oh, this is insane. This is our puny little, our, you know, we think we're advanced. That's right. And then we still got to plug things in. Yeah. You know what I mean? Like it's being plugged in and there's this clunky construction light in there. And then this sleek, beautiful craft, you know, Lamborghini of a, you know, of a sports model. There was, yeah, there was something interesting about that. That and did you. Did you? you, are you, like the flag? Yeah. Is that something you want to, you want to mention to? Sure. Yeah. I mean, the, the, the, the, just going back to the interior real fast, I'll talk about the flag, is that was something that made the team all go like, shit, that makes so much sense. Like, none of us had made that conscious, I mean, it's so. It should be light in there.

Not only should there be light, but it's not, it's our equipment. Yeah. And that's what we have. That's right. Right. Like if you're, unless you have a flashlight, you would set up tripod industrial construction lights to light, you know, with, and you need a wire that you got to go plug into a wall because otherwise you have a generator, which is going to make such a racket in there. So it was so interesting to see that because it's like, yeah, that's true. that's what would be.

Yeah, it's the equivalent of like cavemen starting a fire in the back of my Tesla to see what's going on. Yeah, exactly. You know, just be like, well, we got to see something in here. Might as well, we'll start a fire. Yeah, same. So, and now on the, just on the outer shell of the crowd, like on the outside now. So you talk about the flag. There's obviously, again, this hatchway, the entrance to the craft is quite narrow.

and right to the left of it. So there's, in the hangar they had this, like, you know, these stairs that you could roll. Mobile warehouse. Yeah, exactly. Bring up to the entrance there. And they had, Bobbitt said, they said, the ones that they had there was actually flush to the floor. Yeah. So they probably had measured it or whatever.

So they had a perfect, you know, you would get to the top and you just walk into the craft. And you step onto the craft. If you step there, your hands are essentially on the shell of the craft. Uh-huh. Okay? So your hands are, you put your hands on both sides. Your body is now inside this opening. You'll see that, obviously, in the film and in the VR experience.

But to the left, there's a, it's about seven inches by maybe three and a half inches or four inches, a reversed American flag sticker on the craft. Okay. And now this is something that Bob Lazare had talked about. Back when he came out with the story, he literally said, he goes, well, this craft was there, and it had a small reversed American flag sticker. A lot of people, I remember, I remember, you know, what the hell? You know, American flag, reversed American flag. What the hell is that?

Anti-American? What does that mean? So even I, I remember going like, what does that mean? It's reversed. And it never occurred to me that, well, I'll explain it after, but it was, it was confused. Fusing. And he was the one of the first things he had ever noticed when he first saw the craft was the flag. And he wasn't up on the stairs when that happened. He was on the ground walking into the hangar with Dennis Mariani. It made him think it was ours. He was convinced that it wasn't like he was 100%. He didn't have UFO in his head. He was like, oh, we're making these now. He walks in, sees that and instantly goes like, oh shit, these are one like these, that's what people are seeing, these flying. saucers. It's our secret boy, are they going to

look on their face when they realize. And then he sees the American flag on it and he's like, this is crazy. This is a top secret fighter, whatever. You know, like he has no idea. He's looking at something from another planet. Potentially. Potentially. Or something that is not made. Well said. He would even

not agree with what I just said there. Be like, we don't know where it's from. And it's a reversed American flag. And now, from the angle, he, this, I always say this, because it's a super important point. From the angle, he was standing, walking, he was following Dennis Marianne, he's superior. He had a security guard behind him, and he's walking towards inside, he's walking into the hangar, the craft is to his left, he sees this, and ahead of them is the door to go into the hallway. He slides his hand on the craft. He sees the American flag, gets reprimanded for touching the flag, the craft.

but there was a lot of people, I remember when I was doing the research, there were a lot of people complaining and criticizing the fact that there would have been no way for Bob Lazar to see the American flag from the angle he was at, blah, blah, blah. And that stuck with me. I remember that stuck with me because I was like, I'm being so incredibly cautious with details that I actually had that, you know, in the back of my mind going, I wonder if, I can't wait to see. wait to see. Oh, that's so cool. You know what I mean? I was like, I can't wait to get into the environment. I didn't tell anybody. I said, I want to get in there. I want to go stand exactly where he was, he was, and I want to see if I could see the flag. And I'll never forget it. I took the goggles on. Nobody in my team knew I was going to do this. That I was going to go, they thought I was going to analyze the ceilings of the hangar and whatever. I put the goggles on the first thing I see was the flag. Wow. And I was on the ground and I'm like, and I remember going.

you could see it. And they were like, what? Oh, wow. What are you talking about? You could see the flag. And they're like, yeah, so? And I remember going, I know why I just said that. You know, because I had read so many people saying there's just no way.

