Special Report: Capturing Bigfoot (2026)

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Hold your ears, folks. It's showtime.
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People pay good money to see this movie.
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When they go out to a theater, they want cold sodas,
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hot popcorn and no monsters in the projection booth.
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Everyone pretend podcasting isn't boring.
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Turn it off.
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This is gonna change everything.
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My dad, he was hunting for Bigfoot.
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We have an expedition forming right now. It's a wild story.
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The goal was to prove that Bigfoot existed.
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We came around the bend in the creek and there
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stood a big, hairy, human-like creature.
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This image has become as legendary as the footage of
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the first moon landing.
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It exploded on the American scene.
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It went viral before the word viral existed.
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It was in movie theaters around the country. Every one
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of them was sold out. Al Diattoli was the promoter.
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He made hundreds of thousands of dollars.
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He f * * * ed my family out of
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a bunch of money. This is a story about money
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and greed.
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Was this all a fraud? I just want the truth
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known that it was a fake. He's a f *
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* * ing liar. We couldn't do that with a
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costume in 1967. Maybe you can't find a hoax because
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there isn't one. Everyone close to us felt it's damaged
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their lives.
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My mom disowned me, and it's over, that's all.
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I don't want to talk about that.
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I think there's fear.
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There's some prominent people in this community. Some real nasty
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things went on.
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They wanted to protect the film. He threatened me a lot.
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He had enough power to have me bumped on. They're
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shutting us down.
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All right, start packing up. What would it take for
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you to accept the truth?
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It would have to be something major. Hey folks, welcome
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to The Projection Booth.
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I'm your host, Mike White. Today I'm talking with filmmaker
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Mark Evans about his film Capturing Bigfoot. It is a
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deep dive into the enduring mystery of the Patterson-Gimlin Bigfoot
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footage clip. I know you've seen it. We all have.
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You know exactly what I'm talking about. Now you're going
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to hear all about what happened behind that legendary 1967 film.
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The film is absolutely remarkable. There are interviews with eyewitnesses,
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Teresa Brooks and others that were close to Roger Patterson.
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The film premiered at South by Southwest earlier this year,
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and then something mysterious happened to it.
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Ooh!
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It's going to be streaming exclusively on Amazon Prime Video
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on October 20th, 2026, which I found out is Bigfoot Day.
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So happy Bigfoot Day and enjoy this interview. This is
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not your first rodeo. You've been making documentaries for years.
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How did you even get involved in filmmaking?
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Yeah, my film school was essentially my first project, which
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is where I caught the bug. Started a project in
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early 2010. Previously, I wasn't in film, wasn't in documentary,
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was working a job I didn't like. And my older stepbrother, though,
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was somebody that grew up knowing that he wanted to
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be a filmmaker.
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And he moved out to L.A.
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After college, sweeping floors and all that kind of thing.
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And he made a movie, and I think it came
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out in 06, called Americano, that had Joshua Jackson starred
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in it. It was one of Dennis Hopper's last films.
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And then my brother kind of pivoted into commercials. I
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quit my job, started hanging around, learning how to edit
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on some of his commercials. And then in January of 2010,
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my stepdad, his dad who essentially raised me, passed away.
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And that was at the same exact time as, if
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you recall, a big earthquake in Haiti that killed a
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couple hundred thousand people. And so we're home mourning the
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loss of my stepdad. And on TV, we're watching the
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images in Haiti. And there just felt like some sort
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of a call. And I just had this idea, why
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don't we.
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Go down there?
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The naive thought of let's go, maybe we can go
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help with our cameras or something.
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And that project we finished finally.
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We're still kind of working on it, but it's pretty
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much done, but 15, 16 years. So that, but that
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was the film where I learned how to shoot, learned
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how to edit, fundraise. Again, like I said, that was
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my film school, but it's also where I just caught
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the bug and thought, I want to keep doing this.
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I like telling stories. And this format, the documentary format,
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was making a lot of sense to me. And from
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that point on, I was just looking for projects, looking
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for stories.
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So that was, what'd you say, 2010? That was 2010, yeah.
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Okay.
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And then... 15 years.
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The Glamour and the Squalor comes out in 2015?
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Yeah.
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So that started... That was almost a five-year project for Plus.
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Because September of... 2011 is where I had the initial
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idea for that to be a film. I was listening
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to it. It's about a radio DJ named Marco Collins,
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who was instrumental in the nineties for breaking the music
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that came out of Seattle. And that, yeah, that idea
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came from a radio show. It was a 20 year
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anniversary of that station. And all the stories that the
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DJs were telling were just awesome stories. And that was
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the music I grew up with.
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Loved that music.
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And so that's where that started. Can you tell me
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about Cow by Bear?
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I can tell you a little bit about Cow by Bear.
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You've done your homework. I guess I mentioned it maybe
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in my bio. But Cow by Bear is a still-happening
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dining experience experiment that is... run by the now world-famous
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Chef Bear, who, you know, depending on who you ask,
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it's a chef in a bear suit, or it's an
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actual bear that learned how to walk and cook, and
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serves now 20 people on Friday and Saturday night in
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San Diego for a while. It was also in Seattle,
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it was in Savannah, Georgia, and we haven't told the
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full story of how all that came to be, but
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Someday that might actually be some sort of documentary. It
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was meant to be a mockumentary, and then it became
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a real thing. And it's still going over a decade
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later as well.
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How do you choose your subjects? Because you seem to be,
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I don't want to say all over the map, because
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I'm sure there's some sort of logic, if the logic
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is just you.
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Yeah, I think it's the logic is what's the through line.
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It's just that it's my interest. And so.
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do realize the the projects certainly that have become feature
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films at least that i've directed so that'd be the
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glamour of the squalor clay dream the diamond king and
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now capturing bigfoot there is some sort of personal connection
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that stems from my childhood in each one of those
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the glamour of the squalor was the music clay dream
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was these characters that will vinton and his studio created
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in the 80s and 90s like the california raisins and
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the i guess that just these claymation characters, the domino
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pizza noid. And then The Diamond King was a movie
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about the artist, baseball artist Dick Perez. And that started
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with my son looking through my old baseball cards. We
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came across these cards called the Donruss Diamond Kings that
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Dick Perez painted and made in the 80s and 90s
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when I was collecting cards and just thought, what's the
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story with this artist? And found out he's got a
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great story. And maybe it's worth pursuing as a film
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to kind of tell the history of baseball through his
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work and his life.
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And that's what that film became.
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And then The newest one, Capturing Bigfoot, I was never
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intending to make a film about this subject, the Patterson-Gimlin film.
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The film happened because this new piece of footage that
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had been locked in a safe for 50 years somehow
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found its way to me. But when it did find
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its way to me, there was an interest because I
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was born in Yakima, Washington, where that story takes place.
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And my dad worked for a construction company when he
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was in his 20s, where a lot of the story
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kind of took place. And so he told me stories
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about this when I was a kid, about this famous
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Bigfoot in the Patterson-Gimlin film. So when this new footage
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that's at the heart of our film got to me,
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there was already this interest of, yeah, I kind of
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know a little bit about that story from when I
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was a kid. Somebody else pointed out to me, shout
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out Jeff Gilbert, who I think is maybe the best
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documentary editor there is. A friend of mine, he actually
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edited The Glamour of the Squalor, but he said, He
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can draw a through line in all my films to
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the underdog as the protagonist. Somebody that maybe has, whether
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it's a chip on their shoulder or just has a
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lot stacked against them. In some ways, I see myself
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that way because I'm a bit on the outside of things.
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I'm not making films like in Los Angeles. So maybe
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I could feel that way a little bit. I like
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those underdog stories.
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That makes sense. With Yakima, Washington being the Palm Springs
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of Washington.
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Yeah, exactly. The Palm Springs of Washington.
