Spyros Melaris：「ET 解剖動画」の捏造過程を証言

2025年1月20日 · 約110分

前置き

Santilli の「ET 解剖動画」を実際に製作したのは、Spyros Melaris だが、その Spyros Melaris が捏造の過程、架空のカメラマンを用意した手順などの詳細をインタビューで証言している。

なぜ、捏造した ET の

腹が極端に膨れているのか、
6本指なのか、
臍がないのか

といった背景設定の説明も面白い。

このインタビュー動画を視れば Spyros Melaris はかなり頭が切れる（＝悪賢い）ことがわかる。それゆえ、賢さで彼に匹敵するレベルに達しない UFO 研究者は皆、騙されることになる。

後日、和訳をつけたいところ。

動画(1:05:26)

PAC-TV Season I： Podcast X： Alien Autopsy with Spyros Melaris - A PAC Special

FasterWhisper AI(large-v2 model)

▼原文展開

Yeah, welcome to the podcast on August 3rd, 2020. I'm Tristan. And we're here to welcome Spiros Menloris, I believe your name is, who is the creator of Alien Autopsy, which is a very interesting documentary, which Ben Lawrence has just caught up on recently. And we're here to interview you and talk about why you created it and stuff. I've got a few questions, but yeah. (0:01:17)

So, do you want to begin, actually? You are the godfather of the biggest conspiracy theory I think the world has seen, which is the Alien Autopsy. Guilty, sorry. No, honestly, I remember seeing it in the 90s. I remember seeing it. Yeah. You know the guy from Star Trek, Jonathan Frakes? Of course, of course, yeah. Yeah. The Next Generation. Yeah. He did a programme about it. (0:01:40)

That's right, the Fox programme. Yeah, exactly, right. And it was years on that I actually met you and discovered that you were the genius behind it all. So, let's have a little chat about how this magic happened. I have a few questions as well. Specifically, I watched a documentary about an interview with, I forget the gentleman's name, it was a guy, it was a magic show, I believe. (0:02:12)

I watched it last night. And you talked about, I've got a few points here. You talked about how in the history of religion, there's like all these mystical beings which have six fingers and stuff. Yes. Interesting. So, I guess what I'm asking is, did you like sort of base the alien design off that first, to sort of like make that more real? Or do you believe that means it even maybe was real in a sense? Or they could be that... This is a really good question, because people don't understand. (0:02:44)

See, if you want to create a great illusion, right, a great hoax, okay, you have to take people in. And if you take them in, you have to give them a belief system. Okay, so if you, for example, if I made this a little green man, with a little spindly little neck, and something that you can't buy, it becomes jokey. (0:03:16)

Okay, so your belief system is sold short. Okay. But if I gave you something which was a bit scary, you know what, this could be a human being, maybe it isn't, you know what, I can buy into it so far. And I'm open, I want to know what this is. Okay, I've kept you involved. And I haven't patronized you. (0:03:33)

I haven't shown you something that you're... I'm saying, look at this, a bit of jelly, it's an alien. No, it's not. It's a bit of jelly, right? From that extreme, go up stages. Okay, so how do you start to do this? What you do is you sit down and you work out who this alien is. Okay, where did it come from? What does he eat? (0:03:52)

Do they reproduce? Is there a male and female? All of these things, you have to develop a person, a thing that you're going to build. And every little aspect of it has to make sense. Okay, so when somebody says to me, I interviewed 30 people in Roswell when I went out there, who were there in 1947. And they've told me stories I can't buy. (0:04:19)

Right? So this is a really good example. Oh, yeah, they had three fingers, they had like three fingers and a claw. It's a chicken's foot. Right? So this is not credible. So all right, but what's an alien look like? Who knows what an alien looks like? But you know what? I'm not buying it. If these are advanced beings that have been able to travel the distance we know they have to have traveled. (0:04:41)

So I don't need to know anything about them. I just need to know what my belief system tells me I can accept. Okay. Yeah. So that's all it is. Right. So if I say to you, um, this is us from the future. Okay. Okay. So how have they evolved? Right? So we then treat it as an evolutionary thing, rather than a science fiction thing. (0:05:15)

So then I thought to myself, wouldn't it be great to juxtaposition and say, you know what, this is us from the future, but they were in the past. That's a complete mindfuck, right? Because you go backwards, and you say what the pyramids, the pyramids, as ancient as they are, have some link to something in the future. (0:05:38)

And if we go down that road, which is a nice popular, it's a nice popular sci-fi conspiracy theory type thing. Well, then suddenly I can buy that. Okay, that makes kind of sense. (0:05:45)

So why six fingers and six toes? Is that is that something that we can see in real life? Okay, so you ask a doctor, that's what you're going to do. You're going to say to a doctor, have you ever seen this before? And they say, yeah, it's called polydactyly. And it happens now and again, in human beings, right? So yeah, so if it happens in human beings, this is not sci-fi anymore. Right? Now the doctors will say to you, they will tell you that polydactyly has never been registered anywhere where somebody's had six fingers on both hands, and six fingers on both feet, perfectly formed. (0:06:33)

Okay, they usually have a finger sticking out. Yeah, it's not it's not a perfectly formed hand, perfectly formed feet. So this is like the ultimate in the evolution getting there. Right? So the fish has just crawled out the water, it's grown some legs, and it's slowly, slowly becoming us, right? So if we can accept that, then that's why it's got six fingers, six toes. (0:06:58)

While I was doing my research, I found lots and lots of different examples of things and people and creatures in part in the past, in our history, even in fables that has six fingers and six toes, and you don't get better than the Bible. Right? If you can throw the Bible in here somehow, right? You go back to the fallen angels and Adam and Eve, and they had six fingers and six toes. (0:07:22)

Okay? And it's in the Bible, right? It's in the Bible. Check it, you'll see. This is to imply an evolution, isn't it? That's right. Now, Goliath, you know, remember Samson and Goliath? Yeah, the giant Goliath. He had six fingers and six toes. Right? Okay, that's good. Right. David and Goliath. Oh, well, also, you were talking about... Technically, he had 12 fingers and 12 toes. (0:07:47)

Yes. My second question was to do with what we were just saying, really, about, like, you were talking about, like, there being a popular sci-fi idea about, you know, the pyramids and stuff. So, you mentioned something else in the interview video I saw about, I've got my notes here. It's something about, like, the idea of aliens coming to Earth, and, like, the idea of a soul jumping to another body as well. Would you like to elaborate on that a bit, what that means? (0:08:13)

