Bob Lazar, Mickey Rourke, Mark Mahoney discussed on
Back with Jeremy Corbelli. Jeremy we heard a clip from Mickey Rourke narrating your film. That's that seems like that's quite a coup to get that guy is he a UFO guy. How did you get it? Yeah. Not not really a UFO guy. Look, he's a heavy hitter. Nobody thought I could do it. Nobody thought I could do any of this. I just want to say, I don't just produce the movies, man. You know, this is like in the Archer style. Meaning I am fanatical controlling every frame. You know, this I still I edit I do audio getting Nikki was because of a personal friendship. We we go to the same. I call it church the same tattoo shop, Mark Mahoney's shamrock social club on Sunset Boulevard. That's where we met I filmed with him before cutter tried to stab me in the ribs or the stiletto knife that time, but whatever I've met him before. And we have not getting and we did talk a little bit about UFO's because you know, Mark Mahoney is like, you know, really an idol, you know, he brings people together in this cosmic space, and and there was Mickey. So I heard him talking what I realized I was going to be able to make this movie. And oh my gosh. Everybody's telling me how I can fail. That's why I never told myself. I was gonna fill everybody out from salad me. I'm gonna fail. I heard this voice. And it's the voice of a rabble, man. It's a voice is somebody who doesn't care, and it's a it's a guy willing to take risks. And this is Mickey Rourke. I mean, he was he was literally the first voice that I heard him. I had I wrote the script for him and on safe. And then the funny thing is that he never received it. You know, you go through these managers in ages never received it, and I bumped into him. I cut Mickley tucked into him in the shop. And you know, I said, hey, man. Mickey did did you ever get the script, and he was pissed that he never got it. I think that's what made him do it. And yeah, he did it as a favor. You know, he's gonna do that. I was gonna say I mean, his he's in a unique strata that would be a pretty pricey proposition. It would seem like beyond what the budget of a regular UFO related documentary can handle it elevates it on so many levels. I mean, don't get me wrong. People don't understand this. I'm an independent filmmaker. You know, my credit cards are maxed out I put everything on the line. I mean, this is real when I tell you I do that, you know, and he didn't do it for free. But what my goal would still have been in this genre from day. One was first to learn the truth about UFO's second was to uplift visual medium of documentary filmmaking in this complex subject and to elevate it on all levels. And I gotta tell you. I've achieved both my dreams so far this is elevated it's got Mickey Rourke on mazing soundtrack artwork. I am proud of this. So let's talk about how. Regained access to Lazar. So you've you know after meeting Lear spending time with Lear hearing the Lazar stories from John Lear, you must've been salivating. I know that that was one of the first subjects when you came to to meet me, this is what we talked about. And I told you. Well, good luck. Bob will talk to you or not. It's really depends on what else is going on in his life at that time. But in general, he doesn't do interviews anymore. Every few years. I would twist his army at him to do it. But in general, he doesn't do it. You did it you got it. I did. And I'd like to say, it's my charming personality, and my good looks. I mean, honestly, George it was just I think I had a real curiosity. I believe that. I'm developing my talent in film making and I also wasn't pushy about it. You know, I respect it. I think the person Bob was already getting access to Bob makes him sound like, you know, something like he's area fifty one. You know, he's a person with these ceilings and a real life in a real wife, and, you know, real friends and family and people that went through this with him. So I think being respectful and the way I make films. I mean, you know, Georgia. I mean, it's not like, hey, what's up? I'll come for. A day. And I've got a whole crew. We're just gonna film and nine to five and here you go. I mean, I went and stayed with Bob for a week at a time a number of times, he came and stayed with me. I mean, it was like open book completely open book, nothing is off topic one hundred percent openness, and we did it based on safe, and we got there. So did you start small with a small idea? And then it got bigger or was he all in pretty much from the get-go. You know, honestly, he was all in from the get-go. That's always been told the wrong way. And and it's it's not the way it happened. You know, I always told him, look, you're a fascinating guy. I'd like to make a movie about your life, you know, about UFO's, and and what you're doing now. And all this. I know it was never anything less than that. It was always the Bob Lazar story. And I didn't know the first time I flew out there house like having Bob asked me to you know, he's guy come on out the social visitor. What I went out. I brought on my camera equipment, but I was not positive that we were filming movie. And so, you know, I said, look if we start this. I I'm all in. But I just you know, what do you want from this? I don't completely understand why you're opening up to me. Even though I've been asking, you know, I just want to see for the record Baba's are wanted nothing. The one restriction Babas are put on me about myself is that I couldn't lie. I couldn't make anything up to you know, create extra. And