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Now, did you catch that sign or did you already
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know that slogan before?
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Oh, no, I caught that sign. I was just like,
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that's pretty hilarious. I love that.
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I was going to say maybe when it comes to
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the weather, but I don't even think you can say
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that because Yakima gets a lot of snow and Palm
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Springs doesn't get snow.
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I like that you're part of the documentary. I hear
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your voice. I see you a little bit, but this
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story is not about you. But I want to know
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so badly now that you say it, how did that
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footage get to you?
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Pure chance.
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I got an email in June of 2022 that I'm
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trying to think of what the subject line was. It
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was like questioning about a film that is almost 60
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years old or something like that. And it was a
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woman named Teresa Brooks. I didn't know Teresa, but she
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teaches at the same college where I teach film. She's
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in a different department, but she knew that we had
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a film department. And her initial question was really, can
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you help? Does the film school have an ability to
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project this 16 millimeter film? She was very worried about
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it getting damaged because it was so old. And she
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wanted to see what was on it because she hadn't
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seen what was on it. And her family story from
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when she was little was always that this was either
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related to the famous Patterson-Gimlin film or that it was that.
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But certainly that her dad and her uncle were involved
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in that whole story. But those weren't names that had
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ever been linked to the Patterson-Gimlin mystery before.
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These would have been new names.
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That was the initial email was just, can you help
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me see it? We didn't have that access, but I
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had just got done scanning a bunch of 16 millimeter
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footage from my previous film, Clay Dream, with a company
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called AV Geeks out in Raleigh, North Carolina. And so
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I was like, hey, why don't we send it to
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my guy Skip over there? And yeah, you can see
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what's on it. And so we overnight it and Skip
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gets it scanned. And then we see this film and
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it's not, certainly not the Patterson Gimlin film, but it's
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got a lot of similarities and the date code on
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the film is from a year earlier. So it just
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raised a bunch of questions of what are we looking
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at here? And so that mystery and just that question
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of let's find out what this is and what it
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means and how it's linked to Roger Patterson and the
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Patterson film, that was the initial spark. And then again,
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you combine that with the stories that I heard as
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a kid from my dad And it was just like,
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this is something I want to pursue. But what's funny
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was that I started both the idea for my movie,
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The Diamond King, and this email from Teresa were both
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June 2022. So the fact that I made and released
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The Diamond King, which came out, let's see, that was
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released in January or like April 2025. So made that
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film and released it while making Capturing Bigfoot. which goes
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to show that I wasn't 100% focused just on capturing
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Bigfoot immediately. It took me a little while to be like,
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figure out, yeah, there's definitely a story here. I want
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to make this because the biggest thing there was these
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characters I just loved. These cowboys from Yakima, Washington, living
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and dead, were just awesome. And then as I'm trying
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to piece the mystery together, that's where it became. I
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remember one day telling my wife like, If I was smart,
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I'd be focusing all my attention on this project. And
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it wasn't long afterward that became what I started doing.
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You were talking about how you had heard of this
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footage and stuff before. I kind of grew up with it.
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I think I'm a little bit older than you. So
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things like In Search Of, those kind of things, it
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was all over the television. And obviously you point out
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that this is such a part of pop culture and
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has been for decades now. But what was the first
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time where you're like, oh, that's the big footage?
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My awareness was mostly related to just the pop culture
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of it. Born and raised in Washington State. I lived
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in California and San Diego for eight years, but have
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been back here now for quite a while as well.
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And so you can't escape it. It's on almost every
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single car.
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I swear has not just Bigfoot, but like the Patterson
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Gimlin Bigfoot pose. The famous what's called famous 352 frame 352.
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the stories that I heard as a kid were my
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dad and the topic of Bigfoot would come up and
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he would kind of, Oh, I know the deal with
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that famous film. And I realized as I made the film,
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like he got some of that stuff, right. He got
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a lot of it wrong, which is the case with rumors,
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which is all he was hearing at the time. But yeah,
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but I, I can't say that I really had watched
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those shows. Certainly once I started making everything, I, and
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get my hands on just from a research standpoint so
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I would know everything that's ever been said on the topic,
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which is always my first approach. If I'm going to
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work on a project, I need to know everything that
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has been screened or made or written about it.
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So that was really a lot of that first year.
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I started doing some interviews and everything, but even those
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were more exploratory. Just those early interviews that I did,
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we ended up reshooting those later with those same people
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because they were, in fact, more of just kind of research.
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That's a steep learning curve to have all of those.
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And I'm not just saying cryptozoology or whatever, but it's
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just like all the years of things that had gone
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on around that footage and just all of the echoes
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throughout history of that footage. It's just, that's a lot
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to take on. And you compare it to the Zabruder film, rightly,
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because it's just such an archive. But it's interesting that
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you're talking about getting this footage transferred over, the footage
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from your co-worker. That was the thing when they were
295
00:15:44.679 --> 00:15:47.799
talking about even the Patterson-Gimlin film. I'm just like, where
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did they get this developed? Is there more? Are there outtakes?
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What's the rest on this reel? I just want to
298
00:15:54.570 --> 00:15:57.690
know so badly. There are certainly outtakes. I can talk
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about outtakes for our film. But then outtakes on either
300
00:16:01.549 --> 00:16:03.850
one of the... There is some missing.
301
00:16:03.970 --> 00:16:07.490
There is a missing second reel with the Patterson film
302
00:16:08.340 --> 00:16:12.480
that pretty much went missing immediately. And then even the
303
00:16:12.519 --> 00:16:16.259
famous reel, That original film has been missing now since
304
00:16:16.360 --> 00:16:20.210
the 80s. It was with an investigator, Rene DeHinden, who's
305
00:16:20.539 --> 00:16:23.929
a character in our film. And he probably, I don't
306
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want to say he stole it, but he probably kept
307
00:16:25.909 --> 00:16:28.419
it at some point after getting it in the 80s.
308
00:16:29.169 --> 00:16:32.269
And he's been gone since the late 90s, I think,
309
00:16:32.350 --> 00:16:36.200
but his sons have all of his old stuff. And
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then there was this missing reel. So actually, when I
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got this email and she was explaining what it was,
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I thought it's probably going to be one of those
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00:16:44.070 --> 00:16:47.110
two films those two reels and so when it wasn't
314
00:16:47.169 --> 00:16:50.129
that was obviously very interesting and then what we what
315
00:16:50.429 --> 00:16:52.889
in the film the first time you see this new
316
00:16:53.009 --> 00:16:55.809
footage you see the whole thing which is about it's
317
00:16:55.830 --> 00:16:58.389
about 40 seconds or so and that's all there is
318
00:16:58.450 --> 00:17:00.720
on that and then when it comes to our film
319
00:17:00.929 --> 00:17:02.919
we have a three and a half hour cut early
320
00:17:03.100 --> 00:17:06.299
on and not even early on an advanced three and
321
00:17:06.319 --> 00:17:07.720
a half hour cut where if you watch it it
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was like oh this thing's actually moving pretty good And
323
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there was talk, so are we going to make this
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a series or is it going to be a standalone feature?
325
00:17:14.160 --> 00:17:16.660
And ultimately, we decided on a standalone feature, which meant
326
00:17:16.680 --> 00:17:18.180
we're going to have to do a lot of cutting.
327
00:17:18.569 --> 00:17:21.109
We have all these deleted scenes that I'm sure people
328
00:17:21.150 --> 00:17:23.990
that are really closely related to the Bigfoot story and
329
00:17:24.009 --> 00:17:27.009
the Patterson-Gimlin story are going to be wanting more as
330
00:17:27.069 --> 00:17:30.910
it relates to proving stuff with this new footage. And
331
00:17:30.950 --> 00:17:33.650
so we have a lot of deleted scenes related to
332
00:17:33.710 --> 00:17:36.480
that and just related to everything, really. There's so much
333
00:17:36.640 --> 00:17:39.160
great material. So those will come out on a Blu-ray.