Yeah. If you're trying to fix a problem, okay, and the problem is, how do they travel millions of light years and not die? Okay? So, there's a question here, and there's lots of solutions. I came up with lots of solutions. One solution would be, you know what, they do die. And what they do, they have a big mothership. And on that mothership, they have several families. (0:08:43)

And those families procreate. And what happens is, as the elders die, the youngsters grow, and you can travel forever like this. And eventually, they're going to get here, and it'll be the new generation or few down the line that gets here. Okay? I didn't like that. (0:08:59)

I didn't like that. Two stars, Trekkie. Didn't like it, right? So, I then thought, okay, what if they grew new bodies? This one's worn out. I'll just grow a new one. And I'll move into that new body. So, that's a forever, perpetual forever. They never die, right? Well, if that's true, if that could be possible, it's sci-fi, right? I made it all up. (0:09:27)

But if it's true, then they wouldn't have a bellybutton, would they? No, yeah. It wouldn't be an umbilical cord, because they weren't born, right? So, anatomically, your model was correct, with that theory. Yeah, doesn't have a bellybutton. Then I thought, okay, so how do they travel so far? Without eating, right? It's a long way, right? So, even if it's the nearest planet we haven't been to, it's still a long way, okay? So, we've got to say, okay, well, listen, we've sent cameras quite far, but not far enough, right? And we couldn't send a human being out there, because they'd die before they get there. (0:10:14)

If we speed them up, let's say we go super, super fast, right? Well, then they break up because of g-forces. So, there's lots of things, lots of reasons why they would never get there, okay? So, this creature needs to be a little bit more insect-like, so that they don't break up like we would break up. You know, you've all heard, in a nuclear war, it's the cockroaches that will survive. (0:10:38)

We've all heard that, right? It's just public knowledge. Everybody knows that. So, if you keep picking those little bits up that people know, it reinforces the belief system, okay? So, the idea behind the belly being distended was because I kind of envisaged two stomachs, okay? One stomach would create bacteria, and bacteria would reproduce on its own within that stomach. (0:11:19)

And it would trickle into the other stomach to feed the nutrients to the body while it sleeps. For long periods of time, it sleeps, right? So, when it dies, that first stomach doesn't die. That stays alive because it's creating bacteria, and that bacteria starts to blow up because it's creating bacteria. Nobody's using it up, right? So, that was the idea behind that. (0:11:48)

So, to go back to what we were talking about, the six fingers and the six toes are only part of the story so that I can approach lots of different expertises. So, if you're an expert, for example, in history, biblical history, okay? Then you would know bits about that. And if you were an expert in insects, you would know a little bit about that. (0:12:10)

And if you were an expert in different fields, you'd say, actually, you know what? This rings true because of this. And somebody else said, well, that rings true because of that. And slowly, slowly, you build up a story which is viable. I can sit here and say, yeah, I buy that. I'll buy that. You know, why not? Why not? So, this concept you came up with actually went completely global. (0:12:35)

It absolutely went mental. It was in every newspaper, every TV station in the world. (0:12:40)

Everyone believed this, right? From a thing you did, what was it? 1993? 95, yeah. 95. But you met Santilli in 93, okay? No, no, no. I met him in 95. 95. Yeah. Santilli had told other people that he had an alien autopsy as early as 93. Yeah. He already told, he was telling people he's got one, right? Because he was testing the waters. They had this idea of doing this, and they thought, I wonder if people would buy it. (0:13:14)

Let's test it before we do anything, right? So, he would tell people, I've actually got this film. I've got it, right? So, it's whet the appetite. Oh, show us it. Let's get it. And then saw the interest. And from that, when he met me in Cannes, he told me he's got an alien autopsy. And would I like to see it? And would I like to make documentaries from it? (0:13:35)

So, I met him in London. He showed me what we know as the tent footage. Are you familiar with that? Yeah, of course. Yeah, yeah. So, the tent footage was just completely rubbish. It's just nonsense, right? And it was never meant to be anything else. It was a bit of fun. A few guys in a barn having a bit of fun to wind Santilli up. (0:13:54)

It was nothing else. It was just like, oh, look, look, there's an alien autopsy, right? But he saw it and thought, you know what? I'm going to try and see if I can get away with this, and showed it to people as if it was real. Because Ray still stands by that, doesn't he? Not by the tent footage. (0:14:13)

No, the tent footage has been exposed a long time now. But I said to Santilli at the time, this is not real. And I told him why it's not real. And that's why, when I left his office, I called my friend and partner, John Humphreys, who's a sculptor and a special effects expert. (0:14:29)

And I said, you know what, John, we could have made this, you know, with our feet. You know, it was so rubbish. Let's, you know, and he said, why don't we do it? Let's make one. So that's when I called Santilli back and I said, look, Ray, I can make this properly. (0:14:45)

But it needs to be done in a certain way, because I'm only in it for the ta-da moment. I want to put it out there for everyone and then go ta-da! It's a big joke, right? But there was a lot of money involved. So Santilli signed us up to a non-disclosure agreement to say we're not allowed to say anything until he gets his money back. (0:15:01)

Actually, it wasn't his money. It was a friend of his, a partner of his. So that's how we got locked into it. But when we made it, we made it with the specific intention of exposing it quite quickly. But it never broke even, apparently. Every time I asked him, oh, no, we're still owed money, it hasn't broken even yet. (0:15:27)

OK, wait a bit longer, wait a bit longer. And life carries on and takes over and you get on with your work and you forget it, you know. Meanwhile, he was selling it all over the world. I had no idea. So, yeah. (0:15:40)

So do you have any correspondence with Ray at the moment? He's in my phone and every now and again he texts me and he says things like, oh, we should be working together. This is terrible. And we were such great team together. And we, you know, and I just say, Ray, I don't trust you. I don't trust you. I don't even like you. (0:15:59)

You know, why would I want to work with you? That's two good reasons. Yeah. Listen, life's too short. But for a long time, we were working together and we were in each other's pockets. You know, he would be working with me. We would be producing DVD projects and stuff and not alien stuff, but all different stuff, Elvis and Beatles and all sorts of stuff. (0:16:22)

And I made a lot of money in terms of income from him. My biggest customer was BBC and Ray was the second. And I've had a lot of clients, you know, so it wasn't right for me to say, Ray, what's going on? You're taking the piss here because we were friends and we were working every day and I believed him. (0:16:50)

I believed that he genuinely was being bootlegged. You know, I was in Hong Kong one time on a job and I was in a hotel and I saw it on television. And I picked the phone up and said, Ray, it's on TV. I'm in Hong Kong. It's on TV. And he said, oh, they're bootlegging it. They're stealing it. (0:17:05)