station. Listen, I mean, can you? It it blew me away. The misconceptions people have a Bob. I mean, look you will see in the film. It's not without its consequences when Bob talks. Did you give him the okay to cut stuff out the the right of last approval or something along those lines? I mean, clearly you had had to have some kind of assurance to him. They weren't gonna stick shift in them. All he told me is that I couldn't lie don's, y you know, I couldn't stabber Kate something. And so absolutely. When the film was done because there are very sensitive aspects to the film, which you will see when it's released and because of those sensitivities I needed him to look at it. And I needed to know that what I was saying wasn't misconstruing what he was. Meaning that's the kind of edit. I didn't give him final cut. That's not how it happened. There was a dialogue, and and absolutely his input was important because he could see things where his words would be twisted that I could see, but I'm gonna be honest right now too. And I think I think let's let's have Bobby honest about it when he first saw the film. Let's just say it wasn't the most positive response. I we now can see it in hindsight. Twenty twenty. That was the wrestle the tape from your hands moment that you had after putting everything I have on the line. I had that with Bob what happened and we'll let him explain it. But what happened was it? Brought up so much emotion. It brought up so much of the path. I did not pulling any punches and he saw that with his wife, and they're watching, and I think it just I mean, he was physically ill. I think the next day talk trying to talk with him, and it took some time to get there. So look, you guys this is you really have to understand I fought to get you this footage because I believe it's important. I believe it's important for you to understand who Bob Lazar is because it's very easy to dismiss a powerful message. This is a combative techniques that we use as Marshall athletes. My previous life is Marshall athlete. You dehumanize the messenger and by dehumanizing? Somebody governments do this intelligence agencies. Do this by doing that you try to kill the message people haven't doing that to Bob Lazar? So I want you to see who Bob is to make your own decision with clarity. That's what happened. It was not smooth sailing, George. There was a Russell in a way. I am aware. I'm aware that. So tell me this as for the focus of the film in the beginning was there any did. You wanna go down the laundry list of arguments that people have had about Bob Lazar? We know them very, well, they could be carved into stone. Where did he go to school? What was his job at Los Alamos? Was he really a physicist all that stuff? He the argument. He never worked out there at groom lake or Paphos. There is no S for at Pappas. All that stuff. Was it your mission to go down that list and address all of the objections or was it something different a more like get to know? Oh, Bob Lazar and make up your mind on a different level. I think that is a very kind of inch deep perspective that people have on making a film like this. I I think people start to understand my films as they kind of look at it over time. No, it was never my objective to rehash show old footage, and who I call it vintage footage interesting to say the same thing and try to make us position argument on it and go down the laundry list. Absolutely not. Here's why. Here's the important reason. Why everybody listening to the show, you know, Baba's are because he changed the landscape of the debate. He changed the landscape of Ufology. He changed your entire concept of UFO's in nineteen eighty nine when he came forward with you it happened, undeniable. But now the almost thirty years later, there are two generations, at least of people who do not know the Babas our story, these are people that don't know anything, but what they do. Now, they have a new reality. They live in. We didn't live in. And they know that our government has active programs to study foreign technologies. So now, finally we can show an entire new generation of people to Bob has our story. So no, it's not just a laundry list. It's so much deeper than that. Yes. I do tackle the hard issues, and there's a lot I put in some stuff I didn't. And it's an hour and a half movie with two hours of bonus material and go ahead and look at it all and you'll have more information, it will satisfy the brand new viewer. But it will also satisfy the diehards all they gotta do is get out of their own way and watch what I put in a cell. It's tricky. It's tricky deciding who your audience is. I mean, you know, there is the hardcore UFO buffs the students of of Ufology the people who read and dig into these cases, and there's some really good ones. There are casual fans who might read a magazine article or watch a TV show. Now. And then and then there are people who don't know Bob Lazar at all. But can you? I mean for the UFO people who have feasted on this story for a long time. It's hard to satisfy them to come up with something new that they haven't heard while also reaching out to a second audience. And the reason I'm asking that is in the context of the film about skin Walker ranch. You know, we in that project. We had shown footage that had never been shown before. And the scientists who'd worked on that investigation on the scene where they had done the work and people who had read the book, we're angry. This is not. No. So I wonder if if you're going to get the same kind of criticism here..