334
00:17:39.180 --> 00:17:41.950
It'll come out. We'll release those at some point here
335
00:17:41.970 --> 00:17:43.500
in the next six months or so.
336
00:17:44.240 --> 00:17:46.259
You just make a list of here's all the people
337
00:17:46.359 --> 00:17:49.619
I need to talk to and how does that list
338
00:17:49.640 --> 00:17:51.900
start to expand and how are these people to track
339
00:17:51.980 --> 00:17:55.759
down and actually get in touch with and how reticent
340
00:17:55.859 --> 00:17:57.279
or open are they to speak with you?
341
00:17:58.059 --> 00:18:00.700
Sorry, that was like six questions. No, yeah, it's a
342
00:18:00.700 --> 00:18:01.259
good question though.
343
00:18:02.059 --> 00:18:07.259
So at the beginning, we have this film and that's
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what kind of launched this project and just trying to
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00:18:11.019 --> 00:18:12.569
find answers to that question of what is it.
346
00:18:13.279 --> 00:18:15.359
And so that starts with Teresa Brooks.
347
00:18:15.420 --> 00:18:18.829
Teresa's both her father and her uncle who were involved
348
00:18:18.869 --> 00:18:21.049
with this had both passed away. So obviously we weren't
349
00:18:21.069 --> 00:18:25.490
going to get access to them, but their norm, Teresa's dad,
350
00:18:26.380 --> 00:18:29.089
his best friend was still alive and he's actually since
351
00:18:29.130 --> 00:18:31.789
passed away. And he kind of claimed to be the
352
00:18:31.890 --> 00:18:34.529
only person that they ever talked to about this. And
353
00:18:34.789 --> 00:18:38.029
so even before I knew that we were making this film,
354
00:18:38.329 --> 00:18:40.670
I did go out and interview with, did an interview
355
00:18:40.710 --> 00:18:42.299
with him, which I'm so glad that I did because
356
00:18:42.359 --> 00:18:44.599
like I said, he was, he was, he passed not
357
00:18:44.640 --> 00:18:48.019
that long after that. And so that was a big
358
00:18:48.059 --> 00:18:50.180
interview just to get that on the record and make
359
00:18:50.200 --> 00:18:53.539
the connection between some things. I read a book called
360
00:18:53.619 --> 00:18:57.769
making a Bigfoot, which I, came out in 2004, written
361
00:18:57.809 --> 00:19:00.099
by Greg Long, who was also a subject in our film.
362
00:19:01.059 --> 00:19:01.940
And that book was.
363
00:19:01.890 --> 00:19:06.660
Really controversial in the Bigfoot community. But Greg's research, nobody
364
00:19:06.680 --> 00:19:08.500
would have really done the level of research that he
365
00:19:08.519 --> 00:19:11.599
did on this story, where he spent five years interviewing
366
00:19:11.980 --> 00:19:17.220
everybody that was close to Roger Patterson, friends, family, his
367
00:19:17.259 --> 00:19:18.339
brothers that.
368
00:19:18.140 --> 00:19:19.039
Are no longer alive.
369
00:19:19.960 --> 00:19:24.759
And he recorded... audio of all those interviews.
370
00:19:24.819 --> 00:19:27.059
And so I connect with Greg Long, did an interview
371
00:19:27.079 --> 00:19:30.039
with him, and he mentions that he's got these audio tapes,
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00:19:30.079 --> 00:19:32.420
I think about 130 of them that were all 30
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to 60 minutes.
374
00:19:33.900 --> 00:19:35.779
And he said, listen, you can have these.
375
00:19:36.220 --> 00:19:38.480
And so that was a big part of the research
376
00:19:38.609 --> 00:19:41.170
is not just reading his book, but hearing all the
377
00:19:41.210 --> 00:19:46.089
raw materials. And there were some really important connections made
378
00:19:46.630 --> 00:19:50.460
between this new mystery film and Roger Patterson's and the
379
00:19:50.480 --> 00:19:53.220
Patterson film that were in those tapes that Greg Long
380
00:19:53.240 --> 00:19:56.640
would not have known that was pertinent information because he
381
00:19:56.680 --> 00:20:00.109
knew nothing of this mystery film. But in different contexts,
382
00:20:00.210 --> 00:20:02.390
there were some amazing things that came out of that.
383
00:20:03.349 --> 00:20:05.869
And so then that's when we knew that there was
384
00:20:05.910 --> 00:20:08.670
a film. I took it to XYZ Films, my producer there,
385
00:20:08.710 --> 00:20:12.240
Tamir Ardoan. He was really excited about the project, had
386
00:20:12.579 --> 00:20:15.000
his sizzle reel, I think, at that point. And then
387
00:20:15.039 --> 00:20:18.440
there was just the archive, the archival that's already out there.
388
00:20:18.900 --> 00:20:22.049
There's a couple of websites, one including the Sasquatch archives,
389
00:20:22.690 --> 00:20:26.130
that has done a really good job sourcing and putting
390
00:20:26.230 --> 00:20:29.069
up content related to Bigfoot, but a lot of Patterson
391
00:20:29.089 --> 00:20:29.630
Gimlin film there.
392
00:20:29.650 --> 00:20:32.250
So I knew, okay, there's actually a lot of archival material.
393
00:20:32.269 --> 00:20:34.529
We're going to have to probably figure out how to
394
00:20:34.589 --> 00:20:38.740
get the original versions of these things so the quality
395
00:20:38.779 --> 00:20:39.470
is as high as it can be.
396
00:20:39.990 --> 00:20:40.650
But it exists.
397
00:20:41.339 --> 00:20:43.359
And so that was enough to think there's a project here.
398
00:20:44.259 --> 00:20:49.880
And then not that long after, we connected with the
399
00:20:49.920 --> 00:20:53.119
Patterson family, which was not something that we thought was
400
00:20:53.140 --> 00:20:53.619
going to happen.
401
00:20:53.660 --> 00:20:55.779
We just assumed we're doing this project.
402
00:20:55.880 --> 00:21:00.940
They're probably not ever going to participate because Roger Patterson's widow, Patricia,
403
00:21:01.000 --> 00:21:04.039
had never done an on-camera interview. She had never participated
404
00:21:04.099 --> 00:21:08.640
in a documentary before. And then there was three kids, Clint, Brad,
405
00:21:08.789 --> 00:21:12.009
and Sabrina. And same thing with them. And they had
406
00:21:12.049 --> 00:21:14.109
never appeared in any sort of project.
407
00:21:14.730 --> 00:21:16.549
And so we just assumed they don't want to talk
408
00:21:16.589 --> 00:21:19.349
about it. That's that. I still have a lot of
409
00:21:19.529 --> 00:21:21.769
family in Yakima, Washington. My uncle lives there.
410
00:21:22.750 --> 00:21:24.970
And I thought maybe he might know how to get
411
00:21:25.009 --> 00:21:28.009
in touch with this guy, Vail Thompson, who was Clint
412
00:21:28.029 --> 00:21:31.349
Patterson's cousin. He was a nephew of Roger Patterson. And
413
00:21:31.390 --> 00:21:33.529
I knew that he was involved with this story. He
414
00:21:33.569 --> 00:21:36.480
was somebody that kind of when they made a documentary
415
00:21:36.519 --> 00:21:38.940
that included the Patterson film, he was one of the
416
00:21:38.980 --> 00:21:41.420
people that helped take it around the country and show
417
00:21:41.470 --> 00:21:44.269
it to sold-out audiences. And so I thought, why don't
418
00:21:44.289 --> 00:21:46.970
I start with him? Maybe he'd be interested in being
419
00:21:47.029 --> 00:21:49.650
part of this film. And if so, maybe he is
420
00:21:49.710 --> 00:21:54.079
our connection to his family, the Pattersons. And so we
421
00:21:54.119 --> 00:21:56.019
met with him. We met at a Sherry's or a
422
00:21:56.039 --> 00:21:58.500
Denny's or something. He was my producer and I. He
423
00:21:58.539 --> 00:22:00.660
was just kind of checking us out. And we hit
424
00:22:00.680 --> 00:22:02.259
it off pretty well. And so he said, hey, I
425
00:22:02.259 --> 00:22:04.319
want you to get in touch with Clint Patterson, my cousin.