And I said, well, why don't we sue them? And he said, because we tell everybody that it's a military film. How can we claim it's ours? Right. And we shot ourselves in the foot. Right. And I thought, oh, yeah, you know, this is not good. So fast forward, we've now got a situation where Ray has lied big time at government level. And this is the truth. (0:17:36)

This is the reality. If you go to the US Library of Congress, you will see a copyright registration in my name. And you will also see one in Ray's name. Ray's registration says that his film is 1947. And it was there before I registered mine, because I found out about it and I challenged it. (0:17:58)

And I said, this is a 1995 film. It's not 1947. The cameraman is not anonymous or unknown. It's me. Right. Right. And the film frame by frame marries up to my 1995 film. So we need to address this. Right. Okay. So the Copyright Office took 18 months of me going backwards and forwards with evidence and proof and bits and pieces to show this cannot be real. (0:18:22)

Right. It can't be a 1947 film. And where they allowed my registration was when I finally said, okay, I can see there's going to be a court case and you'll be in the court case. Unfortunately, I've tried to do this the right way. And here's what you need to do. Okay. You need to go to Santilli and you need to say to Santilli, Mr. Santilli, please show us your 1947 film. (0:18:47)

Show us. It's 1947. It's made in 1947, shot in 1947. Show us. Right. And if he can't do that, you need to give me my registration. Okay. It's put up or shut up time. Of course, he couldn't do it. And my registration went through. I then said, I want you to delete his registration. (0:19:14)

Because it's bogus. Right. And they said, well, we can't do that because we're not proactive. We are reactive. And what that means is, if a court tells us to remove it, we'll remove it. And if no one tells us with authority, it will just stay there. Okay. So I've slowly gathered evidence. (0:19:38)

And it's been a hard slog. Because Fox TV paid $300,000 for the first viewing, the one with Jonathan Frakes. They made a million dollar program. That cost a million dollars. And they broadcast it and beat all records. The first time they broadcast it. (0:19:52)

And they paid $300,000 to Ray. Then they repeated it a week later, paid Ray another $300,000. And it broke the previous record. Okay. They made a lot of money from it. So Fox has got no interest in going backwards. Because they've made a load of money that's mine. So I've now got in my possession, the contract that Ray signed with Fox. And what it says, it says that he guarantees that the film is a 1947 film. (0:20:36)

And it's an anonymous cameraman who worked for the military in America, in Roswell. Oh, I see. So basically, what's happened is something that was meant to be just like, for you, like a hoax, something that was fun and interesting, has ended up becoming something people have ended up trying to prove is real. Right now, Fox... Ray's just standing by the fact that it's real, isn't he? No, what Ray's done... Why would someone want to prove it's real then? I don't understand. (0:21:00)

Okay, I'll tell you why. Ray sold it as a genuine 1947 film. He proved it was a 1947 film by using a fraudulent government certificate that he obtained. So they then said, fair enough, you know what, we don't know what's on the film. It might be an alien, it might not. But what we do know is we've got Ray guaranteeing it's 1947, and he's shown us his registration document. (0:21:32)

So we've done the right thing. So we can hand on our hearts say, we don't know what this is. But here's the interesting bit. Ray can't hand on his heart say, I don't know what this is. No, he knows. Yeah. But he did say that. He said... So, so, so space, right? I understand though that you employed a tramp, or as they say in America, a bum, to pretend to be the original guy who did the footage. (0:22:07)

That's right. That's right. And I've proved who he is, you know. Actually, I don't like to use the word bum with him, because you know what, he's, he's an ex actor. And he was down on his luck. He was 80 years old or so, living on the streets. Okay, he wasn't a tramp. He was just homeless. He was down on his luck. (0:22:25)

And when we found him, actually, you know what, when I went out there, before Gary Shewfield went out there, Gary went to New York. I waited three days for Gary to arrive. Gary eventually arrived, he didn't want to come directly into LA because I was in LA at the same time, and he didn't want to have any links that we were there together. (0:22:46)

So he went by New York and then came in internally. We eventually met up. And we, he said to me, right, what's the plan? I said, well, we need a guy who's really American, not an actor that's pretending to be American, that'll be caught, right? We need somebody that's really got the accent, definite American. We also need someone who's about the right age, because the attitude, the posture, everything will be, needs to be right. (0:23:17)

But we also don't want them to see themselves on TV. This is the big problem, right? Because this is going to go on TV, and it says, that's me. And game's up. So I said, well, we'll find someone who's homeless. (0:23:27)

There's plenty of people in the street. We'll see if we can get them to do that. We'll give them some money. And I'll make them up so that their own mother wouldn't recognise them. Put them in slight silhouette. And they won't see themselves on TV. They're unlikely to see themselves on TV. His own mother would be unlikely to see him on TV if he's 18. So, yeah, you know what I mean. (0:23:59)

His own mother wouldn't recognise him. It's not that she'd be there to recognise him. So we found this guy. And I said to him, do you want to make 500 bucks? He said, what have I got to do? Now at this point, he's thinking, what the hell's going on here? What have I got to do? So I said, look, we're students, we're doing, we're making a student film. And we just want you to pretend to be my father. (0:24:24)

And I'm going to give you a script and tell you what to do. And just answer the questions on the script. Is that what I've got to do? I said, yeah, and you get to spend the night in a hotel, you can have a shower, you can order some food, you can do whatever you want. And I'll give you 500 bucks. So he said, okay. (0:24:38)

So we found a motel. And it's true to our word, that's exactly what we did. So before I left, I went around the studio, where John and I used to make effects and stuff for people. And we had a few bits and pieces hanging around. So I got Anthony Hopkins' nose, which was a prosthetic. And I got Max Hedrum's chin. You know, remember Max Hedrum? (0:25:05)

Yeah, I do. Yeah, yeah, yeah. Max Hedrum's chin. And it was in latex prosthetic, you know. And what you do is you literally stick it onto the skin with spirit gum. And then you powder feather out the edges. And you wouldn't see it. But because the lighting was going to be very low, you wouldn't see any edges. You wouldn't see anything like that. (0:25:31)

So it changed the shape of his nose, the shape of his jaw. But the interesting thing about this guy, he had a very unusual, distinctive voice. It's kind of deep but whiny. And you just know it. If you just heard it, you'd know it, right? So what I had to do, I had to slow it down a little bit in the edit to change what it sounded like. (0:25:50)

Because people would recognise him. If anybody knew him, they would recognise his voice. And this was to validate the hoax that you'd already formed. Yeah, yeah. Because Ray said to me, look, Hong Kong want to do a thing on this. And they're going to give us some money. Now, I had no idea anyone else had been paid to do this, right? And he said, what they want, they won't buy the film to use it until we show them, we have an interview with the cameraman that shot it. (0:26:26)

