All language subtitles for S4 the bob lazar story project gravitaur [promotion videos] april, (2026).eng

Uh, there's really no way I can prove it

without revealing my identity and

getting myself into more trouble than

I have already.

Exactly what's going on up there?

Well, there's several

actually nine

flying saucers, flying discs

that are out there of extraterrestrial

origin and

they're basically being dismantled.

Some are well,

in various stages of completion

built from other parts
and they're being

test flown and

basically just analyzed.

I was 29 years old
working on the most

project in the

history of the world.

No one has ever been able to show

exactly

what I saw with my own eyes until now.

Let's travel back in time to December of

1988 when this all started.

All right, so

here we are Bob after almost 2 years

working together. Yeah. And

the project started you know, pretty

serious about us wanting to recreate

the craft perfectly.
That was the initial

project and you were uh, very kind to

say yes to work with us. You saw how

serious we were in
wanting to make it

exactly as you saw it.

was impressive what
you had planned.

Yeah. And it evolved

and we really built
a lot we we really

did a lot more than we originally

thought we were going to do.

It all started off with
a model and then it

grew into this three-dimensional

environment and now
turning into this

real truly realistic environment.

And spending all this
time together getting

it all right and at a certain point

I said to myself, we're going to be

taking people back
in time to 1988 and

1989. This is exactly
what S4 like

S4, yeah, they're going
to they're going

to actually experience the place

exactly as you described
it to us and we

built it exactly to
the specifications

you gave us to the
colors and sizes and

and the tools that were in there

and all that.

And it was so serious for a long time.

It was so it we took
it so seriously to

make it so accurate.

It was It was a It
was a lot of work,

a lot of corrections
and a lot of time.

Yeah, and we are we
were so grateful

that you were so
helpful to work with us.

You were always there.
I mean, we

had we must have had
like numerous Zoom

calls together and
going over details

and this there's so much
that we covered

and it came a moment
where we were thinking,

how do we how do
we going to launch

this? It's a serious
thing, you know,

it's we want to we
don't want to come

across as this is a cheesy
project or anything.

We want to make it look really

cool and realistic and serious.

And but on the same
token, we wanted to

bring something a little bit

light-hearted to the
whole story

and I was kind of working

on ideas for how we were going

to launch the trailer for this

and I thought, we
got to bring people

back in time and why
why do we use

a time machine? And
I thought that was

somewhat a little bit
ridiculous in my head

when I said that cuz I said,

how am I going to do that?

And then I got to find out that there's

a company out here
in the states that

rents the DeLorean
time machines

from Back to the Future.

Mhm.

And I found out about
them and I thought,

oh, that's really cool.
So, I decided to

reach out and just
find out I wasn't

even really sure we
were going to do that,

but I thought

I wonder what how
much that's going to

cost and if, you know,
this can happen.

And I ended up speaking
to the owner of the company.

Not going to mention his name

because I can't.

And I told him I said, well, this is

kind of an odd project we're doing.

We're working with

a guy that is quite,

you know, is quite known out

there in the public and he's a guy

that worked out at
Area 51 back in

the 80s and he was
apparently reverse

engineering alien spacecraft.

And so the guy goes,
are you kidding me?

He goes, are you talking
about Bob Lazar?

I said, oh, so you
know about him.

He goes, well, he says,

not only do I know about him,

he goes, I'm an aerospace
engineer and I

actually worked at
Groom Lake on a few

secret tech the spacecraft.

What are the chances?

Yeah, on a few crafts
and I was like, what?

So, I immediately called him.

Crafts, yeah.

On a few not not the spacecraft.

So, so sorry. These were.
These were I think he

gave me the names
aircrafts, yeah,

human-made aircrafts.
Absolutely, yeah.

But they were secret
at the time and

I immediately was like, what?
Are you kidding?

What what are the
chances of this being,

So,you know, a real thing?

I I reached out to
him and I said,

are you for real? Like, you
really worked out there?

And he says, yeah, he goes,

I don't advertise it cuz I shouldn't,

you know, the Department
of Defense doesn't

want me to go out
and say I did that,

but I did. And he says,
but I also rent well,

DeLorean time machines.
And I thought,

well, maybe this is a sign.

I thought, I wonder if this

is going to be well
received with the public,

you know, we want to bring the

whole world back to

the most accurate
representation of S4

as you experienced it.

And it was so serious
this the work we

did for so long. We
we we kind of wanted

to just come up with
something cool

and so I gave you a
call and I said, Bob,

I have an idea and
I want to get your

opinion on it. And I said to you,

I said, well, I found
the guy who has

the DeLorean time machine
from Back to the Future.

He has it in Las Vegas.
He we would be

able to bring it out to the to

a dry lake bed near Area 51

or out in Nevada.

Would you be interested
in coming out

and filming with us
on a dry lake bed

and we make you drive
the car and we'll

bring people just go
at 88 miles an hour

and we'll go back to
1988 and you just

and I said, and you would and you

finished the sentence by saying

yeah, I'm Bob Lazar

and this and I'm going
to take you back

to 1988 and I said,
oh, this is cool.

Yeah, I I remember the phone call.

But yeah, I that I mean,
that sounded like fun.

It did and you know, it's just

like you said, it's a serious topic,

but you know, it's a fun
way to introduce it.

Just I got to take you
back in time here.

And it was,

it was a good time.

It was such a good time.
Yeah, we got to that.

Meet so many great people
while we did that.

The guy that's got the car

the couple of guys that had the car.

We got to bring up friends out there.
We Yeah, for you know,

someone from the
80s that watched

all the Back to the Future.

It's it's fun driving the car.

Yeah, really.

It was such a blast
and we were not even

supposed to be able to drive it.

When the deal was We
really hauled ass

and Yeah,

it was I remember
the deal was we

get the car out on the dry lake bed

and we could take pictures.
We could film

you getting into the
car and you know,

starting it up, but
we were not supposed

to drive the car.

And I think the guy
himself when he was

out there

he got so excited that Bob Lazar was

in the time machine
that he was like,

you could go ahead, you
know, you could just

yeah, just don't ruin
the car, you know,

cuz the dry

full of dirt and it was
destroyed by the time,

we were done with it.
It was so dusty.

We I think we dusted that car

like 30 times.

Yeah, but still on the
inside, the door jambs,

I mean, it's a dry lake bed.

It's it was just terrible.

But it was such a unique experience

to do that.

And that we took we
I called you and

I said, would you
mind bringing your

original MJ12

license plate?

