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