I said, okay. And that means that we'll be able to get out of the non-disclosure agreement and go public. Yeah, absolutely. Okay, so let's do that. So how we're going to do it? I said, well, I think we should just get somebody who's got no fixed abode in America, go out and shoot it on an NTSC, that's an American format. (0:26:46)

Yeah. And that camera original tape is what we will deliver. Okay, because they're going to check everything. If I filmed it in England, and I used you, and you put on an American accent, and I made you up to nobody knew it was you, do you know what I would do? I could do this, you know, I would look at the camera original and say, this is a PAL tape transfer to NTSC. I could tell immediately. (0:27:07)

Yeah, that's it, fake, right? Or I could say to you, you know what? A linguistic expert would be able to tell me, this is an Englishman pretending to be American. Yeah, it's very difficult to do it convincingly. (0:27:22)

Yeah, so not wishing to take any chances, I thought, authentic, keep it authentic. So we went to America. First thing I did was I went to a shop and I bought a VHS camcorder, right? American format camcorder, knowing we're never going to use it again, right? It was just going to be used once for this. And that was it. That'll be it. The questions that were on the interview were given to me by Ray. Now, I assumed that Ray made these questions up. (0:28:01)

Today, I believe, I don't know for a fact, right? But this makes total sense to me. I reckon Ray found a genuine military guy from Roswell. Not a cameraman, not necessarily a cameraman, but a military guy. Because if you go looking for someone like that, they exist, don't they? They're out there. (0:28:22)

So you go and get one and you say, oh, I'm writing a book and I need to know some information and I want you to tell me about what was it like when you were there. And they start giving you little bits of information that you would not know from anybody else. (0:28:40)

And he had bits of information like General Ramey's nickname, right? General Ramey was called Tooey. Who would know that, right? Someone who was there, right? Okay, so it had little things like that in this document that we were reading questions from. And it didn't occur to me that, you know what, it's not a difficult thing to do. (0:29:01)

So if you have a real military guy, he's going to give you all the right information. Now all you've got to do is pretend he's a cameraman. So Ray makes this military guy a cameraman, and it completes the circle, it completes the story. So we've got this guy to ask questions. And I just said to him, look, it's really simple, okay? I'm your son, okay? And I'm filming you. (0:29:27)

And you're going to tell the camera that your son is filming you. You've sold some secrets, right? American secrets. And you're ashamed of that. And you want to apologize to the American people. I want you to tell everybody how much you love America, and you didn't mean any harm. And then you're going to answer the questions. (0:29:52)

When you don't remember your next line, you can say, forgive me, I'm nervous. I have got some notes, and refer to your notes, right? So it's not a problem if you've got, if you read off the paper. It's not a problem. Because you've just established, listen, I'm nervous, I'm sorry, I'm not used to this. (0:30:10)

Okay? Yeah. And it's exactly what we did. Exactly what we did. So I knew that he's never going to dry up, because I've given him all the outs. You know what? When you forget your line, you forget what to say, don't worry, just stop. Just say, I'm so sorry. Okay, I'll just carry on. (0:30:28)

And that's it. One take. Keeps it authentic. As luck would have it, this is the next actor. This is a guy who was an actor, right? Who would have thought, you know, a guy living on the streets in Los Angeles, who's an actor, right? We got really lucky, and he was great. (0:30:43)

His delivery was brilliant. And he got angry where, you know, and when he said, you know, the American, the United States of America, the greatest country in the world. (0:30:47)

You know what? Every American says that with passion. You ask them, they all say it with passion. So this guy just went for it. He just, he was being himself. So yeah, so what I did was, Ray wasn't there. Gary was there. And there was another guy called Ray Levy. Now, Ray Levy actually played the pretend cameraman's son in real life. (0:31:18)

Because he delivered this tape to Fox. Okay, and he, and the cameraman told Fox, I'm going to send my son. He's going to give you the tape. And sure enough, this guy turns up. Nobody knows who he is. He hands the tape and he goes, right? This guy was a friend of Ray, of Gary and Ray's called Ray Levy, right? He's in, he's in the same business as they are. (0:31:45)

So, and I'm not told that to anybody before. So I've given you an exclusive just there. Okay, so Ray Levy was there. Ray Levy was there with Gary Chufield. Okay, to see, to oversee what we were doing. Okay. So I sent them off to get some coffees, because I was making up, I was making the guy up. (0:32:09)

His name, his name was, his name now, Hoss, was it Hoss? I'll remember in a minute. And I was making him up and I sent them off for coffee. And they went off for coffee. And while they were away, I started to ask the guy questions about who he is. And he told me about a film that he was in. Okay. And it's actually, it's a bit of nonsense. (0:32:32)

It's kind of a Benny Hill kind of meets America. Lots of little sketches, all woven into each other. So imagine a joke, right? And then guys act out the joke. Okay. And it's just like lots of Okay, it was called, it was called, Can I do it until I need glasses? Right. So, right. So I came back. First thing I did was I looked for it and I bought it. (0:32:59)

I bought a copy of it. And, and I've actually done a comparison of the cameraman next to him as himself in this film. And you can hear the voice, you can hear the voice, you can see the shape of the face. You can see through the makeup. It's him, right? No question, it's him, right? So that dispelled the cameraman statement, because it is exactly what I just told you. (0:33:25)

It's just a random guy. It did the job because, because at the time, no one knows who this guy is. They can't listen. And they want to believe there's a cameraman. Yeah, sure. Exactly. Yeah. So, so when, afterwards, I, when I, when I issued a few, a few challenges to Ray and to Gary publicly, and I did this through newspapers, I did it publicly. (0:33:53)

And I said, here, here are some challenges for you, right? Name the cameraman. Right? Name him. They can't name him. Oh, it's secret. Okay. Well, well, if they actually told that story, knowing I was going public with it, in the Ant & Dec film, and they told the story as if it was Gary and Ray that were there, not me and Gary. Yes. Okay. So they acknowledged that that's what happened. (0:34:24)

So that I then said, well, okay, you've written me out of the story. But I'm the only one that knows who this guy is. Right? So if it was you, Ray, you and Gary, tell us who the guy is. Right? (0:34:36)

Right. Because I always wondered why you weren't in the Ant & Dec film. Okay, this is how it goes. Well, I was in sorts. But there was a little bit of a, a little bit of skullduggery. This is how it goes. Sitting in my studio in my office. And I had a big studio. (0:35:02)