Yeah, that's right.
We put it on the car.

Yeah.

That's the that's
the one you had

your Corvette back then.

Yeah.

That's you know, so we
took that license plate,

put it on the back of they had

the out of time license plate

and we just put the MJ12

right on top of it.

And how cool was that?

Yeah.

That was a good time.
It was great.

There's something
that the whole world

missed out on throughout
the the ages of

this story being out
is the fact that

we've always focused
on what Bob did at

S4 or at Area 51 working
on flying saucers,

but there was a lot left out

about who Bob Lazar actually is

as a human being.

Who's the chief? Not
that any of that

would have required alien technology.

So, basically, the delay happened for

a lot of reasons, and the
main reason was quality.

As we were building the project,

as we had developed S-4,

the entire Papoose
mountain range

and all that landscape
around the base,

we had done that all
in a 3D software.

But, the actual software was

actually improving
over time, and we had

to make some strategic decisions.

If we were to just continue

with what we had
created, or do we go

the extra mile, spend
the extra dollars,

and upgrade the project?

So, the decision was
technical, it was quality,

it was for visuals,
and we really hope

people like the final product.

The project actually
was not supposed

to be a documentary
film, neither was it

supposed to be a VR experience.

Initially, it started
out that we were

going to be making
a diecast model

of the flying saucer he worked on.

And as the this
project was evolving,

and we were building the
craft in a 3D environment,

we started seeing the potential

of creating the entire base.

And we started building the hangar,

which was super cool,

because now you have a real

three-dimensional physical real-size

environment where this
craft was parked in.

We were slowly getting into the

concept of maybe this is going to be

a VR experience. We
were not thinking film.

And we said, well, we
could bring people

back to 1988 with a time machine.

The sleek stainless steel DeLorean.

At a certain point, I
saw an ad come up on my

computer that there's
this company

in the United States
that rents DeLorean

time machines from Back to the Future.

So, when we finally rented the car,

we all went out to Las Vegas.

The whole production
crew here, Bob and

his wife, all flew out to Las Vegas,

and we all drove out
into the desert,

and we ended up on this huge dry lake

in the middle of nowhere.

The guy who owns
the car was there,

cuz he wanted to make
sure we were not going

to break the car, cuz
we were only supposed

to like drive it really slow, like 10 mph.

And we thought, this is
just not good enough.

We we we need something better.

And he eventually gave

us the okay.

And as soon as that
happened, it was

like a turning point
for the whole project.

We knew at that
moment that we had

the opportunity to create
a documentary film.

The shots we had were
just way too good.

Bob's a very, very down-to-earth,

kind, gentle soul.
Like, he's a good guy.

You get to meet him, you see a

different side of
what you kind of read

about a lot out there.
So, I mean, this

is not a person who
just did that back

in '88 and '89. This
is a man who was in

charge of a big event called Desert

Blast for many, many
years in in Nevada.

Whenever you're reading
about Bob Lazar

on the internet, in it's just always

gravitating to what he did at S-4.

But, one of the things
that I can say is he's

an awesome person,
very kind, very

honest, very credible. What he's done

with us is the
generosity of his time,

the generosity of providing
us the information.

I mean, he's always

been cooperative,
he's never stopped

helping us, he's
always been there at

any moment we needed him.
So, that part

of Bob Lazar is going to translate

I can say it here in this interview,

but you'll also see it in the film.

The VFX evolved in such
an incredible way.

I mean, we started off with

the basics of 3D. So, the last 3

years have been
Paramount in the world

of 3D, specifically in cinematics,

things that you could use in

actual film, and not just video games or

3D virtual reality experiences.

So, the evolution of it
is paramount to what we

actually saw in the
results of the project.

The biggest thing was how we

went about creating the
textures for the craft.

Regardless of how amazing

this technology is
that allows us to do

all this, the craft itself was a very

difficult build that we had to do.

It was the the most challenging.

First of all, the craft itself, although

it looks like it's made of metal,

there is a

a specific look we were aiming for.

Bob had explained
exactly what this thing

looked like, how it

didn't have too much reflectivity,

but it still had a little bit.
There were

a little bit of
usage on it, but it

looked pretty new.
But, when you're

creating that in a
virtual environment,

there is a very complicated

situation when you're in proximity to

the object and when
you go further away.

Every time we were close
up, it was perfect.

As soon as we would go further

away from the object, it would

start looking like a cartoon.
So, we had

a lot of trouble with that.
And the evolution

of what we were developing

inside the softwares, along with

coming up with the
best textures and

mixing them together,
creating our own textures.

I would say that was the biggest

challenge at a certain point.

We couldn't get that
craft to look real

from a distance. Up close,
it always looked amazing.

And we finally got that

after 2 years.

We had to actually write
our own programs,

either tools that were

customized by our team

inside some of those
programs, or actual

softwares that we created.
So, one of

them is the de-aging
Bob Lazar software,

which was completely done in-house.

Although he's a pretty
well-known figure

out there, there's
not a lot of stuff

back in the '80s with Bob.
So, we had to

write the software
ourselves to actually

utilize the limited
amount of data that

was out there to
recreate him as

a younger Bob today.
So, that was that was

a really cool thing.

There was a lot of
I mean, challenges

have been every single
day, whether they

be physical challenges, did we have

the right shot, did we
get the right angle.

Like, anybody who's
in filming knows

what that's all about.
Sometimes you're

you're dealing with
cinematic challenges.

In terms of the softwares

and how we were
blending real-life

action with CG, that's a

challenge, because
what you what we want

to do is make sure that
it's a seamless transition,

that you do not see when it

goes from real to not real,
basically 3D environment.

I think that probably is

the most challenging thing and

time-consuming as well.
But, the result is

absolutely incredible.

The whole project,
well, the whole movie,

was shot out in the Nevada desert.

We actually shot on a dry lake

with the DeLorean.
We then went out to

Area 51 at the back
gate, where we shot

there with the DeLorean as well.

And we went out to Rachel, Nevada.

A lot of interviews
were done in Las Vegas.

We did that with Marci Santa Cruz,

Gene Huff, George Knapp.

We actually went to
George Knapp's house.

That was really, really fun.
Got to meet George,

got to experience a whole
bunch of cool stuff

that he had at his place with Bob.

And then, Bob Lazar came here to

Montreal, which was a huge, huge

production that
we did right here

in this studio, where we had him

on a green screen, we had him in

different locations
interviewing him

about everything that happened at S-4.