426
00:22:04.339 --> 00:22:07.150
It's Roger's son. And he'd like to talk to you guys.
427
00:22:07.829 --> 00:22:10.089
And so what we didn't know is that for about
428
00:22:10.349 --> 00:22:13.569
the eight years prior, Clint had wanted to tell his story.
429
00:22:13.829 --> 00:22:16.640
He'd wanted to get out under some of the things
430
00:22:16.720 --> 00:22:20.980
that he felt were really holding him down. And so
431
00:22:21.259 --> 00:22:24.319
us making this film, especially with this new mystery film,
432
00:22:24.960 --> 00:22:26.970
it was this great opportunity for him to come out
433
00:22:27.089 --> 00:22:28.970
and tell the story that he had been wanting to tell.
434
00:22:28.990 --> 00:22:29.059
And.
435
00:22:30.730 --> 00:22:32.170
When we got Clint on board, that.
436
00:22:32.069 --> 00:22:33.109
Opened up a lot of doors.
437
00:22:33.170 --> 00:22:34.930
There was people that probably would have been a little
438
00:22:34.950 --> 00:22:37.509
bit more skeptical to talk to us had Clint not
439
00:22:37.529 --> 00:22:40.970
been part of the project. And ultimately, that leads to
440
00:22:40.990 --> 00:22:43.670
his mom. It leads to Bob Gimlin. It leads to
441
00:22:44.559 --> 00:22:46.920
all kinds of other people that, again, we probably never
442
00:22:46.940 --> 00:22:47.480
would have got to.
443
00:22:47.940 --> 00:22:51.119
And it leads us to a treasure trove of archival materials.
444
00:22:51.359 --> 00:22:57.819
We had boxes of audio tapes and pictures and unprocessed
445
00:22:57.839 --> 00:23:00.319
16-millimeter film that we were able to get access to.
446
00:23:01.269 --> 00:23:03.329
The archive looks just beautiful in the movie.
447
00:23:04.130 --> 00:23:07.490
The footage, the old footage that they shot around that,
448
00:23:07.910 --> 00:23:10.829
it just looks so amazing. Some of those shots of
449
00:23:10.869 --> 00:23:14.549
them on the mountain and everything, it just looks great.
450
00:23:14.609 --> 00:23:18.670
I just love working with archives, so when you can
451
00:23:18.690 --> 00:23:24.539
make an actual 4K scan of the original 16mm, there's
452
00:23:24.559 --> 00:23:25.000
nothing like it.
453
00:23:25.000 --> 00:23:25.559
It looks so good.
454
00:23:26.420 --> 00:23:28.339
What was Bob Hieronymus like in real life?
455
00:23:29.180 --> 00:23:31.779
Well, Bob Hieronymus, we had him in the film for
456
00:23:31.799 --> 00:23:34.279
a couple different interviews and then have been able to
457
00:23:34.299 --> 00:23:37.240
spend a pretty good amount of time with him since
458
00:23:37.279 --> 00:23:40.099
the film has been done. We had a little friends
459
00:23:40.140 --> 00:23:43.089
and family screening in Yakima before South by Southwest because
460
00:23:43.130 --> 00:23:44.509
people like Bob and his wife weren't going to be
461
00:23:44.529 --> 00:23:47.349
able to travel out there. And we wanted them to
462
00:23:47.390 --> 00:23:49.630
see it, of course, before anybody else did. So that
463
00:23:49.690 --> 00:23:51.869
was great. And just a handful of times being able
464
00:23:51.910 --> 00:23:55.009
to meet him at a, have dinner with him and
465
00:23:55.210 --> 00:23:57.569
have a couple of beers with him. He's just kind
466
00:23:57.589 --> 00:24:00.890
of a good old boy and good guy. When we
467
00:24:00.930 --> 00:24:05.410
first met him, his health was not great, and he's
468
00:24:05.430 --> 00:24:08.450
had some health issues even since. But I don't know
469
00:24:08.490 --> 00:24:10.630
if it's the project that has helped rejuvenate him a
470
00:24:10.650 --> 00:24:13.039
little bit, but it's been really fun to spend that
471
00:24:13.059 --> 00:24:15.599
time with him and see him. He's been doing really
472
00:24:15.640 --> 00:24:20.200
well and loves the film, so that's nice, too. And then, yeah,
473
00:24:20.240 --> 00:24:24.039
Clint Patterson, for all intents and purposes, he's the protagonist
474
00:24:24.079 --> 00:24:26.230
of your film. Yeah, I would say him and his
475
00:24:26.269 --> 00:24:28.990
dad both, his dad through archive. But really, Clint is
476
00:24:29.059 --> 00:24:32.640
the subject that carries us through it. And that was
477
00:24:33.259 --> 00:24:35.960
early on before we got Clint. I like to just
478
00:24:36.259 --> 00:24:40.799
like edit as I go from pretty early on, just
479
00:24:40.839 --> 00:24:42.500
spend some time putting some things together.
480
00:24:42.539 --> 00:24:44.519
And so it was a lot of archival materials. And
481
00:24:44.559 --> 00:24:45.859
I have the Greg Long.
482
00:24:45.680 --> 00:24:49.819
Interview and the Teresa Brooks interview and her dad's best friend.
483
00:24:50.660 --> 00:24:52.400
And then I think early on, I think we did
484
00:24:52.440 --> 00:24:55.529
get a Bob Hieronymus interview before Clint. But that was
485
00:24:55.609 --> 00:24:58.210
probably it. So, and I had all these tapes. So
486
00:24:58.230 --> 00:25:00.180
I'm just trying to edit the story. Like, what does
487
00:25:00.200 --> 00:25:02.980
that story look like? And then we went and interviewed
488
00:25:03.039 --> 00:25:06.460
Clint in Montana, probably.
489
00:25:06.119 --> 00:25:07.819
Eight hour interview at least.
490
00:25:08.440 --> 00:25:10.509
And I remember like within the first hour, I was
491
00:25:10.549 --> 00:25:12.829
just like, okay, when I get back home, that edit
492
00:25:12.930 --> 00:25:16.950
I was working on, that's garbage. Yeah. Because this film
493
00:25:16.970 --> 00:25:22.130
has fundamentally changed. That's where we found really the emotional heartbeat,
494
00:25:22.230 --> 00:25:25.039
his relationship with his dad, his relationship with his mom,
495
00:25:25.099 --> 00:25:28.660
his relationship to this film that has been a part
496
00:25:28.680 --> 00:25:32.740
of his life, his entire life. And yeah, that really
497
00:25:32.759 --> 00:25:35.980
changed everything when we interviewed Clint and just realized that's, again,
498
00:25:36.000 --> 00:25:38.400
the emotional heartbeat and he is just such a great character.
499
00:25:39.220 --> 00:25:41.809
Does he know that you have this other footage when
500
00:25:41.829 --> 00:25:45.529
you start talking with him? When we first met with him,
501
00:25:46.549 --> 00:25:50.250
We didn't yet tell him. We wanted just to hear
502
00:25:50.269 --> 00:25:51.049
what he wanted.
503
00:25:50.829 --> 00:25:54.779
To say and tell him that we're making this project.