Okay. It was the biggest independent TV studio in the UK. Not a little place. Warhol. And yeah, and Ray came there often. Okay. And the staff knew him. So they'd come to the door, they'd buzz him in. Just going to go see Spizz. No problem. And they just, we just walk up the stairs, come to my office. (0:35:19)

Right. At the time I had a, I had an office upstairs with an edit suite within, within the office. I worked in that studio, Spizz. You did? When? When did you? We took it over. Oh, of course. Of course. Well, I had that building. And I had a building at the end of the road, which was twice as big as that. (0:35:44)

With other, other areas and studios and offices and stuff in there. Now... The green screen studio. No, it was, when I had it was blue. It was a blue screen. Yeah. Downstairs, but in within number two, yes? Yeah, number two, yeah. Yeah, yeah. I also had, I thought, well, number 13 further up. (0:36:09)

Okay. So, so, Ray came up with Gary. And they just, they just came up and they said, we've been offered a movie. And I said, oh, really? What's that then? He said, oh, Warner Brothers, through a production company called QWERTY Films. And I said, oh, that's excellent news. How much are they paying us? And he said, oh, no, no, no, we're doing it for fun. (0:36:26)

Right. So, yeah. So I initially said, okay, don't we have enough fun? Right? Right. What we're doing this with 10 years ago, right? We haven't told anybody what it is. And we're going to give it away for fun. Right? I said, I said, why would we do that? And they said, so you don't want to do it? And I said, no, I don't think we should do it. (0:36:53)

They went off and did it without me. Sorry, you cut out, sorry. No, no, this is the Anton Deck film. They made a feature film. Yeah, it's a feature film. So I told them that we shouldn't do it, right? So I thought that was pretty much it. They left the office and they carried on without me. The first I heard of it was when John Humphreys called me up and said, Spizz, I've been asked to make an alien for this new Anton Deck film. (0:37:30)

The irony is ridiculous, isn't it? Yeah. So I said to him, John, are they paying you? He said, yeah, they're paying me really well. Right. Now, John's kids are my godchildren. Right? He had twins. And they're my godchildren. And John's an artist. And he's, and he needs the money. Right? (0:37:48)

So I said to John, you know what, John, with my blessing, right? Go do it. But I said to him, I said to him, bear in mind, I own the copyright. So don't make it the same. Right? Don't make it the same. Because later on, we're gonna have a problem, right? Not with you, but they will. So he said, well, they want it a bit more jokey than ours, because ours is a bit sinister and scary, right? They wanted to make it a family friendly thing. (0:38:15)

And they did it in colour, which immediately makes it jokier. Right? Yeah. I deliberately made it black and white. There was colour film in 1947. Right? So a good argument... And you used to actually original Kodak film, didn't you? No, no, I didn't. I didn't. I used, I used Fujifilm. But I bought known Kodak film from the era. (0:38:43)

And I used the leader and the trailer. Right? The trailer film with the leader. Yeah. So he spliced it together. So that's the original what it would have been. Right? But the film I shot it on was Fuji. So getting back to this, the Ant & Dec thing, I phoned Ray up. (0:39:00)

And I said, Ray, what's going on? And he said, well, don't worry. Don't worry, he said, we've cut you out. I said, what do you mean, don't worry? I don't understand what you mean. Well, you say you didn't want to be part of it. I said, no, I said, we shouldn't do it. And he said, Oh, well, you know, we're gonna do it. (0:39:15)

And you know, you didn't want to do it. So we've cut you out of it. So I thought, okay. I said, so so you're doing it for fun? Yeah. And he said, Yeah, yeah. We're not getting paid or anything. Now what the chances of me being in Las Vegas, sitting at a bar in a hotel waiting for my meeting, and the most gorgeous blonde is next to me. (0:39:38)

And I'm trying hard not to look at her. Right? Because I don't want to be this sitting at the bar. Right? So I don't want to look at her. And at the same time, she's there. Right? It's like, I can't help myself but look at her. So I just came out with I just came up with and I said, I'm so sorry. (0:39:55)

I don't mean to be, you know, I said, I don't want you to think I'm, I'm being inappropriate. I said, it's just you're so beautiful. I just can't help but look at you. Right? And she said, Oh, that's okay. You know, and we got chatting. And it was a convention. Right? And I said, So why are you here? And she said, Oh, my dad works for Warner Brothers. And I'm just tagging along. (0:40:15)

I said, Oh, I said a friend of mine's making a movie with Warner Brothers at the moment. It's called the the alien autopsy. Oh, yeah, my dad's involved in that. (0:40:20)

Wow, what a chance is that? And I found out and I found out what they paid. Right? So they were paid $200,000. And they split it. No, sorry, $300,000. And they split it between them. They could have split it three ways. They could have just done the right thing. But it didn't do that. So what so what happened is I discovered that they were paid. (0:40:50)

Right? And then I discovered also what the deal was. Because because she, she just told me, right? I just often know, you know, wasn't a stranger, I knew too much. So she was happy to tell me. And she told me that the DVD rights and the TV rights and what have you were kept by Santilli. And the film company got the shared sky rights and the cinema rights. So it was a it was a shared, it was a shared ownership deal. (0:41:23)

So we're doing it for fun was actually it couldn't be more, more. Yeah, yeah. So, so that's where that's why I was cut out. And not only was I cut out, everybody's everybody's role was diminished. It became the Ant and so it became the Gary and Ray show. Right? It wasn't John was a mannequin maker. You know, an old old guy who's a mannequin maker. (0:41:52)

John is the most, most talented sculptor you've ever met. Right? He's up there. He's up in the top three of the world. He's he's a Royal Academy lecturer now. Right? To belittle into a mannequin maker was a bit of an insult. Right? So yeah, yeah, it's a bit of an insult. To belittle me, my role was was played by Omid Jalili. And it was, I'm Greek Cypriot. Right? And Ray thought it'd be funny to make him a Turkish Cypriot. Okay, because we're, we're archenemies. (0:42:26)

I don't give a fuck. You know what I don't care about people. I live and live, right? You know, I see, I see people as I find them. I've got no war with anybody. But he thought that would be a nice little dig to make me Turkish. Right? The next thing that he did was he made me a kebab shop owner. In the film, he thought that would be another nice little dig. (0:42:51)

Not personal. Right? And like, I care, right? But it's like, this is the mentality. And to top it all, right? The reason that the guy was qualified to film this alien autopsy was because, are you ready for this? He makes wedding videos on the weekend. Right? So this is the Ant and Dec version of Alien Autopsy, is that what you're talking about? Yeah, yeah, yeah. (0:43:20)