Spending time with Bob
was not just like

one or two shoots. I mean, this is

almost like a 3-year project.
It's like

incredible to have
had that experience,

but I also got to
understand who he

really is, so did the team.
I mean, we

spent days together,

we traveled together.

so excited.

Well, this is great. That's the

smartest, biggest kid
you'll ever Yeah.

In your life.

I mean, if you really
want to see Bob's

soul come to life,
you also have to see

him in his lab, in his
work environment,

where he's playing
around with things

that we usually don't
see people doing.

And he's so good at this.
He's very

careful, very methodical. He's a

professional at it,
and it's impressive

to see that. And you can see his

true passion is working
with chemicals,

working with explosives,
working with

uranium. I mean, this
is something that

you could see. This
is who he really is.

I can't stress enough
how it was important

to show the true Bob
Lazar in all this.

This is something
that we experienced,

and we felt as this
was happening, that

we had to bring
this to the public,

to the audience.

So, thanks again.
We're going to be

giving you a ton of
information about

what's to come.
Definitely like and

subscribe to this
channel, cuz there's

definitely a lot of
cool stuff on the way.

I started off in this
UFO field back in 1987.

I became the youngest member in

the world of MUFON.

My grandfather had
seen a flying saucer

back in 1965 and got
me really intrigued

on what he saw. So,
that's what really

started my whole
interest in the field.

I believed him. He wasn't

somebody who would
make up a story like that.

He's very conservative Catholic

Italian man who
doesn't talk about

flying saucers.
Eventually became a

member of MUFON. After
many, many years

I became the national
director of MUFON

for Canada. So, I was
kind of in charge

of all investigations of UFOs, UAPs

across Canada. I kind
of decided to take

a step back and try
to bring something a

little bit different to the field.

I felt that there
was a little bit of

empathy that needed
to happen in terms

of people who've
had contact or had

close encounters with
either a craft or,

believe it or not,
beings of some type.

And I founded We Are
Not Alone, which is

the WANA movement, WANA.
So, that's what

where all this came from.
Been doing

that now for about 6 years.
And our

first official project
of WANA is the

Project Gravitor,
which iswith

Bob Lazar.

The whole story started in 2021.

I had an idea to
create a professional

model of a flying saucer.
I wanted

something that would
be like a collector

quality representation

of what people have
seen for for decades.

And I thought, you know,

there's a lot of
people who seen them,

but not a lot of
people have seen

the interior of them.
And the people who

allegedly saw the interior of them,

a lot of them were
people who didn't

actually dismantle
the the the craft.

So, they might have
had an experience

weird one that they
might have been

taken up on a craft,
but not anybody

who's actually had
hands-on,

except for Bob Lazar.

When he came out
and explained that

he was working on reverse

engineering this
technology and he was

actually given, you
know, access to the

interior of the craft and start

dismantling the thing.
That was that was huge.

So, I thought, why not make the

Bob Lazar craft,
like the the sport

model that he worked on.
And so, I took

a chance and I knew
that it was going to

be a really long shot
cuz he said that

he didn't want to
have a lot of people

reach out to him.

Is there anything else
you'd like to say?

Really don't come and
try to visit me.

I just could imagine
the amount of

people trying to reach out to him.
And I

I contacted United
Nuclear, the company

that he and his wife
run, and I spoke to

Zach, who's his guy
at United Nuclear.

And I said, you know,
my name is Luigi.

I have a company
out in Montreal.

Been in merchandising for a

long time and I'm
interested in doing

this flying saucer.
I could do this

probably with information
that's online,

but it would be so
much cooler if I did

it with Bob Lazar and
we would have his

seal of approval on it.
Zach said, I'll

I'll see. You know,
I don't I can't

guarantee you anything.
And I think it

was a day or two later,
I get a call and

he says, you know,
Bob Bob will talk to

you if you want to
have a conversation.

I thought, that's great.
And so, we

ended up on a call and
on that first call,

I remember Bob was
interviewing me,

you know, like,
what what have you

done and how would
you do this and why

would why do you want to do this?

Cuz obviously this was
something we wanted

to do on our side and
we just were going

to use his information.
So, you wanted

to make sure that we
were not going to

do something that was
not representative

of of what he saw.
And I guess he got

appeased with my answers.
He realized I

knew what I was doing
and how to make stuff.

And he says, all right, he goes,

you you could come and see me.
I'll I'll

tell you what this is all about.

So, that's how it all started.

When I finally got to spend time

with Bob, it was
incredible because we

spent very quiet
time just him and I

sitting at a table
with diagrams and,

you know, all sorts
of stuff on the table.

We had sample materials of

different types of
metals and colors and

textures and we had rulers and

measurements and
we were building a

craft together, which
was the coolest

experience cuz I'm
building a flying

saucer with Bob Lazar. It was

clear at that moment
that this was going

to be a little bit
more than just a

diecast model. I knew
that, but I didn't

know how. I didn't
really know where it

was going, but I just
felt something at

that moment. And I went
back, met my team,

we built a whole book on on the

craft itself. And I
think that whole

project took a massive turn

when we started using
3D technology to

build a craft and
that's when we saw the

potential of not just
building the craft,

but the environment
that it was in.

I wanted to make a box that looked

like the hangar where
this diecast model

would be and create
a box that looked

like the hangar. And
then we thought,

well, why don't we
just build a hangar

for real and see what
it will look like.

And then Bob got
involved in helping us

build a hangar. And
then he said, well,

why don't we just go nuts.

Why don't we just build a whole

the whole site, like all of S4.
So, I asked Bob.

I said, would you be willing

to help us and guide
us if we decided to

open the budgets and do that?
And after

a while, he said, sure.
And that's how

this whole thing went
into creating S4,

all the crafts
that are in there,

Papoose Lake, the
whole landscape out

there, all the way to Groom Lake.

So, this is really this
is really one hell

of a project.

The '80s are, in my opinion,

well, it's my favorite decade.

And incidentally, I
asked Bob one time.

I said, what's your favorite decade?

And he said, the '80s by far.

'80s were incredible. I mean,

there's so many
iconic things that

happened back then,
so many movies that

came out regarding this.
I mean, ET,

there was Star Wars, Predator.

This is all alien stuff.

Then you got movies like
The Terminator,

Back to the Future
obviously a a big deal

with what we're doing as well.

And that inspired me
when I was younger.

