By Robbie Graham Silver Screen Saucers
The inside story of how ‘that’ infamous abduction scene in the 1993 movie came to be so creatively distorted. Check it out at The Daily Grail.
The new X-Files series is due on US screens 24 Jan. 2016…
Ridley Scott is planning as many as four Prometheus films, the veteran director has revealed to German site FilmFutter this week, with the fourth instalment finally linking directly to the events of his classic, franchise-spawning 1979 movie, Alien.
The clear link to Alien “won’t be in the next one,” said Scott, “It will be in the one after this, one or maybe even a fourth film before we get back into the Alien franchise.”
The first Prometheus film received mixed reviews, but did well at the box-office. Scott told FilmFutter, “the whole point” of Prometheus was “to explain the how and why of the creation of the Alien itself.” The director added:
“I always thought of the Alien as kind of a piece of bacterial warfare. I always thought that that original ship, which I call the Croissant, was a battleship, holding these biomechanoid creatures that were all about destruction.”
Meanwhile, District 9 director Neill Blomkamp, is moving forward with his fifth instalment of the original Alien franchise, though Scott’s Prometheus 2 will likely hit cinemas first in 2017. The final two Prometheus movies will arrive in 2019 and 2021, by which time Scott, at 83, will surely be contemplating retirement.
An exclusive excerpt from Silver Screen Saucers: Sorting Fact from Fantasy in Hollywood’s UFO Movies
By Robbie Graham
No Hollywood product has so actively sought to blur the boundaries between UFO fact and fantasy as the NBC TV show Dark Skies, which ran from September 1996 to May 1997.
Created by Bryce Zabel and Brent Friedman, the series presented an alternate history of 20th Century America. Its tagline read: “History as we know it is a lie.” In this case, it was a lie sprung from and built around a secret extraterrestrial presence on Earth and the US government’s covert efforts to understand and control the alien threat.
The narrative begins with the Roswell Incident (here a deliberate military shoot-down of an alien craft) and the establishment of the top secret working group, Majestic, which, as in UFO literature, is tasked with overseeing the rapidly escalating UFO problem in the United States.
We then jump forward to 1961 where the show’s protagonists, John Loengard (Eric Close) and Kim Sayers (Megan Ward), a young couple with political aspirations in Washington D.C., find themselves drawn into the shadowy world of Majestic 12, headed by the imposing Frank Bach (J.T. Walsh). Whereas The X-Files’ Fox Mulder was forever on the outside of the cover-up attempting to look in, Dark Skies’ John Loengard was on the inside looking out. Dark Skies was a detailed architectural blueprint of a theoretical UFO conspiracy, but with its details drawn meticulously from real UFO literature and debate.
Each episode saw John and Kim attempting to understand and combat not only the Gray aliens, known in the series as ‘The Hive,’ but Majestic themselves, whose motives and actions are morally dubious at best. All of this plays out against the backdrop of real historical events of the 20th Century, including the Cuban missile crisis, the assassination of JFK, the death of Marilyn Monroe, the Watts riots of 1965, and the north-east black out of that same year. Numerous cultural icons show up throughout the series, including The Beatles, Jim Morrison, Ed Sullivan, and Timothy Leary, as well as real-life figures from politics, science, and UFOlogy, such as Harry Truman, Allen Dulles, Nelson Rockefeller, J. Edgar Hoover, J. Allen Hynek, and Carl Sagan.
It is worth noting the show’s Gray aliens are not innately hostile, but are being used as a slave species by parasitic aliens known as ‘Ganglions,’ which can infest and control any host body.
Zabel and Friedman pitched their series to networks in the form of a faux ‘Top Secret’ briefing file, modelled on the MJ-12 documents. The thick, ring-bound file, which they referred to as the ‘Dark Skies Bible,’ contained enough rich UFO lore intertwined with official history to comfortably fuel five full series of the prospective show, which had been the original plan. The file was fronted by a one-page letter ‘written by’ the show’s fictional hero, John Loengard. It was dated 2 January 1995 and was addressed to his real-world creators. It read:
Bryce and Brent,
The truth must be told. You have been chosen as instruments to achieve this objective. The truth, however, must not be represented as truth. Too many people who are needed in the struggle will die.