So my part in that is the Omid Jalili character. Okay. Who's basically Ray's belittling your actual involvement. He's just making it nothing, right? Then what he did was he took Volker, now Volker Spielberg, who funded the 50% of the making of the film you can see behind me. He is German. I won't say too much about him apart from he doesn't like a lot of people. (0:43:50)

You know, if you're a particular race, if you're a particular colour, if you're pretty, he doesn't like a lot of people. Okay. And especially if you're, you know, if you're not, if you're not a straight man, you know, he's got a lot of rules as to who he likes. (0:44:07)

And Ray made this guy that played Volker. See, if you look at the names, okay, my character, Melaris, was Melik. Okay. Volker was Vorosh. Okay, you see where it goes, right? Yeah. Vorosh, in the film, is gay. And his boyfriend is black. And he's an arms dealer. (0:44:29)

Everything that Volker would not want to be. So it's all taking the piss, really. Absolutely taking the piss, right? So I can see where they think it's funny. But actually, you know what? It was wasted effort. It was wasted effort. The real story is a lot better. Yeah. Why don't you stick to the true story? It's a lot better. They diluted it. (0:45:02)

Yeah, they made it bubblegum. And I'm pleased they did. I'm pleased they made it a bubblegum movie, because it leaves it open for me to do it properly. So that's really where the true story is funnier than you can ever write. Stuff happened, which was just funny. The fact is stranger than the fiction in this case. (0:45:22)

Yeah. That's an incredible story, mate. I mean, it was so much, so much behind the scenes. So what they've done in this history now, the Ant and Dec film, it's served its purpose, because all it needed to do for them is to maintain there was real film in the fake film. Which there never was. That's Ray's story today. Right? Yeah. And I'm repeatedly saying to Ray, show us the real film, right? I'm the only person that edited this film. (0:45:58)

And I don't know of any other other frames. I shot every single frame. So I don't know of any other frame. So enlighten us, right? If there are other frames, then somebody else must have edited them in, because it wasn't me. So let's talk to that person. Yeah, yeah. It's not a secret. If you're telling us he's edited other frames in, let's talk to that editor. And let's find out which frames are the ones that are genuine. Right? (0:46:24)

How many days did it take you to shoot the Alien Autopsy? Oh, shooting it was so easy. It was the same day, right? We actually shot two. We shot the first one, which was wrong. And then a few days later, we shot it again. But we shot it in the same day. Both one day projects. Yeah, but in one take. (0:46:46)

You got to understand. When I say one take, I mean from the effects point of view. The camera we were using takes 50 foot reels of film. So that's three, three and a half minutes. Okay. Now, it was slightly shorter than three minutes sometimes because the people in the suits couldn't breathe. (0:47:07)

So it was how long can they hold their breath? That's how long the take was. Right? So sometimes it was less than three minutes. Sometimes it was, you know, the early stages, it was quite long, you know. Eventually... We could have had a few autopsies on the go, really. Oh, you know what? The first autopsy we shot, my ex-business partner, Greg, was in the assistant's suit. (0:47:39)

Okay, so you had John, who was the surgeon, and you had Greg in the assistant's suit. Greg has got terrible asthma. So after doing it in the first one, in the suit, and he couldn't breathe in it, and it was terrible, right? And I was really whipping, you know, cracking the whip and just a bit longer, just a bit longer. One more, just one more, just eventually, you know. (0:47:57)

So when we had to film it again, he's like, I'm not doing it again. He says, no way I'm getting in that suit again. That's it, I'm not doing it. So my girlfriend at the time, I just looked at her and said, you've got to do it. So she didn't want to be a part, she didn't want to be in it at all. (0:48:14)

So I said, you've got to do it. So we put her in the suit, and then she's the one that's in the film that you know and love now. (0:48:17)

Geraldine. Geraldine. Yeah. So yeah, it took a day to film it. Well, less than a day. But imagine this, right? One body, okay, three minutes of film, stop, change the film, pick up where we left off, and carry on. And he's cutting more, stop, change the film, film a bit more. So it's one. Now, if this was a movie, we would have had five or six of these bodies. (0:48:52)

And we would have a different body for different angles, and different takes. And if we made a mistake, it wouldn't be a problem, we'd do it again, because we've got a new body. If we made a mistake with this, we're buggered, that's it, you could carry on. And a few mistakes were made, but we managed to cover them. So when you made the second one, you had a problem with bubbling in the alien's body, where you had bubbling. (0:49:29)

Well, what it is, you have the mould of the body, and you put in liquid latex. Okay, if you imagine this, this stuff is just a fluid that hardens, eventually hardens into like a skin like, you know what latex is, right? It's very flexible. But latex, which is not coloured, it's quite lovely. (0:49:55)

It's got a nice translucent feel to it. But so what you do, you put the latex into the mould, and you swish it around. Okay, so it covers all the edges and all the extremities. And the mould was of John Humphrey's son. Well, no. Okay. First of all, what we did was we moulded John Humphrey's son, my godson Michael, he was 10 years old at the time. (0:50:20)

But very big for his age, because all his mum's side of the family were all over six foot, you know, they say he was five foot aged 10. So perfect size for us, right? And skinny, right? So when you're making a model, imagine this, okay? Clay, when it's in a very thick content, if you leave it, it cracks. (0:50:43)

As it dries up, it cracks, because it's still wet in the inside. Okay, so it doesn't dry very easily. So you don't want to have a mass of clay. So the least you have the better. So if you're making a statue or whatever, it's good to start with a So with this alien, we cast Michael's body, excluding the hands, the head and the feet. (0:51:04)

So we've got a torso. And we create that and we mould it into plaster. So now we've got a solid plaster base to start with. So if the alien has got a distended belly, that's the clay that you add. Okay, and you add all the features on top of the frame. Okay, so that's where Michael came into it. (0:51:33)

So it was just a shortcut to get to a shape that we needed. We've got photos of Michael being moulded. And we've got photos of John sculpting the alien in the same position, exactly the same position. So you can see that's, you know, it is what it is. (0:51:43)

Yeah, yeah. Oh, we've only got eight minutes left. So if you want to just keep going. Okay, so once we've created the body, and we've got the mould of the alien that we've moulded, right, we put the latex inside to create a skin. We let it dry. And then we swish it around a bit more and build the skin up. So it's not just a very thin layer of skin, it's a nice thickness. (0:52:08)

Once we've done that, we then put in a two pack foam substance, which is another plastic, you know, it's like another rubber. And what happens is once you put the hardener into it, it bubbles up, and it hardens. So the bubbling expands, it's expandable foam, and it fills up all the cavities of the internal mould. (0:52:37)