And because the story of Bob Lazar

happened in the
1980s, it happened in

1988 and 1989, I felt
that that was just

like the perfect mix.
It was like the

inspiration to this story.
Cuz it's also

important to bring
people back to that era.

This is an era of neon lights and

iconic music and people
like Michael Jackson

and AC/DC were coming
out into the world.

This changed society in a way.

I mean, there's a lot of iconic things

that came out of the '80s.

And this story is so incredible.

I mean, it's probably
one of the most famous

stories in the field of flying saucers

and it all relates back to the '80s.

So, obviously my love
for the '80s with the

cool stuff that came from that era

with the fact that this story

happened then, all coalesced all

together to create
the the perfect storm.

For one thing, this
is my first rodeo

in making a documentary film.

I'm extremely humbled
when I speak to

friends or people who've had

the experience of making a film before.

I needed the help. I obviously
knew about the topic.

I knew about the
story of Bob Lazar.

I knew about everything that

needs to be known about the

actual data about
what we're covering,

but I've never made a movie.
So, this is

something that was really
a challenge for me.

I'm almost 50 years old and I'm

I'm doing something
completely brand new.

I'm not afraid of
the challenges.

Obviously, I took this
on, but I have to

say the success of this project is 100%

also because of the team.

I mean, Christopher Matteson,

Veronica, Vanessa, Emily, all the people

that are on the team are absolutely

important to how this went about.

Plus, I got to speak
to friends of mine who

made movies. They were
giving me, you know,

suggestions and I'm
still learning and

I think it's one of the most

incredible projects I've ever done.

I'm very fortunate to
have been doing this.

I consider this to be a life lesson for

me as well. I'm learning
and I hope that

whatever comes out of
it, everybody likes.

The main inspiration
was the fact that I

recognized the importance
of this story.

And if you look at what's been

going on in this field, I mean,

I've been I've been
involved in it for almost

three and a half decades of my life.

And the story of Bob
Lazar never changed.

He's somebody who's
very controversial.

A lot of people like him.

A lot of people don't like him.
But at the end

of the day, if you
look at everything

that's been happening,
everything that's

been happening in the
last six to seven

years since the 2017 New York Times

article that came out regarding the

US Navy pilots, we're
seeing congressional

hearings, we're seeing new

whistleblowers coming out.

They're talking about
things that Bob Lazar

talked about in 1989.
One thing that I

have to also add is the
fact that his story

has had enormous
amount of support

from science, even though science

doesn't like to say that.
And these were

things that were happening
in different years.

And as that story was getting

more and more support,
a lot of people

were changing their
outlook about Bob Lazar.

They were saying,
maybe this guy,

you know, is not lying.
And then you

have these new congressional hearings

coming out, new
whistleblowers talking

about the fact that
there's a government

has intact craft in their possession

and they're reverse engineering that.

Well, that's something
Bob said 35 years ago.

So, I thought, this story
is far too important.

This information about the

United States
government and their

potential defense
contractors working on

extraterrestrial technology and

keeping it secret
from the rest of the

world is big. That's a big deal.

And if we are to give it a little bit

more value and elevate the story,

what better is to recreate
it with the person

who saw it. And so that we can all,

the whole world can see, because

we're obviously not
getting a good view

from the government.
Nobody's coming out

saying, "Voila, here
it is." So, the

only way for us to do
that is to get Bob Lazar

to tell us what exactly did it

look like, work closely with him to

build those assets,
build that equipment,

build the craft, and so the

world can actually
see it for the first

time exactly like Bob Lazar saw.

So, I think that's
absolutely paramount

that was done.

There's a lot of different
types of equipment.

So, there's hardware,

obviously, and hardware
is the cameras

that we use and lighting
that we use and

the stuff that we brought
out in the desert,

but also the actual computers

that we built
in-house that I would

consider to be very
important in terms

of the tools to make this film.

A lot of it is VFX.

So, there's incredible cinematic shots

that we've done on
our computers and

those computers had
to have been created

basically from scratch internally to

accommodate the amount
of data that they

would be processing. So, these

are not run-of-the-mill
machines that

you would just go out and buy.
These are

really powerful machines that

were specifically
designed for creating

3D renders and 3D cinematics.

So, they were fundamental
to the success

of this project. And I think

that all of that is
going to show when

you get it all together.
I mean, it's

even one of the things that we

could do in our 3D environment is

replicate the same
hardware that we have

physically and we can
put it in the 3D

environment, which is super cool.

And I cannot wait for
you guys to see it.

So, thanks again. We're
going to be giving

you a ton of information
about what's to come.

Definitely like and subscribe to

this channel cuz there's definitely a

lot of cool stuff on the way.

Bob Lazar is one of the most

controversial figures in the community

of UFOs and UAPs and
flying saucers.

He came out publicly in 1989 through

KLAS-TV in Las Vegas claiming that

he had been hired by
the United States

government to reverse
engineer alien

spacecraft in a remote
location in the

Nevada desert called Area 51.
That story

became a worldwide
sensation back then

and still is today. Lazar is,

without a doubt, the
original whistleblower.

He's the first person who

came out telling the world that

the United States
government had intact

spacecrafts from another civilization.

I spent a lot of time
with Bob Lazar in

the last 3 years. This is a man who is,

without a doubt, a scientist.
Bob Lazar

is also somebody
that works with very

dangerous materials
every single day.

Whether that be with
radioactive uranium

all the way to high-powered explosives.

In fact, back in the 1990s,

Bob was in charge of a big event in

Nevada called Desert Blast.
That went on

for many, many years.
This initially

started off being just a group of

friends that went out
to a dry lake in

the middle of the
desert to blow up

beautiful fireworks and bombs

and eventually became
one of the largest

events out in the
desert at that time.

And there were
literally thousands of

people that would show up.

Regardless of the
amount of people that

would be there,
you needed a very

special invitation to
show up at Desert Blast.

That was a big part of his life

and that also is something that we

discussed a lot while
we were together.

That also showed me a completely

different side of
Bob Lazar, which is

something that we
don't always hear

about when we hear his name.
He's an

incredibly jovial type
of person, has an

incredible sense of humor.
He's a very

warm-hearted person,
very caring person.

I spent a lot of time
with him and his

wife at their home.
They have horses,

dogs, cats, and this incredible

bird sanctuary. And he's very

affectionate with the animals.
He's a

wonderful husband and
he's also somebody

who I consider to be a great friend.

He's been under a
lot of attacks over

the years and a lot
of people have said

a lot of things about Bob Lazar.