504
00:25:55.519 --> 00:25:57.960
I think we told him then we had a dinner with.
505
00:25:57.859 --> 00:26:02.180
Him and then had breakfast the next morning. Yeah, this
506
00:26:02.220 --> 00:26:04.759
is out in Montana where he lives. And I think
507
00:26:04.779 --> 00:26:06.759
we told him at breakfast, hey, there's one more thing
508
00:26:06.779 --> 00:26:08.960
we want to kind of talk to you about. And
509
00:26:09.599 --> 00:26:12.259
we'd hit it off the night before. And so I
510
00:26:12.559 --> 00:26:15.650
think we figured... This is seeming, it was still months.
511
00:26:15.670 --> 00:26:18.490
It was like nine months, I think, before he agreed
512
00:26:18.829 --> 00:26:20.950
officially to come on and work on this project with us.
513
00:26:21.529 --> 00:26:23.349
So it wasn't like it happened overnight, but it did
514
00:26:23.410 --> 00:26:25.809
feel like right then, this seems like it's going to
515
00:26:25.829 --> 00:26:28.680
go in that direction. And then when we did the
516
00:26:28.779 --> 00:26:33.819
first interview session with him in Montana, he knew obviously
517
00:26:33.900 --> 00:26:35.900
already that we had this, but he hadn't seen it yet.
518
00:26:35.940 --> 00:26:37.140
And so that's when we showed it to him. So
519
00:26:37.160 --> 00:26:39.420
when you see him viewing it on camera in the film,
520
00:26:39.759 --> 00:26:41.019
that's the first time he's ever seen it.
521
00:26:41.809 --> 00:26:44.029
I just interviewed a guy a few months ago who
522
00:26:44.210 --> 00:26:47.490
wrote a book about the Zodiac Killer and basically was like, yeah,
523
00:26:47.630 --> 00:26:49.920
there really wasn't a Zodiac Killer. It was this, it
524
00:26:49.960 --> 00:26:53.440
was that. It just kind of blew up the Zodiac
525
00:26:53.519 --> 00:26:57.279
research game. And I'm just like, here we go again.
526
00:26:57.799 --> 00:26:59.579
You might as well tell me that Santa Claus isn't
527
00:26:59.619 --> 00:27:00.079
real either.
528
00:27:00.880 --> 00:27:03.339
We're not trying to say Santa Claus isn't real. There's
529
00:27:03.359 --> 00:27:05.799
been a couple of people that have said that. And listen,
530
00:27:05.880 --> 00:27:09.240
the question of Bigfoot, we're not speaking to that at all. Yeah,
531
00:27:09.259 --> 00:27:13.529
this is obviously... a very important piece of photographic evidence
532
00:27:13.589 --> 00:27:16.990
for people that a lot of people do prop up
533
00:27:17.170 --> 00:27:19.970
as being the best evidence for Bigfoot. But there's all
534
00:27:19.990 --> 00:27:22.690
kinds of other things that are out there. The footprints,
535
00:27:22.730 --> 00:27:26.519
the experiences, the sightings, not just like in the last
536
00:27:26.519 --> 00:27:30.619
50 years in America or North America, but all over
537
00:27:30.660 --> 00:27:33.380
the world for hundreds, if not thousands of years, keeps
538
00:27:33.400 --> 00:27:34.079
the dream alive.
539
00:27:34.319 --> 00:27:37.640
I don't have like an opinion necessarily. I love a
540
00:27:37.660 --> 00:27:38.900
world where Bigfoot could exist.
541
00:27:39.539 --> 00:27:42.539
But our film, it's telling this one very specific story
542
00:27:42.579 --> 00:27:45.380
about this one piece of footage and this family.
543
00:27:46.400 --> 00:27:50.309
I have to applaud you, the way that you tell it,
544
00:27:50.829 --> 00:27:53.970
and just the editing of it. You withhold and share
545
00:27:54.009 --> 00:27:57.250
information at exactly the right times throughout this entire film.
546
00:27:58.029 --> 00:28:00.150
Thank you for that. It's a big credit there to
547
00:28:00.210 --> 00:28:03.049
Michelle Witten, our editor. Michelle was awesome.
548
00:28:03.069 --> 00:28:04.809
I know my producer, Tamir, had wanted to work with
549
00:28:04.829 --> 00:28:06.769
her for a long time. And so when we found
550
00:28:06.869 --> 00:28:09.920
out she was available and interested... We jumped on it.
551
00:28:11.039 --> 00:28:14.700
And she started basically with the three and a half
552
00:28:14.740 --> 00:28:17.859
hour version that I had been cutting. And I like
553
00:28:17.900 --> 00:28:22.339
to edit as much as I can. I rarely, if ever,
554
00:28:22.440 --> 00:28:24.259
have gotten a project like 100% there.
555
00:28:24.460 --> 00:28:25.319
And it's kind of by design.
556
00:28:25.380 --> 00:28:28.180
Like I want to maybe get it, call it 80% there,
557
00:28:28.359 --> 00:28:31.329
or at least 80% of my vision there, I should say.
558
00:28:32.269 --> 00:28:35.630
So an editor can then understand, okay, I get the
559
00:28:35.650 --> 00:28:38.650
movie that Mark is trying to make. And then you
560
00:28:38.670 --> 00:28:41.039
work with somebody like Michelle and she puts her just
561
00:28:41.099 --> 00:28:42.039
magic on it.
562
00:28:42.460 --> 00:28:44.519
And she's not married to anything.
563
00:28:44.579 --> 00:28:47.059
When I get something 80% there, then I'm like, I
564
00:28:47.099 --> 00:28:50.039
don't want to touch anything because I know how hard
565
00:28:50.079 --> 00:28:52.460
it was to get it there. She comes in with
566
00:28:52.500 --> 00:28:56.960
fresh eyes and she just tears it apart. And at first,
567
00:28:56.980 --> 00:28:59.950
oh my gosh. And then it's, oh yeah, she just
568
00:28:59.970 --> 00:29:03.200
made it so much better in every way. And yeah,
569
00:29:03.259 --> 00:29:06.829
any sort of compliments on the editing is all Michelle.
570
00:29:07.650 --> 00:29:10.089
And I know people are so protective of this story.
571
00:29:10.609 --> 00:29:14.109
We literally see people shutting you guys down. We see
572
00:29:14.849 --> 00:29:19.819
Gimlin's wife standing in front of the camera, arms crossed. No,
573
00:29:19.880 --> 00:29:22.380
you can't film this kind of thing. How many no's
574
00:29:22.420 --> 00:29:24.640
did you get when you were trying to ask for interviews?
575
00:29:24.740 --> 00:29:26.319
And how many times were you shut down?
576
00:29:27.220 --> 00:29:31.769
Very few no's, at least initially. And being shut down,
577
00:29:31.829 --> 00:29:34.599
you see that. You do see both those instances you're
578
00:29:34.619 --> 00:29:35.839
talking about or the two times.
579
00:29:35.700 --> 00:29:36.259
That it happened.
580
00:29:37.099 --> 00:29:39.410
But there was nobody that we didn't get to interview
581
00:29:39.430 --> 00:29:43.440
that was a no as far as right off the bat.