But it pushes up against the skin that we've created with the latex. So when we remove the mould, you've got a layer of skin and then you've got this foam interior. Okay. Now, what you need to do is first pour a little bit of this into the feet and let it expand. (0:52:58)

And then so it goes into all the toes, and it expands outwards. Okay, and then you carry on adding to all the extremities. So you put into the hand first and you wait for it to expand up until it stops. And then you put another load in, and it carries on and it fills it up with foam, right? Yeah. That's if you've got time. (0:53:14)

What happened was we made the first one, it was perfect. The second one, we didn't have a lot of time. So we rushed it. And I said to John, we haven't got time to muck around, let's just fill it up and chance our arm. Okay, or the alien's foot leg. So what happened was, as we put the foam into it, it expanded unevenly and an air bubble got caught where the knee is on the right leg. So when it came out of the mould, the knee flopped and collapsed. (0:53:49)

Okay, so now I've got an alien with a floppy, collapsed knee. So I sent John to the butchers to get a knuckle joint, and anything, you know, a sheep's knuckle joint, anything you can get. And by the time he came back, I'd cut out the knee, ready to take this knuckle joint, so as if it was blown out. (0:54:14)

Okay, the idea was it would have been shot from behind and the knee blown out. And it was just needs must, right? We had to do what we had to do to make something of this mistake. So the second one had a damaged leg. And sure enough, the experts, oh, it looks like it was shot. (0:54:36)

And then in the cameraman's statement that we wrote later, we said that what they were doing, you know, one of them got hit on the head with the butt of a rifle, and another one got shot in the leg. So, okay, yeah, that's what it is. So, yeah, so that's why it's got a damaged leg. (0:54:57)

It's so much that went on. I mean, we made the first brain that we made, it was two sheep's brains, in a mould that we made of a brain. And then we filled it with raspberry jelly. And it set and the raspberry jelly was too dark. Right? So I said to John this time, let's use gelatin, because it'll be lighter. So we had another go at it. Right? (0:55:18)

So we made it with gelatin the second time, but it was two sheep's brains. You know, side by side. (0:55:23)

By side? Yeah, side by side. You couldn't see it. It was wasted, because you couldn't really see that's what it was. But it did feel organic. It had a feel of, you know, it felt right. Once we made the jelly, the gelatin cast, and we took it out of the mould, we then dipped it into liquid latex and let that harden. (0:55:48)

So now there's a skin on top of the jelly, which dulls it down. If you didn't do that, it would be very shiny. You can imagine because it's gelatin, right? So it dulls it down. But then when we come to cut the membrane, which is what it was, you can actually see John putting the scissors into the membrane and the membrane lifting. And as it goes, it's a beautiful effect. Just very, very realistic. (0:56:09)

Yeah, that's right. So yeah, back to the design of the alien. Likewise, with the eyes. I never bought the idea of an alien having these black eyes. Because I know how a lens works. And I don't think that could work. And again, you could say, well, what do you know about aliens? How do you know how aliens work? Well, it's not about that. It's about using your own perception and saying, do I buy this, right? (0:56:40)

So I said to John, what if we make these lenses, right? So it's a modern sunglasses. Okay, because they've got low set, very small ears. They couldn't wear glasses, sunglasses like we do. What if they've evolved and there's just a lens that sits in the eye, and that's why they're all black. And then we can reveal by removing the lens, actually, they've got an eye underneath with an iris and a pupil like we have. (0:57:12)

Yeah, so what we did was we coloured some latex black, and we put some KY jelly into the eyeball that was painted inside. And then we just covered it with KY jelly. And then we painted the black latex on top, let it set. So when we removed it, all the KY jelly is gunky underneath. It's just a great effect. Just a beautiful effect. (0:57:31)

So creative. Yeah, so it's all these little things that sell it. Well, not one thing, there's no one thing. In my book, I'm releasing my book very soon. And in my book, I've got a whole chapter about the backstory about who the alien is, which is what we would be talking about now. That's interesting, because Philip Mantle asked me when your book's coming out, and he also says hi. (0:57:58)

Thank you, Philip. He's going to come on our podcast soon, actually. Oh, good, good. Yeah, a few minutes left. So thank you for all the information. It was very interesting. My pleasure. I mean, my main question really would be, given all that, do you see it as then kind of like, like the purpose of this kind of artistry? Do you see it as about raising awareness of anything, or more just about fun? Or is it like, I think I think that the the UFO community as it's become known, and anyone that believes in aliens and who investigates and studies the subject, they need to be less aggressive towards me, and more grateful. And I'll explain why. (0:58:52)

I showed them that they should question everything. They shouldn't take anything at face value. They should ask questions. And they should ask for evidence. Okay. And my, my film has shown them how easily they can be taken in. Okay. Yeah. So now what they should, what they should do now is they should investigate, ask questions, and demand answers. (0:59:22)

Unfortunately, a lot of them that I found, just jump on a bandwagon, and they believe what they hear. And they actually embellish what they see. And before you know it, it's they saw the alien. Actually, no, no, no. You've got no idea what you're talking about. Because what you've followed, if you follow back of all the things they say, they change their story. (0:59:47)

And this is not rocket science. Okay. I went to Roswell, I spoke to people who are on record as having seen the aliens. Right. And then and then I showed them the film. And this is what they saw. Well, I know they can't be. That means, well, that's interesting. I guess they probably weren't telling, you know, the real truth, so to speak. (1:00:06)

But maybe they thought it was something like, yeah, it's strange. People want to be, people want to belong. I guess what I'm asking is, do you believe there are aliens out there? You know what, you know what, that's a, that's a separate question. Just because my film's not real doesn't mean to say there are no aliens. Right. Okay. I don't know because I've never seen one. (1:00:25)

And I don't, I don't pooh-pooh anybody that says they saw one. But what I do do is I ask questions. Okay. And I, I look at the answers. Now. Okay. So you saw an alien? Yes. Okay. What was it like? What do you mean? What was its demeanour? Was it aggressive? Was it friendly? Was it what was it? Well, I don't know. (1:00:49)

I haven't thought about it. Right. They haven't done the basic groundwork of who is this thing that I'm making up? If you did see it, those people that did see an alien, they have great descriptions and they have great knowledge. Right. So you can decipher very quickly who's telling the truth and who just wants to be special. (1:01:06)

Do you think there was an alien in Roswell? No, personally, I don't believe that was a, that was a UFO crash. I believe it was a military vehicle that crashed. I believe they kept it quiet because it was embarrassing. That's why. Yeah. Yeah. Spiros, please tell me you did the Bigfoot video. No, I didn't. I wish I did. (1:01:34)