Having spent a lot of
time with him, his

friends, and his family,
it was clear to me

that Bob Lazar is
somebody who is

extremely honest and
somebody who really

has great values.

I do understand some of the frustration

out there because parts of the story

cannot be verified.

That's completely understandable.

In fact, when I spoke to Bob about

that many times, he always said,

"I never thought people
would believe my story.

" He said, "In fact, I wouldn't

believe my own story."
He said, "There's

no evidence really to substantiate some

of the claims that I've said." He always

says it, "Healthy skepticism
is really important.

We need to get to
the bottom of this

" And he's also very much supportive

of people who don't believe

the story because he
says we need them

to try to gain more traction into

finding out what's really going on

behind the scenes. He says it doesn't

take away the fact that
I did work out there.

I remember having a really close

conversation with Bob while we were

driving and he said, "It doesn't really

matter what people think and it doesn't

really matter what
is written out there

about me.

This is something that happened to me,

whether they like it or not.
And if they

don't want to believe it, that's fine."

That kind of translated a lot over time

when I was with Bob.
It's something that

struck a chord with me because

I never really saw
something that was

non-genuine with him.
I always felt

there was a lot of
genuine feelings and

emotions there.

I mean, what happened?
Where did they take it?

Did they, you know, really get

a grasp on some of the technology?

It's, you know, decades later.
Did they make

any more developments?

Did they you know, figure out what

what what everything did?
I mean, we

were pretty much in the
dark at that time,

but I am I'm really
dying to know how far

the project went.

So, it's important to
remember that Bob Lazar

is not just a flying saucers guy

that worked at S4 back
in the late 1980s.

There's a lot more
to the man and a lot

more to the story.

I spent 3 years with him

and I decided to shed
a whole new light

on who the real Bob
Lazar is in the new

film S4: The Bob Lazar Story.

And I cannot wait to show it to

everybody.

Project Gravitor is
going to take you

guys inside of S4.

So, what is S4? Well,
back in '88 and

'89, Bob Lazar was hired by the United

States Department of
Naval Intelligence

and brought to this secret

facility 15 mi
southwest of Area 51

within the Area 51 compound to reverse

engineer alien technology.
This was a

facility that was built into the side of

the mountain adjacent to Papoose Lake.

Inside this facility, Bob was

brought in and was
introduced to some of

the most advanced

technologies ever seen by humankind.

He was asked to work on the reverse

engineering of the propulsion system

of this technology.
There seemed to

be a lot of other people working there,

but he did not have access to them.

According to what he
saw, S4 only had 22

people working on the projects

that were there. S4
was operating three

known projects, Project Galileo, which

is the power and propulsion that

Bob Lazar was responsible for,

Project Sidekick that
had to do with weapons

applications, and Project

Looking Glass, which had to do

with time dilation.

There was a lot of
information that was

given to him when he first got there,

information that was written in these

blue folders that he was asked to read

that described some of the most

controversial stuff
he had ever seen and

that we've ever heard of.

Information on crafts from a different

star system, technology from a

different species, a different

civilization, and the fact that

the United States
government was

in charge of a program

to reverse engineer this

technology.

From the outside, what he saw

were these camouflage
large bay doors in

the side of the mountain,
which he found

out later to be the hangar doors.

He had initially was
brought into the first

hangar, which they called the main

hangar or the large hangar.

This is where he first
saw the sport model

flying saucer that he was working on.

At first, he thought this was not

extraterrestrial or non-human.

He thought this was just a simple

high-tech fighter that was created by

the United States military.
And one of

the reasons why he thought that is cuz

there was a reversed American flag

sticker on the craft. The facility

was quite large.

At one time, when he
came out of the lab,

all the adjacent doors in each hangar

were open, and he
was able to see the

size and the scope of where he was.

This was a gigantic facility.

From what he understood,
there was a

total of nine hangars in there.

Each one had a craft of some type.

He was able to work on the sport model,

which was in the main
hangar, the first hangar.

He got a clear view of the

adjacent hangar, which
had a Jell-O mold

type of craft, and the
following hangar,

which looked like a craft that looked

like a top hat propped up on its side.

He was also able to see other crafts,

but they were far too distant for him to

make out shape or form.
What we can say,

and what he does
remember, is that he

could see how incredibly large the

facility was. This also coincided with

the fact that the main hallway within

the facility was extremely long, which

was basically almost an infinity

hallway that was adjacent
to all the hangars.

You will see that in our

project that we've recreated
the entire facility

exactly as Lazar witnessed it when he

used a was there.

So, in the making of S-4, we also

lot of different data sets, specifically

for the landscape and all the terrain

that is around the Papoose Mountain area

and Papoose Lake. A lot of the satellite

data that we received goes back all the

way to the 1970s, all the way to recent

data that comes from different points.

Some of the satellite data that we use

is actually also sourced out of Russia,

which provided us a lot more detail,

uh surprisingly, than some of the American

How we went about getting that, that's

another story. On top of that, we also

had to work really carefully in

developing the elevations and the

topology out there because most of data

that we have today does not provide us

any elevation or accurate topology

specifically where S-4 is located right

by Papoose Lake. So, if you kind of look

at what you see today in that

environment, whether you're on

Google Earth or

um Apple Maps, whatever it is, you will

actually not really see

the elevation accurately

versus the true satellite data.
So, that

was a really interesting way of uh

developing the terrain, and we wanted to

make it as accurate as possible,

so it recreates the real environment.

On top of that, by getting the accurate

topology and elevations, it allowed us

to properly integrate the

creation of the S-4 facility that was

created in the 3D environment
within the topology.

So, when we actually built

this facility, we built it outside

of the environment based on the

measurements and the
information that we

got from Bob. Once we had to integrate

the building itself inside the

mountain, uh that was a little bit of a

challenge cuz we had to make sure that

it matched at least what it

should have been back then, and it did.

So, we were able to fit the facility

inside the the accurate topology,

and it provided us the exact

length of the entire facility, also how

it kind of tapered into this

little enclosure in the mountain by

Papoose Lake where the
main entrance was.

So, the entire facility was

actually built and put into
the accurate topology.

So, it is literally as close

to reality as you can get.

We created the nurse station where he

was initially brought to do an allergy

test and to also drink this type of

liquid that gave him a stomach ache.

We recreated the briefing
room where he was

asked to read up and get updated on all

these briefing documents that they had.

