The first part of this is an interview Phillip Mantle did with guy who says the tent footage was faked.
The second part of this is Ray Santilli's saying he didn't use it because he knew it was faked.
According to Ray the AA film still speaks for itself, and has nothing to do with the tent footage. You decide.
Date: Wed, 17 Jun 1998 23:58:56 +0000 From: Philip Mantle
To: email@example.com Subject: Santilli's 'Tent Footage' Thrown Into Doubt. SANTILLI'S TENT FOOTAGE THROWN INTO DOUBT BY PHILIP MANTLE 17.6.98. On 30 March, l998, I received an e-mail message simply titled 'Blowing The Whistle - Roswell, from someone named K---- G------. The message simply read " Ok, I know something about the Santilli footage, I can identify without a shadow...Call me. K---- G------. I took me a while before I reached KG on the phone and he went on to tell me an intriguing, but so far unconfirmed story. I again interviewed KG on 11.6.98 this time tape recording the conversation. The following is an interview I conducted with KG: Nothing has been deleted or added and the interview is complete. INTERVIEW: PM: This is 11.6.98, Philip Mantle (PM) and K---- G------ (KG) KG: Yep. PM: Philip Mantle and K---- G------. KG: Absoloutely. PM: Have you any objections to me tape recording this conversation Keith. KG: I don't Philip, at all. PM: Do you mind if I publish it at all. KG: I don't mind if you publish it. PM: Right, OK. Well ,it was on 30 March, l998, you originally e-mailed me K----. KG: Certainly, yes it was. PM: And, er, you claimed at that time you had some information on the er, Roswewll film. KG: I certainly did. PM: First and formost can you give us a bit of information on your background and then I'll ask you another question. KG: OK, er, my background is primarily, well certainly for the last, up until about 5 years ago, was as a video games programmer, erm, I then came to work for a company in Milton Keynes, which is where I now live, about 5 years ago, erm, as a video games programmer. They were actually a hardware designing company. I erm, sort of worked my way up through the eons of that company and until I was eventually part of the management team, erm, and it was during the period of working there, with a business contact that I first met the people that we are gonna talk about. PM: OK. Now like I said, in your first e-mail you askeds me to give you a all, which I did, aat that time you told me you had some information about, er, the Santilli film. Could you tell us what that information is please K----. KG: OK. Basically, erm, I had er, an association, I had a colleague erm, that had an audio/visual company, erm making, at the time they were making a lot of Karaoke videos for third party publishers, erm, and soundtracks for childrens films and that sort of thing. I actually first came across this company erm, in the capacity as a games programmer, erm, and in fact contracted them to provide music for some video games that I was working on. Erm, I, er, I'm just trying to think of the story,events here, I erm, I'd known, I got to know them pretty well, I spent a lot of time working in their studios with them while we were playing around with different ideas for theme tunes for games and sound effects and so forth. So I would say, most of the staff in there I was very well acquainted with and had a very good relationship with the erm, owners of the company. Erm, about, some time, about a year and a half ago I went to actually visit this company, I hadn't seen them for a while, it was all, it was just a social visit, just pop-in to see how everybody was, and, while I was there the phone wrang, and, it, erm, the secretary put the phone call to the colleague I was with, the owner of the company, erm, who had a phone conversation with Ray Santilli. Erm, when the phone, the conversation had finished, I said to my colleague 'the Ray Santilli'. He said,well, what do you mean 'the Ray Santilli', I said the guy with the Roswell film. With that my colleague actually fell about almost in hysterics, I mean he would have fallen of his chair I think, given a chance, and he said didn't you realise we made that. And I said well, hang on, no, no, no. He said, no, we made that, didn't you recognise Elliot. And I said well, no, quite frankly I didn't recognise anybody. Erm, and then, he said er, well, you know, we made that, was Elliot. Amblings went on, carried on, and eventually he took me into the studio and erm, he showed me a video tape of what, I didn't recognise as being the Roswell footage, and he showed me some film, but it was quite clearly I could see that the main character in this footage was Elliot, who was one of the sound engineers there, erm, but it wasn't what I recognised as the Roswell footage. Erm, and then I sort of, I