582
00:29:43.599 --> 00:29:46.539
We got access to everybody. We would have liked to
583
00:29:46.579 --> 00:29:50.549
have a round two with Bob Gimlin. We went for
584
00:29:50.569 --> 00:29:53.009
that several times, even at the very, very end when
585
00:29:53.029 --> 00:29:57.890
we had before South by Southwest. Just we, Tamir, the producer,
586
00:29:58.670 --> 00:30:00.190
called them up and just wanted to give them the
587
00:30:00.230 --> 00:30:02.230
heads up of here's the messaging that's going to be
588
00:30:02.259 --> 00:30:06.140
in this film would love to again offer an opportunity
589
00:30:06.519 --> 00:30:09.380
to talk about that we'll be we'll invite them to
590
00:30:09.420 --> 00:30:12.859
the there's going to be a screening in yakima actually
591
00:30:12.880 --> 00:30:15.720
a month from today when we're recording this so we
592
00:30:15.740 --> 00:30:20.019
just giving them opportunities to comment on our conclusion of
593
00:30:20.079 --> 00:30:22.400
our findings and and they didn't want to participate in
594
00:30:22.440 --> 00:30:27.160
that and then in the film, the wife of Al Diattoli,
595
00:30:27.200 --> 00:30:31.099
who's a central figure in the story. She agreed to
596
00:30:31.119 --> 00:30:35.640
an interview that was asked by her nephew, Clint. And
597
00:30:35.660 --> 00:30:38.140
we go, and we're just having these great conversations as
598
00:30:38.200 --> 00:30:41.390
the crew is setting up the cameras. And then it
599
00:30:41.490 --> 00:30:43.670
kind of catches wind that she's going to do an
600
00:30:43.690 --> 00:30:47.730
interview about the Bigfoot film. And before we know it,
601
00:30:47.910 --> 00:30:51.849
the local bank where they're probably the biggest account at
602
00:30:51.890 --> 00:30:57.039
the bank catches wind and they show up house president
603
00:30:57.470 --> 00:31:00.519
of the bank and says you can't do this there's
604
00:31:00.559 --> 00:31:03.440
no approval she needs to go through there's a process
605
00:31:03.460 --> 00:31:06.200
to interview her and so we said oh okay we'll
606
00:31:06.220 --> 00:31:07.839
go through the process we put the request in and
607
00:31:07.859 --> 00:31:11.039
of course and then immediately denied so they're hiding something
608
00:31:11.059 --> 00:31:13.279
there i don't know what but but yeah there is
609
00:31:13.319 --> 00:31:17.490
a segment in the film that comes before that totally
610
00:31:17.529 --> 00:31:19.250
gets shut down and we had to make sure that
611
00:31:19.849 --> 00:31:21.009
that could be legally.
612
00:31:20.910 --> 00:31:23.950
Used, and the attorneys approved that, which we were grateful for.
613
00:31:24.849 --> 00:31:28.049
Ultimately, when is the first time that Clint gets to
614
00:31:28.109 --> 00:31:29.970
see the whole thing, and what does he think?
615
00:31:30.869 --> 00:31:32.849
First time Clint got to see it was that family
616
00:31:32.869 --> 00:31:36.710
and friends screening just a couple days before South by Southwest,
617
00:31:36.730 --> 00:31:37.970
so he was in Yakima.
618
00:31:38.829 --> 00:31:40.829
Clint, to his credit, full trust.
619
00:31:41.690 --> 00:31:43.950
When I would ask him to do some stupid thing
620
00:31:44.029 --> 00:31:45.670
on camera to try something out, like, why am I
621
00:31:45.690 --> 00:31:46.049
doing this?
622
00:31:46.730 --> 00:31:48.640
But trusting everything, and.
623
00:31:50.210 --> 00:31:53.119
That's an amazing thing to have, not having somebody that
624
00:31:53.160 --> 00:31:55.539
you feel is like looking over your shoulder, questioning everything.
625
00:31:55.779 --> 00:31:58.279
And so, yeah, he saw nothing until that Friends and
626
00:31:58.319 --> 00:32:00.299
Family screening. And so that's a little nerve wracking when
627
00:32:00.319 --> 00:32:01.619
you've got these people that you know are giving you
628
00:32:01.640 --> 00:32:04.519
a lot of trust. What made it extra nerve wracking
629
00:32:04.579 --> 00:32:08.200
was last minute, his mom, Patricia Patterson, said, hey, I
630
00:32:08.220 --> 00:32:09.779
think I'd like to come to that and see it too.
631
00:32:10.640 --> 00:32:12.240
And we thought, yeah, great.
632
00:32:13.079 --> 00:32:13.759
Okay, shit.
633
00:32:13.980 --> 00:32:16.960
That's scary because for a good while in the film,
634
00:32:17.420 --> 00:32:21.990
it's tough on her. It's critical in a pretty harsh way.
635
00:32:22.869 --> 00:32:25.450
And we had made the comment to her, or at least,
636
00:32:25.609 --> 00:32:27.609
I can't remember if we told her directly or had Clint,
637
00:32:27.769 --> 00:32:29.269
we did tell Clint, hey, sit next to her and
638
00:32:29.289 --> 00:32:30.029
close your mom's hand.
639
00:32:30.410 --> 00:32:32.009
Boom. It's going to be tough.
640
00:32:32.730 --> 00:32:34.970
But make sure she knows if she can see it through,
641
00:32:34.990 --> 00:32:37.569
if there's a payoff on the other end. And so
642
00:32:38.329 --> 00:32:40.650
they watched it, sit next to each other, cried together.
643
00:32:41.930 --> 00:32:44.220
She came up to me and Tamir after the film
644
00:32:44.299 --> 00:32:46.299
and held her hands and just told us how wonderful
645
00:32:46.339 --> 00:32:48.319
she thought the film was and what a great job.
646
00:32:49.210 --> 00:32:52.369
And then we had a little after party at a
647
00:32:52.470 --> 00:32:56.619
tavern nearby. And she reunited with Bob Hieronymus for the
648
00:32:56.640 --> 00:32:59.460
first time since probably they were kids. They all grew
649
00:32:59.500 --> 00:33:01.839
up together in Yakima. All these people grew up together
650
00:33:01.880 --> 00:33:03.480
and have known each other for a long time. And
651
00:33:03.500 --> 00:33:07.059
there's been so much just bad blood. And as someone
652
00:33:07.079 --> 00:33:09.660
says in the film, like anybody that's really been close
653
00:33:09.680 --> 00:33:11.799
to this film, it's damaged their lives. And there's so
654
00:33:11.880 --> 00:33:15.460
much damage that had been done. And hopefully this is
655
00:33:15.500 --> 00:33:18.089
a beginning for a lot for, certainly it already has
656
00:33:18.130 --> 00:33:20.009
been for, at least some of.
657
00:33:19.970 --> 00:33:23.349
The people, a big healing process. And we hope that
658
00:33:23.369 --> 00:33:24.349
can continue.
659
00:33:25.150 --> 00:33:27.390
And what's been the reaction to the film when you've
660
00:33:27.430 --> 00:33:31.039
taken it to screenings? You've shown this in different festivals around,
661
00:33:31.059 --> 00:33:33.059
have you gone around the world now or just in
662
00:33:33.079 --> 00:33:34.740
the U.S.? No, we.
663
00:33:34.720 --> 00:33:35.299
Haven't gone anywhere.
664
00:33:35.680 --> 00:33:36.059
Really?
665
00:33:36.660 --> 00:33:39.269
So we basically shut it down after South by Southwest.
666
00:33:40.130 --> 00:33:43.529
We had committed to a couple other festivals that were
667
00:33:43.549 --> 00:33:45.490
going to happen right after, but then at South By,
668
00:33:45.559 --> 00:33:48.960
and then immediately in the Bigfoot community, it really just
669
00:33:49.000 --> 00:33:55.319
caught fire. To an extent where Business Insider and the
670
00:33:55.339 --> 00:33:59.329
Times of London, they were writing pretty feature stories about
671
00:33:59.490 --> 00:34:01.470
how this Bigfoot community is torn apart by this new
672
00:34:01.509 --> 00:34:05.430
documentary that none of them have seen. Because one person
673
00:34:05.470 --> 00:34:08.150
saw it at South By Southwest and shared the news
674
00:34:08.309 --> 00:34:09.090
to the.