A lot of them stamped top secret with

the US Navy logo on it. We recreated the

propulsion lab where he worked with his

partner, Barry Castilio,

in attempting to reverse engineer

the reactor and figure out
how that reactor function.

That was the main power source

to the craft that he was working on, and

we built the hangar and all the adjacent

hangars and crafts that were there.

The only crafts that
we actually replicated

from his memory are the sport

model in absolute detail, except for the

upper level that he never had access to,

the Jell-O mold and the top hat.

The other crafts that were there, we used

creative liberties because he did not

have an opportunity to really make out

what they looked like. Everything was

recreated according to his memory.

We basically researched every possible

detail in terms of the equipment that

was in there, the tools that were in there,

and anything that could have been

existing at the time in the late 1980s.

The floodlights, the extension

cords, the generators, the portable

X-ray machines, the oscilloscopes,

the workbenches, the tools, everything

was studied and analyzed carefully so

that we would be able to recreate

[music] this to the most accurate detail

so that when you get access to S-4 for

the first time, see exactly

what the reverse engineering program

looked like back in 1988 and 1989 at S-4.

So, there's a lot of information

that you will get in our film and in our

VR experience that has to do with

what Bob saw.

Anything else that happened at S-4

remains unknown.

So, at first, it'll be
in a documentary film,

and following that will be

a VR experience.

You will finally get to see the

interior of S-4,

probably one of the most secret

locations on planet Earth.

The VFX in Project Gravitor have become

extremely important, and this is

something that we've invested a

tremendous amount of time and resources

in the past 3 years. This was initially

not supposed to be a documentary film,

neither was it supposed to be a VR

experience, but it certainly has become

that, and since we made that decision,

we're all in.

So, what really excited me about working

on this project is when we're talking

about the documentary space, you know,

there's not a lot of innovations in the

VFX department and how the stories are

being told. We really want to push the

envelope in the documentary space and

make this like something very unique.

I mean, what better way than to completely

recreate something that you're not able

to go to or see.

You may think it's easy to do a military

facility, but it's not because there's

so many little tiny things that Bob

remembers. The colors of the wall and

what the walls look like and the little

grit, you know, how much dirt and is

there dirt or not? I mean, I feel

terrible for Bob, because this happened

35 years ago for him.

So, you're going to get to see some of

the most incredible visuals ever in this

field in terms of documentary film footage.

I'm super proud of the team.

Each individual has expertise in

different fields in 3D and design, so

that really, really helped, and I hope

that you guys see all that in the work.

The biggest challenge was definitely

the progression and the adapting to new

technologies and being pushed to bring

up the quality and visuals of the

project incrementally over those months

and years.

Like, if you guys saw, you know, I mean,

what we had at the very beginning,

what we had in the
middle, which we thought

at the time was great, and then

what we ended with, and the quality and

and the animations and the visual

effects that we didn't even know that we

were able to do is just something that

we're we're really, really proud of.

We're a small team, and so

we can't do the same workflows and

things as Marvel Studios or

Paramount Pictures.

The challenge was every time we

upgraded, we basically had to reinvent

the wheel internally at the office.

And what that meant was coming

up with our own software, and that

doesn't just mean software like Unreal

or your default 3D engines, whatever you

use, Blender, 3ds Max, but the tools

that you develop to accelerate

that workflow.

So, that's where a lot of these

inspirations to create these

tools come in is just we keep getting

roadblocks and we keep slamming through

and breaking those roadblocks.

So, like digitally
de-aging Bob, you know,

we know that we really wanted to have a

creative way to show Bob Lazar in the

environment and that's like, "Okay,

well, we want to make Bob Lazar go and

explain all these things." And so, we

thought, "Okay, well, when we need to

make a 3D model of young Bob." But, we

weren't really happy with the results

cuz you get that uncanny valley, you

know, you get some issues here and there.

So, we're like, "Okay, well,

let's take real pictures of Bob and just

digitally de-age an actor." And that

kind of came out pretty nice and we were

really happy because there's way more

liberty and way more control on how we

wanted to animate it and how we want to

present it in the environment.

And that's kind of
like the steps that we

took whenever we run into an issue.

One of the best moments of this project

was showing Bob the facility on the VR

headset for that first time.

And it's a little different than seeing

screenshots or seeing animations because

VR is way more immersive. And we had

brought down a little demo when we flew

down to Vegas to film. We had

Bob put on the headset for the first

time and and just

get completely blown away. And seeing

him kind of light up and be like,

"Hey man, I I want this
on my computer right now.

Like, can you guys send that to me?"

And and I don't think there's a

better reward as an artist having that

result of him saying, "It's exactly like

I remember it." is an incredible feeling.

So, as you can see, the team is

extremely dedicated to making these

products extremely successful, whether

that be the documentary film S4 the

Bob Lazar story or whether that be the VR

experience S4 the experience and

eventually the book.

The work that has been put in with my

team is incredible. I'm extremely proud

and humbled to have amazing people like

that in the team and we cannot

wait to show it to you.

So, as Project Gravitor like really

started building up, we had to get the

right equipment to film everything we

had to do because we had to get specific

type of cinecams that would have been

able to provide the right results for

the movie and the right visuals that we

needed to have which would have matched

up also with some of our VFX components

in the film, the right lighting

equipment that we use obviously in the

studio or we would have brought out to

the desert or out in the mountains of

Oregon, the drone, the mics, everything

had to be carefully selected so

that we would have everything we needed

on the fly wherever we would GO TO FILM.

SO, THIS IS SOMETHING THAT WE HAD TO

FILM obviously here in the studio.

We filmed out in the mountains of Oregon,

in the deserts of Nevada, in Las Vegas,

at Bob's house. I mean, there was so

many different places and we had to

travel with all this equipment. So, the

selection of the equipment was something

that took a little bit of time. Luckily,

I have amazing people on the team that

were able to help. This is the first

time I did that, so I learned

a lot about what kind of equipment

was needed.

This is us not having a
life right now, okay?

Yeah, it's good. We're almost there.

We're almost there. We're
We're getting there.

Another big task was bringing all the

equipment out to Dry Lake in the

middle of Nevada.

The challenges were completely different

whether it was daytime or nighttime.

So, the daytime challenges had a lot to

do with a tremendous amount of

wind out there and a lot of dust. And at

nighttime, obviously, there's no light

in the middle of the desert. So, we had

to get generators. We had a motor home

out there full of equipment and power

that we could plug into. We had all our

cameras, our lights, our equipment.