There was more of that too, right? There was, before we get into that, let's put a pin in that. Yeah. But let's talk about why the flag is reversed. That's important. And that's something that obviously we researched, and it's not really a mystery. It's really not a mystery. But why it was applied on the craft exactly where it was, well, that's a mystery.

Well, we'll still consider that a mystery. But in standard protocol of using an American flag on a uniform, on a uniform, on a piece of clothing or on a vehicle, the flag, anytime the flag, the American flag, is on the right shoulder of a uniform, or on the right shoulder of a T-shirt, or on the right side of a cap, or on the right side of a plane, a bus, a car, any vehicle,

it's reversed. And the reason for that, is because the flag is, the wind is pushing the flag backwards. So the direction of the vehicle, if you look at the left side of the craft, sorry, of a vehicle or of a uniform, it's the standard American flag. It's because the wind, as the vehicle or the person is walking forward, the wind is pushing the person, the flag backwards. So on your left side, it would look normal, but on your,

right side, it's reversed. It's completely standard. So that might have been the right side of the craft? And so we as, so it's a round craft. Yeah. So, so the, the assumption and also Bob kind of agreed to it. Since the entrance, you've got, everybody will see this, since the entrance, the flag was right to the left of the entrance.

When you look inside the craft, the seats are pointed to the right. Right. indicating this is the right side of the craft. Right, right, exactly. See what I mean? Yes, that makes sense. So it just checks out. It just makes sense that it's on the right side of the craft.

So is that the reason why they put a reversed American flag? Maybe. Still cool. Yeah. Yeah. So now there's another point, I think, that, you know, again, if this is something you don't want to get into because you want to save it for, you just let me know. But there was also another point.

that skeptics would point out. Do you know which one I'm referring to in the hangar? In the hangar. So they would say, well, how is it possible with the angle that Bob was at that he would have seen? The flag? No, the other. Oh, the other hangers. Yes.

Okay. Oh, yeah. Is that something you want to? Sure. I mean, yeah, that's actually an easy one. And we built the whole facility. Obviously, we built the entire facility. We didn't just build something you didn't even touch on it.

Yeah, right. Yeah. So we didn't just build. you know, the lab and the briefing room and the nurse station. We built the whole facility. Now, what's really important to know is that there's a long corridor inside of the base. Okay. So when you enter the base, there's a hand scanner room.

You open these double doors. And now you have this extremely, what almost caught, almost like an infinity hallway. Okay. and right after is the main hangar, the first hanger, and then subsequent to that are the other hangers, because it's a long line. So there's a total of nine hangers. To the right side, there's a little hallway that goes to the nurse station,

and then after that there's the briefing room, there's another office, there's the washroom, there's the cafeteria and the lunchroom and all that. And there's probably more. Bob never went past the lunchroom, okay? So he always was very cautious to say, everything until this door, he says, I've been to. He says, I've never been past the lunchroom door. So he goes, there were doors.

I could see. He says, I remember seeing there was doors. But I have no idea what was in there. So I can't. Other departments. I don't know. Okay. As far as the hangars are concerned, he only was inside the main hangar.

the first hangar with the sport model. The big one. The big one. Correct. Now, at one time, there was also, it's really important, there was also a door. The propulsion lab, if you're in this long corridor, the propulsion lab is the, there's two doors to it. It's a pretty big lab. So you have two doors that go, one, and you walk a while, and there's another one to go into the same propulsion lab.