The cover of fiction must be used to present this truth. Those who fear the light will not want to bring attention to you by allowing your death.
This is the only way.
Do not be afraid.
The fight for humanity demands your courage.
The Dark Skies Bible, and the Loengard letter in particular, exemplified the now complete inseparability and symbiosis of UFOlogical ‘fact’ and Hollywood fantasy. Loengard’s statement to his creators that they had been chosen as instruments to tell the truth about UFOs under the cover of fiction, would later ring disturbingly true for Zabel and Friedman, as we shall see.
The development of Dark Skies began in late-1994 while Bryce was working at Universal as a writer on M.A.N.T.I.S, Sam Raimi’s short-lived TV show about an African-American super hero. “My assistant on that show introduced me to her husband, who was Brent Friedman. Brent and I started talking UFOs and it turned out he had been told certain things by a government insider.”
Friedman has described this incident as follows:
A good family friend of ours when I was just getting out of high school was working at a very high level in the Reagan administration. One night he took me aside and told me some of the things he was doing in the government, and he ended up telling me some pretty shattering stories. He knew that I’d always been into science-fiction, fantasy, and comic books, and he very casually just threw out there that ‘aliens are real, they’re here, and I’ve seen them.’ At the time I was just absolutely shocked. This was a person that I grew up with and absolutely trusted, and it just rocked my world.
With their mutual interest established, Bryce and Brent set about developing what would become their Dark Skies Bible. “Our show was really about blending the UFO phenomenon into documented, accepted world history,” Bryce told me in a 2015 interview. “Everything I had read in UFO literature ended up in Dark Skies, from Betty and Barney Hill to Majestic-12, you name it. I tried to weave it all in there.”
The inclusion of such intricate UFOlogical detail in Dark Skies apparently attracted the attention of real government UFO spooks.
The series pilot premiered on NBC on 21 September 1996. That same night, Bryce threw a wrap party at his Los Angeles home for his cast and crew – some 200 people in total. They would watch the pilot live together. It was a private party, invitation only. All invited guests were issued in advance with a faux Majestic-12 ID badge (loosely modeled on Bob Lazar’s Area 51 ID badge) which they were required to wear throughout the evening. One man at the party that evening wore no ID badge.
“A guy showed up here,” Bryce recalled. “Nicely dressed, young. Nobody recognized him. He approached Brent and myself and he told us, “We’ve seen your pilot.” This was strange, because at that point in evening the pilot had yet to air. “Nobody else had seen it, other than a few people in Hollywood,” said Bryce. The man stated again, “We’ve seen your pilot and we think you get a lot right, but we want to help you with the rest.”
The mystery man suggested to the producers that their show could benefit from inside information on UFOs, and that he could provide them with this information. Here, then, was John Loengard sprung to life from Bryce and Brent’s fictional letter, choosing them as conduits to share the truth disguised as fiction. The producers initially suspected a prank, but their Dark Skies pitch had been private. No one had seen their Loengard letter but for a handful of network executives in Hollywood. What’s more, based on his detailed knowledge of its plot, the mystery man seemed to have really seen the unaired Dark Skies pilot, as he claimed. He even knew details of episodes that hadn’t been filmed yet.
“Who are you?” the producers asked. “That’s really not important right now,” came the reply. “But I work with people who have an interest in what you’re doing and what you’re putting out.” The mystery man then proceeded to grab a napkin and scrawl something on it. “It was a bunch of symbols and stuff,” said Bryce. The man handed the napkin to Brent, who naturally enquired as to its meaning. “The secrets of the universe,” said the man, enigmatically. “Sound, light, and frequency.” I asked Bryce where the napkin is now. “I haven’t seen it in years,” he told me. “Brent has it locked in a safe some place.”
The man and his napkin were undeniably intriguing, but this was bad timing. Bryce was playing host to 200 people. “I didn’t really have time to stand around talking to this guy. But Brent invited him to our office at NBC to come and talk to us some more at a later date.”
That meeting happened a few days later, and it would prove both confusing and unsettling.