I wish I did. I mean, I was going to say, basically, yeah, we're going to conclude in a second, but yeah, thank you for all this. It's been really interesting. I mean, the main thing that I take from all of it is that, yeah, it's very interesting the degree to which people can be led to believe anything. If you, like you say, you present them with the right apparent evidence, even if it's got multiple levels of pretty much what you say, as you've described. (1:01:56)

If you throw in a few truths in anything, right, it's easy to buy it. Okay. So for example, let's talk about, very quickly, let's just talk about the COVID thing again. Okay. If you were to say, right, let's not say COVID, let's say cancer. (1:02:10)

Okay. Let's, I'll just make a blank, I'm going to make a blanket statement. Nobody ever died of cancer. Right? And you can take that information and you can either use it logically, or you can sensationalize it and say, haha, it's a hoax. No one ever died of cancer. Actually, no one ever did die of AIDS. Right? They die of the, of the, of the elements that AIDS creates. (1:02:35)

So for example, yes, right, your body's depleted and something else kills you. Right? Pneumonia, right? Or whatever it might be. So the death certificate says, cause of death, pneumonia, doesn't say, doesn't say HIV, doesn't say AIDS, doesn't say cancer. So what I'm trying to say is a little bit of knowledge. (1:03:01)

Right? I didn't lie to you. It's true. No one ever died of cancer. It's a true statement. But clearly people have died of cancer. Right? But, but technically, I'm correct. Now, if you were a little bit simple, you could carry that and run with it and make it a whole big conspiracy theory about how all these cancer research should, no, no, no, no, no, it's all nonsense. Doesn't exist. No one ever died of cancer. Do you see? (1:03:22)

I think you made a very good point with your alien autopsy video. And especially now in the age where people are so willing to believe stuff that I think it's good. There's people out there who can just push on that. This is the first time you ever saw fake news. Oh, yeah, you created fake news. I'm sorry about that. But this is true. This is true. (1:03:44)

Well, what I'd like to say as well was that like, this is the one thing I was thinking about the way the media does use things. And I think this is why it's very difficult to know what's true and false. Because one thing that can be said is that camera footage, as you've proven, can be falsified. (1:04:03)

Therefore, a lot of things we see on the news and the media can't be taken for granted either. So I think we're in more need than ever now of independent free thinking and honest journalists and filmmakers like yourself and others who want to like small things in a real and informative way. So yeah, thank you very much. Question everything. Absolutely. Thank you very much for attending tonight. (1:04:24)

My pleasure. Superstar. Thank you. I'll send you a copy of... it doesn't go out live. We're going to put some titles on it and stuff and blah, blah, blah. And I'll send you a proof of it before we broadcast. Not a problem. It's been an absolute honour. Thank you so much for... Thank you. My pleasure. Nice to meet you guys. We love you loads. And hopefully get you on again. (1:04:49)

Lovely. Whenever you want. Why not. Indeed. Thank you very much. Take care. Take care. Goodbye. Alright, bye. Bye. Bye. Bye. Bye. (1:05:11) Yeah, welcome to the podcast on August 3rd, 2020. I'm Tristan. And we're here to welcome Spiros Menloris, I believe your name is, who is the creator of Alien Autopsy, which is a very interesting documentary, which Ben Lawrence has just caught up on recently. (0:01:02)

And we're here to interview you and talk about why you created it and stuff. I've got a few questions, but yeah. So, do you want to begin, actually? You are the godfather of the biggest conspiracy theory I think the world has seen, which is the Alien Autopsy. Guilty, sorry. (0:01:24)

No, honestly, I remember seeing it in the 90s. I remember seeing it. Yeah. You know the guy from Star Trek, Jonathan Frakes? Of course, of course, yeah. Yeah. The Next Generation. Yeah. He did a programme about it. That's right, the Fox programme. Yeah, exactly, right. And it was years on that I actually met you and discovered that you were the genius behind it all. So, let's have a little chat about how this magic happened. (0:02:00)

I have a few questions as well. Specifically, I watched a documentary about an interview with, I forget the gentleman's name, it was a guy, it was a magic show, I believe. I watched it last night. And you talked about, I've got a few points here. You talked about how in the history of religion, there's like all these mystical beings which have six fingers and stuff. (0:02:23)

Yes. Interesting. So, I guess what I'm asking is, did you like sort of base the alien design off that first, to sort of like make that more real? Or do you believe that means it even maybe was real in a sense? Or they could be that... This is a really good question, because people don't understand. See, if you want to create a great illusion, right, a great hoax, okay, you have to take people in. (0:02:53)

And if you take them in, you have to give them a belief system. Okay, so if you, for example, if I made this a little green man, with a little spindly little neck, and something that you can't buy, it becomes jokey. Okay, so your belief system is sold short. Okay. But if I gave you something which was a bit scary, you know what, this could be a human being, maybe it isn't, you know what, I can buy into it so far. And I'm open, I want to know what this is. Okay, I've kept you involved. (0:03:28)

And I haven't patronized you. I haven't shown you something that you're... I'm saying, look at this, a bit of jelly, it's an alien. No, it's not. It's a bit of jelly, right? From that extreme, go up stages. Okay, so how do you start to do this? What you do is you sit down and you work out who this alien is. Okay, where did it come from? What does he eat? (0:03:52)

And if we go down that road, which is a nice popular, it's a nice popular sci-fi conspiracy theory type thing. Well, then suddenly I can buy that. Okay, that makes kind of sense. (0:05:45)

It absolutely went mental. It was in every newspaper, every TV station in the world. (0:12:40)

His delivery was brilliant. And he got angry where, you know, and when he said, you know, the American, the United States of America, the greatest country in the world. (0:30:47)

I said, Oh, I said a friend of mine's making a movie with Warner Brothers at the moment. It's called the the alien autopsy. Oh, yeah, my dad's involved in that. (0:40:20)

So I said, you've got to do it. So we put her in the suit, and then she's the one that's in the film that you know and love now. (0:48:17)

So we made it with gelatin the second time, but it was two sheep's brains. You know, side by side. (0:55:23)

Lovely. Whenever you want. Why not. Indeed. Thank you very much. Take care. Take care. Goodbye. Alright, bye. Bye. Bye. Bye. Bye. (1:05:11)

(2025-01-20)

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動画(1:05:26)​

FasterWhisper AI(large-v2 model)​

前置き

動画(1:05:26)

FasterWhisper AI(large-v2 model)