Once you're inside the lab, there's actually a door that leads right straight into the main hangar from the propulsion lab. Okay? Okay. That's something that's really important. But from the corridor, obviously, there's a door to go into the hangar as well. Now, he was one time, at one time he and Barry were inside the propulsion lab. Dennis came in there and said, Barry could you and Bob, bring Bob out?

There's a, we're doing conducting a test of the craft. This is when he visually saw the craft do what he called an Omicron test, like a low power test where the craft was outside. So he opens, they opened the door. Now they're walking into the hangar. Now from the position where they are, they're essentially staring at the wall that is adjacent to the other hangar. At that moment, when he came in, the craft wasn't there.

The craft was outside, and the adjacent doors, all the adjacent doors were opened from every single other hangers. So they were all these large metallic doors. Each metallic door had its little door as well. So they didn't always have to open the big thing. They actually had a normal size door if they wanted to. So all of the big hangar adjacent hangar doors were open. And he says, I remember walking in and there was no wall. So he goes, it caught my attention.

And I could see how incredibly huge the facility was because I could see really far away. And he goes, now, mind you, this was not a long glance. Like he says, this happened fairly quickly because here we are following Dennis. I got buried next to me. I look, the craft is not in the hangar. So it's a pretty desolate, it's a vast, you know, door open. and I could see that there's other crafts in adjacent hangars. So he was able to make out the shape of the first two, the first one.

He calls it, it calls it the jello mold, looks like an old metallic jello mold. Basically, that's what it said it looked like, look a weird shape. It was a little smaller than the sport model, but still a sizable craft. and the hangar after that he called it the top hat craft like a like a straw hat or a top hat it was flat in the middle with a much flatter around the area and he says this craft was propped up on its side like leaning on the wall

like basically leaning on the wall or the adjacent big door and it's just leaning there like it was weird that it was not on the ground and they had about this size hole into the thinner part edge of it as if like something like a projectile busted through and he saw that very clearly now he said and I I spent so many so much time asking him so many questions about this and he always would look at me because Luigi this this was like a second or two like he goes but it matters yeah yeah right. Right, yeah.

And I'm trying to get like, but, you know, did you see anything else? He's like, I couldn't see. I could see there were other crafts past it. He said you could see little metal things because there was at that angle. Yeah. He could only see the one that was adjacent to the main hangar. Yeah. The one following was propped up.

So he was able to see that. He says that the angle just kind of. He goes, I couldn't make out the, you know. And what's interesting is that was another. thing I wanted to do, right? I was like, I can't wait to see this. So we built it, obviously, and I asked Chris, I said, can you do me a favor? Can you open all the adjacent doors, make the lights, you know, open up the hangar door. I want the lighting to be exactly like that. And I want to walk. I want to position myself right here, and I want to look and I want to see.

And I remember, I go, holy shit, you could clearly see the first, obviously the first one's right there. Yeah. So, you know, it looks like we made it like the craft. I saw the other one, which is, you know, propped up. And then further, we have crafts, which by the way, are creative liberty designs because he never see, he never saw them. Yeah. So he said, you could take create, yeah, certainly take creative liberty because we don't know. Wait, so which craft did you make? I didn't see these. Yeah, yeah, yeah. We're going to show you these. All right. We'll keep these as a surprise. We certainly used.

What I did is I decided to use known siding crafts. Amazing. You know what I mean? Yeah, exactly. So people would have to go, oh, that's from that one. And he said what I could see was the color. He goes, I could see the color. But he goes past the fifth one, I couldn't see anymore, right?

It was really too far away. So I wanted to see how far can I see at that angle? At that angle. And it was exactly like that. I say you see the jello mold, you see the top hat, you could see maybe one or two, just the metallic piece. And then after that, you're just like, it's too far away. Which, again, you have to wonder, how could he know?

And again, always remember, the physics are accurate, the lighting is accurate, the bounce. Everything is absolutely accurate. So you have to be pretty good at making out those type of details in your mind. if you're trying to make something up. See, this is what I'm talking about here. It's not just this. I'm sure, like, this is why people have to understand, like, where I'm coming from as well,

like hanging out with you and hearing these things, because it's not one thing. Right. It's not one piece of evidence. Right. And that has been Bob's consistency throughout all this. Oh, yeah. That if you look at all of this,

really, really look at it. It's never one thing. No. It's always another thing and then another thing and then another thing. And it doesn't stop. It doesn't stop being verified. At no point, is there like some wild inconsistency? The inconsistencies that people have found are so nebulous and inaccurate.