We had to set up a whole bunch of scenes

out in the desert. We had fuel

tanks to fill up the generators. We had

a motor home, multiple different

vehicles including the
DeLorean was out there.

Bob, his wife, the whole cast,

they weren't just sitting there.

Everybody kind of pitched in and we all

helped each other out. So, that was

something that we really enjoyed doing.

Ready?

Action.

Uh on top of that, we had our

drone out there and that was something

that was a big challenge in the day cuz

we wanted to get some really kick-ass

drone shots of the DeLorean, but we had

to fight this extreme wind

out in the desert.

So, that was a little bit of a challenge

at times cuz we didn't have a big drone

cuz we were traveling with it. Plus, we

had to stay within regulations. So, the

smaller the drone, the better it is.

Otherwise, you get in trouble and we we

had to really do with what we had.

Hi, I'm Ben.

This is Marty.

Another big point about equipment and

all that is traveling with all that stuff.

So, it's not just a question of

having the cameras, the lights,

the batteries, all that stuff. Batteries is

a big thing when you're traveling.

It's a huge component
of all the equipment.

You got to carry so many batteries,

especially if you're going somewhere

where there's nowhere to plug in.
How to

bring all this effectively and make sure

we had everything we needed cuz once we

would be in certain places,

that's all we had. So, it was really

important to make sure that we had all

our equipment and enough food, enough

water, you know, anything we needed for

the whole uh crew and the team while we

were out there.

And one of the biggest challenges as

well was bringing the DeLorean time

machine out in the desert on the dry lake

because there are no roads that

lead to the dry lake. The way to

get to the to the dry lake was pretty

much off-road. So, we went off-roading

with a DeLorean time machine

prior to getting to the lake. So, let me

tell you, that was one hell of a trip.

I've got

Mario in the back

and the greatest chauffeur ever.

Also, when we traveled to Oregon, it was

important to spend a lot of time with

Bob to film him doing just regular stuff

that he does every day. Whether those

things were regular house chores or

responsibilities that they have, him and

his wife, with with the barn,

the horses, the animals, or him in his lab

doing some really cool work that

he did every single day in there.

And there was like
different sections of the

lab where he had different projects

going on. That was super interesting to

film Bob in his element where

you could really see that that's exactly

what he loves to do. When he's working

with uranium here, he's working with

specific laser equipment on one other

side of the lab and he's creating really

cool scientific projects that I can't get

into in in some cases in other parts of

the lab. So, that was really fun to be

there and to see that happen and to to

be able to film it and spend

time with Bob in those environments.

Also, while we were out in Oregon,

we had the opportunity to film with a fan.

This is somebody who had reached

out to us quite a while back and he was

uh really excited about Project Gravitor,

what we were doing with Bob.

And this particular person is struggling

with a very serious health issue.

It turned out that he didn't live very far

away from where Bob lives, so we

arranged to all meet together out in

Oregon. We had a beautiful day

together and we filmed with him. So,

that's also going to be in the film and

you'll you'll probably
like to see that piece.

It's also important to know that Bob was

not invited to testify at the

congressional hearing, but to be there

in attendance. But, the fact that he was

already scheduled to come to Montreal

and film with us made him take the plane

to Montreal and not to Washington, D.C.

That was really interesting when he told

us that. So, while we were in Montreal,

we had an opportunity to really do a lot

of different types of scenarios with Bob

and a lot of them also had to do with

the green screen. So, we set up a

gigantic green environment in

the studio, which was sufficiently large

for him to be walking, whether it be

from one side of the studio to the other

or even coming towards us. We had the

green screen come all the way towards

the camera area. So, that allowed us to

have a tremendous amount of volume area

where Bob was essentially mimicking

being out at Papoose Lake while

they were doing the test of the craft or

if he was inside the hangar looking at

the craft explaining
what he was looking at.

So, that was certainly one

of the best filming environments that we

had him in and that's going to

also be translated into our film where

you're actually going to see

Bob Lazar at S4

inside our VFX scenes. Another great

thing is when Bob came to Montreal,

obviously, we had a lot of people that

wanted to meet Bob. And one of those

people was George St-Pierre. I was able

to arrange through a very good friend of

mine who's a producer, her name is

Guilaine Marois. She does a lot of work

here in Quebec and in Canada. So, when

when Guilaine reached out to GSP to

invite him, apparently, he was really

happy and really excited [music] to meet

Bob Lazar. So, that was something that I

was I was kind of happy that his

response was really positive. He wanted

to meet him. And I'll never forget when

when he showed up and he said, "You

know, if I would have been asked to meet

anybody in the world," he says, "Bob

Lazar would have been
the first on my list."

Which was just really amazing.

They kind of now communicate.

They've I've connected them and now

they've kind of become friends, which is

really cool thing.

So, overall, it's been an incredible

success in our opinion of all

the stuff that we've accomplished in the

last 3 years in terms of production.

We have over 30 hours of footage with Bob,

which we're selecting for our documentary.

And we really cannot wait

to show you guys

what this is going to be all about.

Hi, I'm Bob Lazar.

In December of 1988, I was hired as a

senior staff physicist by a US defense

contractor called EG&G Special Projects.

I was told that I would be working on an

advanced propulsion system out in a

remote area of the Nevada test site.

Known as Area 51.

Wanting to protect myself, I decided to

go public and reveal the secrets of S-4.

Well, there's actually nine flying saucers,

flying discs that are out there

of extraterrestrial origin.

He is not your typical straight-laced

science guy. If you wanted to

hire a guy who could think out of the

box and help solve problems, Bob was

probably the best person in the country

at the time. He was perfect for it.

People are catching on that what Bob

said is true.

Physical evidence now exists which

proves that there is life elsewhere, and

at least one form of that life

has been here.

It was exactly like disarming a bomb.

Every single day.

He was targeted.

And I saw the guy gun. I was willing to

to fire back. These briefings contained

a wide spectrum of information, mostly

relating to aliens and alien technology.

The people that have been keeping these

secrets for a long time are not going to

give this stuff up.

No one has ever been able to show

exactly what I saw with my own eyes

until now.

The information we're getting now is

going to come to an end.

The slightest wrong move could release a

tremendous

amount of energy.

To start up the reactor, of course, we

need some element 115. But he had a

piece of it, and I don't care whether

people believe it or not.

Actually went up in the air like this.

Be here and suddenly be here.

We don't know where they came from.

This is my husband, Bob.

He didn't believe in flying saucers.