675
00:34:09.050 --> 00:34:11.760
Rest of that community, and then they've been essentially arguing
676
00:34:11.800 --> 00:34:12.260
ever since.
677
00:34:13.699 --> 00:34:16.320
But there was a lot of talk about, let's show
678
00:34:16.420 --> 00:34:20.139
up to the next one and film it or use
679
00:34:20.179 --> 00:34:23.989
metaglasses and pirate the film or show off this new
680
00:34:24.030 --> 00:34:27.170
footage in a way that, obviously, as soon as the
681
00:34:27.190 --> 00:34:28.989
film comes out, that's going to be everywhere. But we
682
00:34:29.030 --> 00:34:30.710
want the film to come out. We want it to
683
00:34:30.730 --> 00:34:33.090
be presented the way that we made the film. We
684
00:34:33.110 --> 00:34:34.570
just thought, we're not going to show it anywhere else.
685
00:34:34.590 --> 00:34:36.110
So we did have to pull out of two festivals,
686
00:34:36.250 --> 00:34:39.329
one that had already announced, which was really unfortunate that
687
00:34:39.369 --> 00:34:42.469
we had to do that, one that hadn't announced yet, which,
688
00:34:42.969 --> 00:34:43.489
thank goodness.
689
00:34:44.300 --> 00:34:44.960
But I think we've.
690
00:34:44.820 --> 00:34:50.380
Had 100-plus offers, and we've just decided to hold it
691
00:34:50.440 --> 00:34:54.780
until release, which is now October 20th. We will be
692
00:34:54.800 --> 00:34:59.019
doing some screenings in advance, even, some pre-release screenings. We're
693
00:34:59.340 --> 00:35:03.679
starting October 13th in San Francisco, so we've got San Francisco, Portland, Spokane,
694
00:35:04.619 --> 00:35:09.730
Livingston and Missoula, Montana, Seattle, San Diego. and then on
695
00:35:09.769 --> 00:35:14.469
October 20th in, I think, seven different markets with Alamo Drafthouse,
696
00:35:15.110 --> 00:35:16.349
and then a run in.
697
00:35:16.630 --> 00:35:17.570
New York after that as well.
698
00:35:18.510 --> 00:35:19.750
Do you know when it's going to be streaming?
699
00:35:20.610 --> 00:35:23.630
Also on October 20th. Yeah, so that's... We couldn't pick
700
00:35:23.670 --> 00:35:26.789
another day. Day and date, it's National Bigfoot Day. It's
701
00:35:26.849 --> 00:35:30.960
the day that the Patterson-Gimlin film was supposedly shot. I
702
00:35:31.000 --> 00:35:32.480
don't know if it was really shot that day. That's
703
00:35:32.519 --> 00:35:34.780
the day they came out of the mountains and said,
704
00:35:34.820 --> 00:35:37.519
we got one on film. which is why it's National
705
00:35:37.559 --> 00:35:40.000
Bigfoot Day. And so we thought, what better day to
706
00:35:40.039 --> 00:35:42.960
release the film than then? Is there a website for
707
00:35:43.000 --> 00:35:44.760
the film where people can kind of keep up with
708
00:35:44.780 --> 00:35:45.380
these screenings?
709
00:35:46.000 --> 00:35:48.489
Yeah, we've got a great website, capturingbigfoot.com.
710
00:35:49.329 --> 00:35:51.849
It's got, you look at the sightings page, which is
711
00:35:52.030 --> 00:35:55.110
where you can catch a glimpse of Capturing Bigfoot. So
712
00:35:55.230 --> 00:35:58.300
that's on there. And then all of the, on October 20th,
713
00:35:58.380 --> 00:36:00.900
it's going to be exclusive to Amazon Prime Video. You
714
00:36:00.920 --> 00:36:02.159
can check it out there as well.
715
00:36:03.059 --> 00:36:06.730
And, Are you currently working on two more documentaries, the
716
00:36:06.769 --> 00:36:08.929
way that you worked on the baseball and the Bigfoot
717
00:36:09.030 --> 00:36:11.289
one at the same time? A little bit, yeah.
718
00:36:11.329 --> 00:36:14.739
I don't have what I would call my next bigger
719
00:36:14.800 --> 00:36:17.340
project lined up, the one that would be like a
720
00:36:17.420 --> 00:36:22.320
two- to four-year deep dive that I would maybe consider
721
00:36:22.800 --> 00:36:25.099
the follow-up to capturing Bigfoot. Not that it's going to
722
00:36:25.119 --> 00:36:27.320
have anything to do with Bigfoot or cryptids or anything
723
00:36:27.340 --> 00:36:31.289
like that, but just something that I feel like is really, quote-unquote,
724
00:36:31.329 --> 00:36:35.889
more commercial or... and then just like a multi-layered more
725
00:36:35.909 --> 00:36:38.429
pop story that I don't have lined up yet. I've
726
00:36:38.449 --> 00:36:41.309
got a couple of ideas, probably pitching some of those,
727
00:36:41.929 --> 00:36:48.179
but I am more a short film about a photographer
728
00:36:48.199 --> 00:36:51.559
that was shooting Ellen's when it erupted his final four
729
00:36:51.599 --> 00:36:54.780
photos that he shot as, as the surge is coming
730
00:36:54.820 --> 00:36:58.659
towards him. He was able to save those by covering
731
00:36:58.699 --> 00:37:01.190
up his camera and, in his final moments. And then
732
00:37:01.190 --> 00:37:03.630
17 days later, his body and the camera were found
733
00:37:03.809 --> 00:37:07.190
and those were published in National Geographic, which was a
734
00:37:07.210 --> 00:37:09.429
lifelong dream of his to be in National Geographic. So
735
00:37:09.880 --> 00:37:12.840
I had read about that story back in October and
736
00:37:12.860 --> 00:37:14.079
I was like, wow, that's fascinating.
737
00:37:14.159 --> 00:37:14.840
I want to know more.
738
00:37:15.320 --> 00:37:18.000
And it's just thousands of pages on the internet telling that,
739
00:37:18.599 --> 00:37:21.820
but nothing else about Robert Landsberg as a person, as
740
00:37:21.840 --> 00:37:24.079
a photographer. And I was able to connect with his
741
00:37:24.139 --> 00:37:26.639
family who had never publicly talked about the story before.
742
00:37:26.659 --> 00:37:28.530
It's just really hard on them still.
743
00:37:29.030 --> 00:37:31.510
And So there's like a three minute and a five
744
00:37:31.550 --> 00:37:34.510
minute kind of sizzle reel, but it's almost like a
745
00:37:34.730 --> 00:37:36.730
mini film in and of itself that I've already put
746
00:37:36.769 --> 00:37:40.070
out there on Instagram. It's called 8.32 AM, The Last
747
00:37:40.110 --> 00:37:44.559
Photographs of Robert Landsberg. But I'm actually making more of
748
00:37:44.599 --> 00:37:46.280
a 20, 25 minute film about that. So we'll be
749
00:37:46.300 --> 00:37:49.139
shooting some recreations at Mount St. Helens for that soon.