Bryce described the meeting to me:
The guy from the party shows up with two other people, older men, who he said were his bosses in Naval Intelligence. They sat around a table with us and they spoke for around two hours. They certainly had a well-constructed alternate world. They had lots of details, and they weren’t shy. Actually they were a little condescending to us, saying things like, ‘You guys think you’re such hotshots because you’re in Hollywood, but the truth is that you don’t even know what you’re playing with. Yes, you’ve stumbled into getting most of it right, but there are some things that you haven’t got right.’
Things were about to get even stranger:
“At one point the guy puts a little vial on the table and says ‘you don’t have this in your show.’ And we’re looking at it and we say ‘what is this?’, and he says ‘this is what this is all about.’ It was a vial of gold, or fool’s gold, I’m not sure which.” Were Bryce and Brent meant to infer that aliens were after our gold, like the Anunnaki of Ancient Astronaut lore? Or were they supposed to think the vial contained some alien element, perhaps used to fuel a flying saucer? It is impossible to know, but certainly the mystery men were intent on confusing and provoking the producers. “Their whole tone was like, ‘You fucking idiots! This is what it’s about! You don’t even have the truth!’ It was just weird.”
Bryce asked again precisely who these men were. “So one of them said, ‘look. We’re with Naval Intelligence and if you really want us to read you in you’re going to have to meet the big guy. There’s a ship down in Long Beach right now and we can arrange for you to meet him. But you can’t meet him on the ship.”
One of the men then provided Bryce and Brent with the location of a cemetery in Long Beach, where they could meet the big guy at midnight on a given date. Bryce was now thoroughly perturbed. He had heard enough. “That’s when I pushed back from the table and said, ‘Okay, I’m done. I have a show to run, and I have three children, and I am not meeting you or anyone else in a cemetery at midnight. Good day.’” That was the last Bryce heard from them.
What can we make of these events? Certainly they would appear to be neatly in line with disinformative strategies employed previously against UFO researchers and through entertainment media. Did intelligence operatives get wind of a new X-Files-style TV show utilizing factual UFOlogical detail and see it as great new opportunity to sow its content with self-serving UFO conspiracy mythology, or even simply to manage and guide the show’s existing mythology? “It was very intricate,” said Bryce of the whole affair. “It felt like it was staged for us. Like it was all built around us. It seems to be that we had been targeted for some elaborate disinformation job.”
I asked Bryce if he felt the men were the real deal, and if there is any chance it was all just a prank by some amateur tricksters:
Do I think they were really going to read us into a secret UFO program? No. But it did seem like they really were part of some official organization. One of the guys said he was a SEAL, and, I have to say, all of these guys looked like very hardcore military guys. They didn’t look like soft fanboys pulling a prank on us. They didn’t look like guys you’d see at Comic Con. They looked and spoke like military guys.
I asked Bryce if he believed in UFOs at the time of Dark Skies’ development and if his intention with the show was to educate and inform the public about the subject. He replied:
Did I intend to inform? No. I intended to entertain. But did I believe in UFOs and alien visitation? Yes. I believed strongly at the time of Dark Skies that Roswell was a real event and that it was probably unearthly in nature. I still believe that today. Whether or not I believed the Majestic 12 documents were real or faked was irrelevant. I just used the name because it was on people’s minds. But I did feel that if MJ-12 didn’t exist, then another group like it by another name probably did. Somebody had to be working on the UFO problem.
Dark Skies arrived on TV in 1996, and comparisons to a certain other UFO conspiracy show were inevitable. Bryce said:
People accused us at the time of ripping off The X-Files. But actually we didn’t like what The X-Files was doing, which was teasing everybody. We wanted to do the opposite. We wanted to say ‘we’re not going to tease you about the cover-up. We’re going to take you inside the cover-up and let our character be your tour guide through these events of history.’ It was more direct than The X-Files.
Dark Skies was cancelled before the end of its first season due to low ratings, which may have been a result of its inopportune weekly scheduling. The show was dark in name, dark in themes, and dark in visual content, with violent and intense scenes in most episodes. Despite this, Dark Skies was broadcast at 8pm on Saturday evenings – peak viewing time for families (for whom the show was not entirely suitable), and peak going-out time for teens and young adults. Today Dark Skies retains a cult fanbase, and Bryce is proud of what he and Brent achieved with the show. “It’s about 90 percent faithful to what I set out to do back in 1994, and it certainly succeeds in twisting UFOlogy and history and tying them into this knot. It’s one of the most subversive TV shows ever produced.”