wasn't, at that time, that particularly impressed, erm, I just thought well maybe he thought he'd made something, but that wasn't the Santilli, certainly wasn't the Santilli footage. Erm, and he gave me a copy of the video cassette that they'd made but for some reason had never published, erm, and I went off quite happy. Erm, one night I'm sat here, whenever it was I first contacted you Phil. PM: Erm, it was March the 30th. KG: March the 30th. PM: Yes. KG: I was sat in, sat in my office at home, surfing the internet, and, I had no real contrived or planned reason, just typed Roswell into Yahoo to do a search, erm just to see, you know, see what the latest is, whatpeople are currently thinking about the Roswell film. And I found a page, erm, that was, erm, that was a web page, where they were doing analysis of the tent footage. Now I'd never realised that there were, I'd never followed the story close enough to know that there different segments of footage and different pieces of this so-called Roswell film, and erm, they had sort of a web page analysis of the, of the Roswell footage on there, on there, of the tent sequence, and I clearly identified that tent sequence with the video that I'd seen. Well within about 10 minutes I was downstairs searching through my video library trying to find this video cassette that I'd been given, and basically matched up frame for frame with the copy that I had which clearly showed Elliot the sound engineer with the pages on the internet and sure enough the tent footage was the same footage that claimed to be made by erm, by my colleagues, and was undisputable that, that was Elliot. I watched the film through and through again and without a shadow of a doubt it was definitely Elliot and it definitely matched up with the pages on the internet reporting to be the tent footage; PM: Yes. KG: At which point, I thoght mmm, I should inform somebody about this, and just found a few key figures, that were er, that were erm, involved in investigating Roswell from a UK end, and erm, sent you e-mail. PM: OK, is the name of this company -- -----. KG: -- -----. PM: Or is it --- -----. KG: No, --. PM: -- -----. KG: --, er,.-- actually stood for A--- and K---- which were the names of the two owners. PM: Right. KG: Erm, and they ceased trading earlier this year. PM: And is one of those owners a chap by the name of K---- B------. KG: K---- B------, yes, that's it...B------. PM: Ok, how did you know about the Roswell film itself and make the connection with Santilli. KG: Erm, only from the original Channel 4 and the Fox televisions films, both of which I saw, I used to travel a lot in America and I saw the Fox one and I also saw the Channel 4 one. Erm, and just, just loosely followed it but hadn't paid any keen interest, I'm not what one would call a ufologist or any such thing. So it wasn't with over keen interest, but you know, it was something that just sits there and you check now and again and see what's going on, but obviously in those programmes they's interviewed Santilli and er, you know, it was just one of those names that when I heard it crop up, when I was at -- -----, erm it was just one of those things that wrung little alarm bells, hang on, Ray's in touch, Santilli, there's a name I know. PM: Did your colleagues at -- ----- at the time when you were in their office and Santilli phoned, did they give you any other information about their dealings with Santilli and selling the film to him or something of that nature. KG: I believe the film was made for a, erm, was made, basically for another company. They were making a video called, erm, something to do with the web, Beyond the Web ? PM: Penetrating the Web ? KG: Penetrating the Web. Erm, it was part two or something, and they were actually putting this video together for them. Erm, they, now this is how I understood it, they had shown the footage that they made to Ray Santilli to which point Ray Santilli tried to but it, acquire it, whatever. The upshot of it was, was that Penetrating The Web was never released in the UK, at the the time it was made, and in fact in the copy that I had was, pre-dated all of this by a year or so, erm, Ray Santilli had then used this as part of his Roswell collection and there had been sums of money passed hands to make sure that it wasn't actually published as Penetrating The Web, erm, at it's original scheduled release date. PM: Right, well Penetraing The Web was released, are you aware of that. KG: I had no idea it was released over here, I knew it had been released in Italy. PM: It's been released in the UK because we have a copy. KG: Right, OK. PM: The gentleman who made that... KG: B---- B------. PM: B---- B------, do you know B----. KG: No ideas at all, I wouldn't know him from Adam. PM: He told us at the