Some of them are inaccurate. And inaccurate, yeah. Well, I think the most important thing that happened over the two years that we've been working with Bob, that I've been working. with Bob is I got to know Bob, and I didn't get to know Bob the UFO guy. I got to know Bob Lazar, the person. And that was kind of something that was unexpected in the way it happened, because I did not expect him to be so humble and so open to working with us in this project. and one of his friends that said to me, when you get to find out who Bob really is,

you'll understand why Bob is saying the truth. If he's like this, but then he would be lying about all this, that would be such a clash. Never raised a flash. I mean, and we went through everything, and many times over. So I am 100% convinced that he did this, that he was there. I don't doubt that he was in that craft,

that he physically touched and manipulated the components of the craft. I don't doubt that at all. I don't doubt that there were the people that he said that were there because of the way he described them and what they said and how they went about doing things. I don't doubt what happened internally with how they were trying to reverse engineer this. the way it was to me he wasn't told everything so it's compartmental yeah so that also comes through

when he's speaking and you know people are like he didn't go to school or he didn't graduate from mit there's a there's a real answer to the mit by the way yeah i don't know if anybody will ever share that with you bob shared that with me he shared that with joe rogan from what i understood i can completely completely understand why he can't say it. Right. So it's impossible for him to talk about that. So a lot of things that people are skeptical about, there's a reason why.

There's a reason. And all I can say is, I know this is going to piss off a lot of people and it's obviously frustrating, but there's a national security element to what Bob was doing back then. And you cannot fuck with that. It's a problem.

One of the things he said to me, which is disclosable, is he said, why would I put other people's lives in problems just so that I can appease the people who don't believe my story? He says, I would rather they don't believe my story than myself causing a firestorm because he says, I wasn't the only one on, not at S4 at the MIT portion of, of his life. There were other people there. And he goes, the second I elaborate, I'm kind of obligated to open Pandora's box on that. Yeah, people can go check the other people. And then it becomes a nightmare. So he says, why do I need to do that? I don't need to do that. And I fully agreed with them. I would do the exact same thing. He says, yeah, sure, I could tell you. He says,

you just don't talk about it. Because it's not something that I should say. He elaborated. He elaborated on that part. And that was a big one for me because I was always stuck on that. That's one of the small things that kept you back. Always. Because, you know, it's like, okay, like seriously, are they that good at fucking embracing? You know what I mean?

Yeah, this becomes deep conspiracy. It becomes too intense. Yeah. So. And when he went and he detailed it, I was like, oh, fuck. Like, it totally made sense. And it's not even that. complicated but it makes perfect sense and and I remember going fuck it's too bad we can't

talk about that because it would just it would first of all there's a lot of naysayers out there they would as Mario Santa Cruz likes to say they would just have to shut the fuck up after that because there's a big here's a slam dunk and they're now fucking say something the truth is though they would find something else oh they would there's no doubt there's no question I personally believe that he's omitting and not lying. Yeah. I think there's enough stuff that he's omitting that is very pertinent to this type of operation. If he's deceiving the world with all this, he must be the best there is.

Because there's just no way that I believe this guy is lying. I'm so happy that, you know, we got to meet and that you let me, you know, come in and be a part of this a little bit in any way that I can. It means the world to me. And to us, too, by the way. Thank you. Well, I'm super proud of you, and I'm super proud of your team for what you've achieved so far. This is going to be a great, great project.