AOSAP becomes AATIP. AATIP gets on the

front page of the New York Times. It

leads to congressional hearings.

It leads to Dave Grusch.

All the stuff that's unfolding right now

traces back to Bob Lazar.

For years, Bob Lazar's story has been

riddled in controversy and has

challenged what we think we know about

extraterrestrial life and its

technology. We're proud to announce the

official name of our documentary

film being S-4: The Bob Lazar Story.

This groundbreaking documentary film is

produced entirely by our
team at Project Gravitor.

This documentary offers a rare

glimpse into the secret reverse

engineering program that was underway

back in 1988 and 1989.

And we invite you to be part of that story.

After years of meticulous and

hard work, I'm excited to present the

official movie poster of our documentary

film called S-4: The Bob Lazar Story.

Crafted to capture the realism of what

Bob experienced back at the secret

installation in 1988 and 1989.

The film and poster reflect the ominous

and eerie atmosphere Bob Lazar described

during his time at S-4.

A visually striking glimpse into one of

the most secret operations ever known.

Each poster is a high-quality screen

print, officially dated and signed.

Truly a first edition collector's piece.

To ensure authenticity, every poster

features an official Project Gravitor

hologram, solidifying its status

as an exclusive must-have piece for any

serious collector.

Available in three sizes, each poster

comes with a certificate of

authenticity.

For a limited time only, Bob Lazar will

personally hand-sign these

first edition posters.

This is a one-time event, and when it's

gone, it's gone.

Order the official movie theater size

poster to receive even more exclusive

collectibles, including

behind-the-scenes photos, prints,

and more. Every poster features a QR

code at the bottom right corner. Scan it

to unlock exclusive behind-the-scenes

footage that updates periodically.

Your poster becomes a portal to the

latest from Project Gravitor.

The truth is closer than you think.

And this summer,

the secrets of S-4 will be revealed to

you like you've never seen before.

Our documentary film poster is finally out.

S-4: The Bob Lazar Story is finally

going to be launching this summer of 2025.

The poster comes equipped with

something really exclusive that we

developed right here in our studio.

Each poster has an individual QR code in

the bottom right corner. By using your

phone, you scan the QR code, it'll open

up a link, you click on that

link, and point your phone to the poster.

That will open up a portal

for you to get exclusive

behind-the-scenes footage of everything

that's been happening and everything

that is happening with Project Gravitor.

And those are going to be some

of the most exclusive things that will

only be available through here.

Basically, as we progress with the

project and get closer to the launch of

the film, we periodically update that

link so you could go check out the QR

code and see new exclusive

behind-the-scenes footage. So, check out

our poster and don't forget to click on

the QR code.

Hey guys, Luigi here from Project Gravitor.

I wanted to do a little video,

give you guys an update of what's going

on with our project, and also what's

happening with our documentary film

Lazar: The Original Whistleblower.

Now, last year we announced that we were

going to launch the documentary film by

the end of the first quarter of 2024.

And we didn't do that. We know that it's

April 2024. You guys are still waiting.

We get all the comments, and a lot of

them being super positive, and everybody

really wants to know when the movie's

coming out. So, first thing is this.

We sincerely apologize for being late.

Okay? So, we know we said end of the

first quarter of 2024. We didn't make it.

That's actually on us. Mainly on me.

I made some big decisions at the end of

2023 simply because we had a massive

breakthrough in technology. We had been

getting tons of support from people all

over the world on our Instagram,

YouTube. We got messages from everybody

on our Facebook. People are emailing us

telling us how excited they are for this

project. And we love that, man. Like we

totally love the support. We appreciate

it. I can't thank you enough. The entire

team gets super motivated when we see that.

And when we had this breakthrough

at the end of 2023, it was just like

this moment where we said, "We can make

this even better, and people want to see

this thing." We saw how incredibly

excited you all were to see it that we

decided to elevate the project even

more. Now, this is something that I know

some of you are going to say like, "Come

on, just get the movie out." And believe

me, we we also want this thing out, but

the tech we got going is crazy. So, we

are totally elevating the project.

We made the craft better, the interior of

the craft better, the look of the

renders are better, the entire S4

facility looks better. We got additional

interviews with Bob Lazar. I literally

went back to Oregon a month ago, spent a

week with Bob and his wife at his house.

We got some really amazing stuff. Bob

got into some really cool stuff about

how they were testing the reactor in the

lab, stuff that's never been heard

before, the material of the craft, like

super great material. We are adding that

into the film. It's going to elevate the

project even more. So, I just wanted to

say we apologize for the delay. We thank

you for the support, and I want you guys

to know that this is definitely coming.

We don't have a date yet. We're still

talking to distributors, distributors.

We're also talking to potential

platforms. I can't say who. All I can

tell you is we're still in negotiations,

and that means we don't know how it's

going to go. We don't have a lot of

control on that. All we can say is that

it's real, it's coming, it's better than

what we initially expected it to be. We

can't thank you enough for the support.

We want you guys to keep following us on

Instagram, YouTube, wherever you see any

news from us, especially on social. We

always update if we got something, and

this video is specifically to let you

guys know we hear you.

We also want this to come out. Myself

personally, I can't wait to show you

guys what's coming cuz it's

freaking amazing, okay? So,

thank you. I can't say it enough. Keep

following us, and know that this thing

is going to blow your minds. Thanks

again. Take care.

Physical evidence now exists which

proves that there is life elsewhere, and

at least one form of
that life has been here.

As of 1989, that evidence was in the

custody of the United States government.

Between December of 1988 and April of

1989, I worked as a senior staff

physicist in what has to be the most

secret project in history.

My job in this program was to be part of

a back engineering team.

This particular disc appeared to be in

excellent condition, and because of its

sleek appearance, I nicknamed it the

sport model.

The goal in this program was to

see if the technology of the disc could

be duplicated with Earth materials.

To start up the reactor, of course, we

need some element 115.

In fact, you need 223 g machined into a

wedge like this.

The program out at S4 consisted

of three projects: Project Galileo,

Project Sidekick, and Project

Looking Glass.

The file on top was Project Galileo, and

as it turned out, that's the project

that I was part of. And that clearly

referred to reverse engineering

a recovered alien spacecraft.

This cannot be a secret from from

anyone, not just the American

people, but the rest of the world.

All this stuff is something that

happened to him. It's not who he is.

They're doing everything they can to

keep this information secret.

That's empirical evidence. I saw a craft

to do that, thanks to him.

Help this story spills.

And the world changed.