time that he'd bought it from a third party, but he wouldn't say who. So you're saying that -- ----- made it especially for B---- B------- company. KG: However it happened, but I believe that it was originally made for B---- B------, I wouldn't confirm that, but that's as I believe it. PM:OK, very interesting. Any information you'd like to add. KG: I can't think of anything else I'd would like to add, I can't think of anything else at all really. PM: Do you still have a copy of the video that was given to you. KG: No I don't unforunately, I'm trying to get it back, it was give to Bob Kravitz, Bob bo.. PM: Kiviat ? KG: Kiviat, yes, he actually has my copy at the moment. Basically so he had a first generation copy and could try and lift a clear picture, oh, I say a first generation a, er, an original copy and he can try and lift some decent footage off of that clearly showing Elliot. PM: Yes. Just for the record, are you aware of how Bob Kiviat got in touch with you. KG: Er, via yourself I believe. PM: That's correct, yes. KG: Yes, yes. PM: It's for Kiviat's programme later in the year. KG: Yes., PM: So once again you understand that this conversation has been recoded. KG: Yes. PM: And you have no objection to it being published either in written form or on the internet or whatever. KG: No, not particularly Phil. PM: Is there any of the details that you've told me that you wish not to be made public, ie: the name of the company. KG: No, I have no problem with that at all. PM: Well, thank you very much. KG: That's alright Phil. PM: Don't go off I'll just turn the machine off. END ============================================= Date: Thu, 18 Jun 1998 00:13:58 +0000 From: Philip Mantle To: firstname.lastname@example.org Subject: Re: Tent Footage By Ray Santilli The following is from Ray Santilli: THE TENT FOOTAGE Philip Mantel has informed me that he has secured an interview from someone claiming to have information regarding the "Tent Footage". As a great deal has been made of the so called "Tent Footage" I would like to clarify the situation and place the following on record: The Tent Footage was the first film material I collected from the cameraman, it was in the form of 16mm film and in very poor condition. I brought it back to England and asked a studio facility in Buckinghamshire to retrieve whatever image they could from it. A few weeks after delivery the Studio presented me with the film which has become known as the ""Tent Footage" I was told that this was all that could be retrieved from the film. I had informed the cameraman by telephone that we were able to retrieve some image and indeed showed the film to Philip Mantel and other interested parties. I returned to the States later to collect the main film and showed the "Tent Footage" on VHS to the cameraman. At this point he stated that he DID NOT remember either the image being portrayed or the style in which it had been filmed. I was concerned but collected the remaining film (which was in far better condition) and returned to the United Kingdom. Upon my return I contacted the studio to find out more about the images from the "Tent Footage". I got the impression that as a joke the film had been interfered with, but nobody was owning up. This meant that with regard to the "Tent Footage" I was uncertain as to what was real and what was not, and if the film had been interfered with, I could not use it. THIS IS WHY I COMPLETLY PULLED BACK FROM USING THE FILM. As a result I INFORMED ALL PARTIES that had come into contact with the Tent Footage (and I am sure they will confirm this) that I was NOT CONFIDENT with regard to the Tent Footage and further that it should NOT be used in conjunction with the autopsy film, this instruction went to all broadcasters including Fox (Kiviat). Indeed when Kiviat wanted to use the Tent Footage for a subsequent program I was totally against it. However he still wished to use it and to that end he provided me with a written disclaimer dated NOVEMBER 1995 which was to be used during the broadcast. In the end I won the point and the film was not used. The situation regarding the Tent Footage was known to all, it was not appropriate to use as it may have been interfered with. It was the only thing I could do, as I did not want it to compromise the main autopsy film. I believe I did the responsible thing in removing the "Tent Footage" from circulation at the very beginning. My position regarding the Autopsy film and the reels recovered remains unchanged. Any discussion regarding the Tent Footage is completely irrelevant. I DID NOT USE THAT STUDIO AGAIN, AND NEITHER THE STUDIO OR ANYONE ASSOCIATED WITH THE STUDIO HAD ANYTHING WHATSOEVER TO DO WITH THE AUTOPSY FILM. THE AUTOPSY FILM IS WHAT IT IS, AND NOTHING WILL CHANGE THAT. Ray Santilli