I know it is. I'm rooting for you. I'm excited for you guys to see, you know, what this is. And I'm sure you are, too, to finally get it off your plate and enjoy world. Yeah. Oh, yeah. I can't wait for the people to see. see this. I hope people like it. Obviously, there's always that worry that we always like,

I hope people like this. You know, it's, it's normal. As much as we look at the shots and we're like, wow, we just want to make sure, you know, it's, and again, we're always being true to form. It's, it's exactly what he saw. So we're not embellishing. It's, it's, we, we hope people like it, you know, and I, and I thank you also for supporting us and helping us, you know, because it's, it's great. Yeah. One thing I did want to cover, which, you know, well, yeah. So here, folks, we have, maybe you can tell us a little bit about how you acquired these. Yeah, so this is a really interesting little Ziploc bag with some really cool pictures. So I remember we were doing some history stuff and we needed some really good pictures of when Bob was really young. So I called Bob and Joy, his wife, and I said, you know, I think we're going to need some pictures. because we can't seem to find anything of when you were really young boy. So Joyce says, don't worry, I'll get you some really cool pictures.

So she put together a whole bunch of cool, cool, real original pictures. One of them is Bob when he was probably like two or three years old. You know, and there's him at desert. When he would have fit in one of those little chairs on craft. Yeah, that was the time he could have fit in them, right? Yeah. And him at Desert Blast and him at Capcom. One of his friends was in charge at NASA's mission control.

There's a picture of that in there. There's also him with John Lear. There's even a picture of him with George Carlin in there when he met George Carlin. Is he a big comedy fan? Yeah, he's a comedy. He's a fan of George Carlin, and George Carlin was a huge fan of Bob Lazard. George Collin was in the UFO? Yeah, yeah.

I love that. Yeah. So that was cool. That is super cool. And there's like some friends and friends. family and you know and it was just so cool to see these that looks like you know this looks like straight to like a mad max you know i have a story he told me a story about that he that that jet car he actually said that the first second or the first couple of seconds he would pass out from the

g from yeah so he says he would wake up at top speed boss a bit of a badass oh yeah yeah you know Can you imagine waking up at top speed? John Lear, reading a Playboy upside down? Upside down, yeah, yeah. That's the way to do it on a photo. Not how I consume Playboy. Right, yeah. Bob was meant for speed.

Oh, yeah. Like, that's what he loves, man. The true Bob Lazar that I got to know over the years is a man who has a true passion for high. energy whether that be thrusters for speed or for explosives something that really makes a hell of a boom this is right oh my god this car is so cool that's the that's the that's the famous Honda jet car this is the reason he ended up in a UFO that's right yeah that was featured in the article yeah that's right

that's the car and we actually we we actually have plans to after all this is done, and that we spend some time recreating that in 3D, because I want to actually make it into a die-cast model. Because, I mean, it's still something that is historic. It's because of this car that he got hired. Yeah, so it was the article. That's right.

For those that don't know, Bob, he was featured in an article. In the Los Alamos. In Los Alamos newspaper, local newspaper. Yeah, that's right, yeah. And it's like, hey, a scientist makes, you know, jet pack car or whatever it was. Yeah, Edward Teller, the father of the hydrogen bomb, was there giving us a speech reading the paper,

and Bob goes, wanted to meet him. He was asking me on the front page. Teller goes, that's pretty cool, talked about his last name, and then he remembered him years later. He set up a meeting. And then he says, go to EG&G special projects, and that's how he got interviewed. That was a friend of his that had created that alien.

Oh, I thought you said that was a friend of his. No, no, no, that created that thing. there. I guess this is always desert blast, all these things. Yeah, him and a helicopter, a desert blast. They, I mean, they ran desert blast, I think, for almost like 10 years, 10 or 12 years. And that was Bob's thing. Oh yeah, that was Bob. That was 100% Bob's thing. This gathering represents every bomb demolition team's nightmare. Once a year, a group of pyro enthusiasts sneak out into the Nevada desert, far from the reach of the law, and go crazy. Welcome to Desert Blast

And it started off with a little private It was small at the beginning And it ended up being a pretty big event Where thousands of people come in People fly in with their planes, helicopters And it's interesting because That's the true Bob Yeah doing that

And they would do this at Dry Lake Outside of Las Vegas In the middle of the desert in Nevada And when we're We shot with the DeLorean Time Machine for the movie. You know, there's a scene. You'll see that. We went out there.

Bob came out. Well, we went out all of us, my whole team, the whole production team, all the our equipment. We rented an RV. We had the DeLorean Time Machine brought out there. We had a wild thing to say. Yeah, from back to the future. We had the time machine.