750
00:37:50.159 --> 00:37:53.639
And in promotion for Capturing Bigfoot, we have all these
751
00:37:53.719 --> 00:37:57.010
extra materials. So there's a companion film that we're rolling
752
00:37:57.150 --> 00:38:00.730
out kind of chapter by chapter. It's a 22-minute film
753
00:38:00.809 --> 00:38:04.889
that's being released in 13 segments. But that will also
754
00:38:04.909 --> 00:38:07.030
be something that I want to kind of fine-tune and
755
00:38:07.070 --> 00:38:09.909
make that its own film. And then something else that
756
00:38:09.929 --> 00:38:12.769
I just participated in, which was really cool, and I
757
00:38:12.789 --> 00:38:15.570
love how it turned out, was a film by another
758
00:38:15.820 --> 00:38:20.900
filmmaker who basically picking up on a story that I
759
00:38:21.059 --> 00:38:22.539
had to give up on. It was this film I
760
00:38:22.579 --> 00:38:25.000
was making. I was calling it Kodiak about almost 30
761
00:38:25.000 --> 00:38:29.760
years now. And I had been working with XYZ Films
762
00:38:29.840 --> 00:38:33.380
and my producer, Tamir, trying to get this financed for years,
763
00:38:33.739 --> 00:38:38.429
and it just didn't go. And in my frustration and
764
00:38:38.659 --> 00:38:40.710
in the mourning of having to let that project go,
765
00:38:40.769 --> 00:38:45.210
I wrote this maybe 7,500 word essay. And then I
766
00:38:45.230 --> 00:38:47.070
was maybe trying to see if somebody would publish it,
767
00:38:47.190 --> 00:38:50.150
and it found its way to this filmmaker, Harag. He
768
00:38:50.170 --> 00:38:52.289
was like, hey, I want to make a film about
769
00:38:52.769 --> 00:38:56.280
this letter and you and your process of not getting
770
00:38:56.320 --> 00:38:58.579
this all made, which was like me writing an apology
771
00:38:58.599 --> 00:39:01.739
to the subject, Mac. And so we just shot that,
772
00:39:01.860 --> 00:39:06.739
and in record time, he put together this amazing rough cut,
773
00:39:07.119 --> 00:39:10.139
and it's really great. And so I also have the
774
00:39:10.199 --> 00:39:12.219
idea to maybe put those three films that I just
775
00:39:12.260 --> 00:39:16.550
mentioned together in more of a feature-length package, almost like
776
00:39:16.590 --> 00:39:22.530
a novella book, where oftentimes you'll see three short stories
777
00:39:22.849 --> 00:39:25.480
grouped together. So just kind of trying to play with
778
00:39:25.519 --> 00:39:28.329
format a little bit. I haven't done short films before.
779
00:39:28.349 --> 00:39:31.980
And so doing a couple short films, and then one
780
00:39:32.099 --> 00:39:33.820
through a line with... There's a couple through lines with
781
00:39:33.840 --> 00:39:35.420
those films. One is that I'm in all of them,
782
00:39:35.619 --> 00:39:38.860
which is not normal for me. And they all have
783
00:39:38.900 --> 00:39:42.460
to do with a vision and... I'm calling it three exposures,
784
00:39:42.559 --> 00:39:49.139
because it's a vision and one is Roger Patterson's I
785
00:39:49.710 --> 00:39:52.289
shouldn't say a vision, I should say an image. Roger
786
00:39:52.309 --> 00:39:56.250
Patterson shoots an image that's not real, but it lives forever.
787
00:39:56.269 --> 00:40:00.239
Photographer Robert Landsberg shoots pictures that are real, and he
788
00:40:00.300 --> 00:40:01.019
dies from it.
789
00:40:01.539 --> 00:40:03.780
And then you've got this Kodiak story.
790
00:40:03.840 --> 00:40:06.820
This person was convicted based on the vision, the image
791
00:40:07.039 --> 00:40:11.360
that a psychic had, which was just crap. So I
792
00:40:11.389 --> 00:40:14.769
felt like all three of those projects have this connective
793
00:40:14.809 --> 00:40:19.340
tissue that I wonder how they'll be viewed when they're
794
00:40:19.360 --> 00:40:22.550
seen together versus when they're seen apart. And so I
795
00:40:22.570 --> 00:40:23.889
wanted to put them all together and just see what
796
00:40:23.929 --> 00:40:24.550
that says about them.
797
00:40:25.150 --> 00:40:26.949
Mark, thank you so much for your time. This was
798
00:40:27.030 --> 00:40:28.869
so great talking with you. I'm so glad we were
799
00:40:28.889 --> 00:40:29.750
finally able to do this.
800
00:40:30.389 --> 00:40:32.210
Yeah, me too, Mike. Thanks for sticking with it and
801
00:40:32.250 --> 00:40:33.130
being patient with me.
802
00:40:33.269 --> 00:40:36.110
I had to kind of say, we're not ready yet
803
00:40:36.300 --> 00:40:38.440
for many months, but I'm glad we finally got to
804
00:40:38.480 --> 00:40:38.679
do it.
805
00:40:43.469 --> 00:40:46.090
Oh, I married a Bigfoot.
806
00:40:47.030 --> 00:40:48.690
I gave birth to my mother.
807
00:40:49.429 --> 00:40:51.210
Donor wants his kidney back.
808
00:40:51.909 --> 00:40:53.730
Golf cart on a rampage.
809
00:40:54.489 --> 00:40:56.409
Couple fleas talking bad.
810
00:40:57.050 --> 00:40:59.110
Sleazy pushers are swapping shrunken heads.
811
00:40:59.389 --> 00:41:02.619
Four, go, game.
812
00:41:03.320 --> 00:41:04.940
Make others do your bidding.
813
00:41:05.800 --> 00:41:05.980
Yeah!
814
00:41:06.039 --> 00:41:06.159
Yeah!
815
00:41:31.210 --> 00:41:32.769
I am a lure pit.
816
00:41:33.309 --> 00:41:35.840
Killer granny freak.
817
00:41:35.840 --> 00:41:40.920
Pregnant mom to be executed Hundreds watch UFO battle Sure
818
00:41:40.960 --> 00:41:44.739
fit and rate old snake handlers Play guitar in seven
819
00:41:44.780 --> 00:41:48.780
days Never gives dog and ate his son It's hubby's
820
00:41:48.860 --> 00:41:56.309
law He will execute GD1 Non-stop weight loss Gold bar
821
00:41:56.329 --> 00:41:57.949
looking like a horse.
822
00:41:57.869 --> 00:42:02.739
It's an A-Mazing Bigfoot diet It's an A-Mazing Bigfoot diet
823
00:42:03.360 --> 00:42:08.760
It's an A-Mazing Bigfoot diet Oh.
824
00:42:09.639 --> 00:42:10.159
Yeah.
825
00:42:13.320 --> 00:42:21.650
Oh, oh, oh Oh, oh, oh Oh, oh, oh Oh, oh, oh.
826
00:42:28.190 --> 00:42:32.389
Mom gives self cesarean. Girl kills brother on the TV channel.
827
00:42:33.110 --> 00:42:34.849
New Sunday, there's bean to a pump.
828
00:42:34.849 --> 00:42:37.329
100 bites, crocodile's eyes out.
829
00:42:38.050 --> 00:42:39.820
White bees evil, heavy to the sharks.
830
00:42:40.469 --> 00:42:42.420
Princess convicted of beating her mate.
831
00:42:43.000 --> 00:42:44.719
Mom nags our day to death.
832
00:42:45.760 --> 00:42:49.639
I married a Bigfoot. I married a Bigfoot.
833
00:42:50.360 --> 00:42:52.320
It's a dingleberry chapel.
834
00:42:53.119 --> 00:42:54.579
Ah, let's all say it now.
835
00:42:55.139 --> 00:43:03.340
B-I-G-F O-O-T-I Come on, lose weight now All you gotta
836
00:43:03.400 --> 00:43:08.019
do is ask me how The amazing Bigfoot died The
837
00:43:08.039 --> 00:43:11.300
amazing Bigfoot died The amazing.
838
00:43:10.820 --> 00:43:16.889
Bigfoot died The amazing Bigfoot died Bigfoot's here, Bigfoot's there.
839
00:43:16.829 --> 00:43:20.309
Goddamn Bigfoot's everywhere Do.
840
00:43:20.010 --> 00:43:28.099
The Bigfoot, do the Bigfoot burger Do the Bigfoot burger Yeah, yeah, yeah.
841
00:43:28.340 --> 00:43:28.739
Oh, yeah.