Variety reports this week that a classic true-life alien abduction story is to receive the full Hollywood treatment in Captured. Gotham/Principal, producers of Maze Runner: The Scorch Trials, will team up with Bryce Zabel and Jackie Zabel of Stellar Productions to tackle what is arguably the most famous case of its kind on record.
Captured will be based on the story of Betty and Barney Hill, an interracial couple from New Hampshire, who claimed to have been taken aboard a UFO and medically examined by its humanoid occupants in September 1961.
Bryce Zabel, a former CEO/chairman of the Television Academy, and Co-Creator of NBC’s Dark Skies TV show (1996-1997) will write the screenplay based on the 2007 non-fiction book Captured! The Betty and Barney Hill UFO Experience: The True Story of the World’s First Documented Alien Abduction, by Stanton Friedman and Kathleen Marden.
This is not the first time Hollywood has engaged with the Hill abduction story. It was notably adapted for television in 1975 as The UFO Incident, a feature-length movie starring Estelle Pasrons and James Earl Jones as Betty and Barney. Bryce Zabel is also no stranger to the story, having already incorporated it as a sub-plot in his Dark Skies series…
Captured will no doubt differ substantially from its 1975 TV treatment, with the producers planning to “make the film in a context of both Cold War paranoia and the country’s struggle over race relations.”
Stellar CEO Jackie Zabel remarked of the Hills:
“They were an interracial couple in a country that still had segregation laws, and they lived in a city that was next door to a bomber base bristling with nuclear weapons. What they knew and why they were targeted will make for a phenomenal film.”
Co-producer Eric Robinson said of the project: “Captured is a true story that explores the birth of modern UFO lore through the eyes of the first Americans to report that they were kidnapped by aliens,” adding, “This is an exciting story that is as intriguing, timely and ripe for adaptation today as it was 54 years ago when this incident occurred.”
Bryce Zabel, who has had a professional fascination with the UFO mystery since the 1980s, wrote Syfy’s first original film – the UFO conspiracy story Official Denial (1993), and, after Dark Skies, worked on the development team for Steven Spielberg’s epic abduction miniseries, Taken. He has since written a number of books exploring UFOs and politics, including Surrounded by Enemies: What If Kennedy Survived Dallas? which won the 2013 Sidewise Award for Alternate History.
Speaking to Deadline this week, Ridley Scott has confirmed that his next film after The Martian will be Prometheus 2, and that Michael Fassbender is set to return as the sinister synthetic, David.
Scott told Deadline that the sequel will pick up where the first movie left off, with David (well, his head, at least) and Shaw (Noomi Rapace) setting course for the homeworld of Humanity’s creators, the Engineers:
“You [could] leave the first film alone and jump ahead, but you can’t because it ends on too specific a plot sentence as she [Shaw] says, ‘I want to go where they came from, I don’t want to go back to where I came from.’ I thought the subtext of that film was a bit florid and grandiose, but it asks a good question: who created us?”
It seems Prometheus 2 will see us back firmly in Ancient Astronaut territory, then, but the religious overtones of the first movie will here be more explicit. Scott continues:
“You’ve got to go back and find those engineers and see what they are thinking. If engineers are the forerunners of us, and therefore were creators of life forms in places that were possible for biology to function, who created that? Where’s the big boy?”
Scott even seems to be drawing inspiration from Stanley Kubrick’s masterpiece, 2001: A Space Odyssey, telling Deadline:
“In 2001 when… that ape that had been grubbing around in the water hole with all of them bickering at each other… has a bigger thought injected into his brain than Newton got sitting under a tree and seeing an apple fall. That is one gigantic, magnificent leap of a thousand years of evolution; that is where the world begins. It is pretty grand thinking, and that’s what I want to explore.”
The first Prometheus movie opened in 2012 to mixed reviews, with critics praising Scott’s typically stunning aesthetic, but lamenting the movie’s confused plot. It nonetheless grossed an impressive (for an R-rated movie) $400 million worldwide.
Scott says Prometheus 2 is due to start production in February and will shoot in either Australia or Canada. It is due for release in 2017.