Yeah, right? We had the guy who owned the car out there. We had a Jeep and a four, four by four, tons of equipment. We brought explosives out there. And we spent two days filming in the middle of the desert with Bob Lazar. And to this day, Bob says, I'll let him say it. I will say it's probably some of the best memories of my life. This is an actual piece of one of the bombs that we,

We blew up up there. And this was sent to me by Chris Sanford, the owner of the Delorean in Las Vegas. And this piece here on the car, he had to replace it. And it's this. So he goes, I was going to throw it in the trash. But he goes, why don't I just send that to you so that you do something with it. So cool. So that was part of the original car that I don't know what I'm going to do with, but I'm going

to do something with that. We just got back from Vegas and I had everybody sign it. Oh, cool. Also, I have, like, George Knapp, Bob George. Jeremy. I think that's Jeremy. And then there's Gene Huff, myself.

There's Chris. That's Chris. My Chris here. And that was like in November in Las Vegas, everybody signed it. And I thought, you know, why not? Yeah. It's the, it's the, it's the warning sign.

It's your little Area 51 shrine. Yeah, exactly. We went out there. It was cool. We even got some dirt from Area 51. This is literally, we got it shipped. The fun we had was insane. Like kids.

Yeah, like kids. It was like every. And Mario Santa Cruz came out there. Mario's a long-time friend of Bob Lazar who used to go to, he was at the first desert blast. Mario was out there and started getting teary-eyed because he said, this is exactly what we used to have back then. Yeah. He's like, I can't believe you were able to make us live this again. And Bob was like out.

I remember he was further out just on his own. doing something and his wife came up to me joy came up to me she goes look at my honey she goes he's home and and bob was like lit up he missed being out there yeah yeah that's his uh his true calling is propulsion oh yeah is anything that blows up absolutely so you've got power technicians competing against each other to see who can impress you know everybody so it's quite a collection of everything Twelve years ago, physicist Bob Lazard decided that he wanted to blow things up without getting arrested for it. We actually talked about, he's talked about possibly doing an on invitation only one Desert Blast event.

Oh, that would be amazing. Yeah, there. So if ever that happens, I'll let you know. That'll be one hell of an experience. Oh, my God, I can't even imagine. Getting an invitation to Desert Blast is a really difficult thing, and we purposely make it that way. We're very selective on who we allow to come, and by doing that, we really weed out all of the bad, you know, any of the bad influence you might see at any party of this size. Link your eyes, we're here and gone, and, you know, that's it.

It's so nice to see these pictures because I think this, and, you know, you're showing a side of Bob in this movie that people aren't used to seeing. Now, we had a bit of a conversation before this about how parasycial relationships work. You know, I've, you know, I've had my fair share of, you know, fandom and people, you know, the love, the hate, all the things. And, you know, people often forget that the people you watch on these videos and stuff like that, they're people. And I know that sounds cliche, but they're just, they're just somebody, just like you, just like me, they're just somebody. They weren't born into any of this. Yeah. They're just a person.

And, you know, we often forget that when we either idolize someone or we categorize someone or, you know, some platform makes someone into like this avatar that they aren't. And then you see pictures like this, which aren't digital, they aren't touched up, there aren't Photoshop, they're moments. That's right. Of giant smiles and, you know, and just conversation and real moments of life. and it's really refreshing to see, I think, that, and I can't wait for people to experience that in this movie. I think that is a really important thing, and it speaks to his character and his credibility.

I think, you know, that's, again, something you forget. When you look at the story of Travis Walton, or you look at John Lear, or you look at even Grush, you know, or all these whistleblowers and stuff, we tend to just categorize them based on their body of work or what we're familiar with. Right. But you forget that they have friends, families, problems.

Right, normal life. Yeah. Yeah. And, you know, I'm really, I'm looking forward to seeing that side of things. And I'm sure, you know, spending time with Bob that you had those moments with him. And, you know, that's really cool. And that must have meant a lot for him, too, to invite you. You know, I can't imagine how guarded Bob is in real life about letting people in.

I got to say, you know, I started off with wanting to do a project with Bob Lazar, and I'm at a point where I can openly say I've become friends. I've become his friend. And we've become friends. And our conversations are no more, they no longer talk about flying saucers. We no longer talk about the project or flying saucers or the government or whatever is going on. Our conversations are a how's life what's up what's going on yeah you know what was happening in the barn yesterday and he'll ask me how my family's doing or you know what's what's new and hey did you change your car there was a problem with like it it it's it's different when you get to know the person he's a very he's a very down-to-earth person and one of the things that we all noticed and this is my sister my wonderful little niece Luna, who's the love of my life, he's six years old. He asks about them. And he also, I mean, this is something that was interesting. One time I was zooming with him and Luna came, you know, next to me because she was at my house. And she's just like, hi, Bob. And he was so kind

and wanting to talk with her and take time to talk to her. And I mean, she has no idea who she's talking to. For her, it's Bob. You know, she met him. And, She's just a nice guy. You know, I told her, I said, you know, Bob worked on a spaceship one time. And she's like, a real one? You know, I said, yeah. She's like, oh, that's cool. And then goes on to, you know, it's awesome.

Yeah. Magic exists for her already. It's great to have built that relationship with him. I got to have an amazing relationship also with him, his wife. I mean, such wonderful people. They care about animals. And also something that is going to be shown is how. how much they care about animals.

I mean, it's, it's a freaking, it's insane when you go to their place. They got tons of dogs, cats, horses. They have a bird area where there's like thousands of birds of bird feeders. It's absolutely, it's like a hair, like literally, you know, remember in Ace Ventura when he goes, oh, you know, all the animals are, you remember that? You know, that's how I felt one time when I was there. I was like, oh, my God. It's like, all the animals are you?

you know, and they care for them and they're worried, you know, they got to go feed them. And I was shoveling horseshit with Bob in the barn. You know what I mean? It's cool to. That's so cool, dude. To see that. Yep. I think it's important to see that, you know, for this because it really shows the other side of the coin.

Yeah. He's got his own things going on. So it's humanizing, I think, is very important. Not only in this story, I think in general, I think we all need to normalize the fact that, like, we shouldn't idolize anyone. Right. That's important. You know, we got flaws, we got ups, we got downs, but it's really cool that you were able to do that in a way that adds to the story

and that, you know, that becomes like an integral, I think part of the story and part of his character and part of why it's so interesting to see a guy who's just a guy. That's right. Work at the most extraordinary place in the world. Yeah. And he did. Incredible. Incredible.

I'm so stoked for this, man. It's cool. Dude, this is going to be, this is going to be so cool. Guys, you are in for a treat when this comes out. I'm telling you right now, you know, we'll obviously keep you guys up to date on what happens. And as soon as Luigi's allowed to talk about anything further, you know, check out that channel and then we'll relay the information here.

We're going to scream it at the top of our lungs. Looking forward to this. Luigi, thanks again, man. Thank you, man. Thank you, man. Love you, man. Always a pleasure. Same here.

If you guys want to, first of all, support. Port Luigi, Project Gravator, S4, the Bob Lazar story, the experience, the future book, all of that stuff. You can go to projectravitor.com. You can also visit ProjectRavitor at Instagram. I'll leave the link below to that. Be sure to keep your eyes peeled on their YouTube as well, which they'll be promoting, posting behind the scenes. And there's a lot of other behind the scenes projects to come. So you guys will be satiated.

You will have your fill of this, you know. entire piece of history. So stay tuned for that. Leave a like, subscribe. Leave us a five-star review on Spotify and iTunes, whatever platform you're using. Join us on the Discord. It is free.

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Is that like the goal here is to really get people to feel like they are Bob? Or to feel like they're just going to ask for? Is it, are we, we following Bob's footsteps or are we taking a tour for ourselves? Like what's the... It's a little bit of both. I would say for the VR experience, it really is like you are Bob.

Right. And what he saw, how he saw, what's the, what's a average day and what's like a more... Yeah, you can call it that, yeah. Experimental. Yeah, to him, right? Yeah, yeah, yeah. And then for the film, it's really about closure. It's, here's the story in all of its form.

It's like the... It's the Bible. Yeah, it's everything. It's everything condensed into a feature-length film. So exciting.