The Disney UFO Connection
presidentialufo.com | |
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Written by Grant Cameron | |
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Disney, UFOs, and Disclosure
“Isn’t it strange that Allan Sandler, my partner and I met with that guy at Disney. We had a conversation with him, but again what he told us about his experience it seemed like he didn’t really know very much. So, I don’t know. I don’t know what to say.” Documentary film producer and writer Robert Emenegger, who was approached by the Pentagon to produce an officially sanctioned UFO documentary during the first Nixon administration.
Ward Kimball, one of the original Disney animators, referred to by Walt Disney as one of the trusted “Nine Old Men,” (supreme court of animation) died in Arcadia California on July 8. He was 88. Four of Disney’s Wise Old Men – Marc Davis, Frank Thomas, Ollie Johnson, Ward Kimball.
Kimball was famous for his animated creation of the characters Jiminy Cricket, The Cheshire Cat, The March Hare, The Mad Hatter, and for redesigning Mickey Mouse in 1938. He joined the Disney Studios in 1934, and rose up in the ranks to become a directing animator on such classics as “Snow White and the Seven Dwarfs,” “Pinocchio,” “Fantasia” and “Peter Pan.” He directed Disney Oscar-winning shorts “Toot, Whistle, Plunk and Boom” in 1953 and “It’s Tough To Be a Bird” in 1969. A Young Kimball in Disney’s Studio
Unknown to many Disney watchers, Kimball was also student of UFOs and outer space. He had a large collection of UFO books and magazines, according to Navy physicist Bruce Maccabee who met with him in 1980. Maccabee had been to Kimball’s house to recruit him as one of the 10 original board members for the Fund for UFO Research. Kimball accepted the position, although he really didn’t become an active member of the board. 1) Heinz Haber, Von Braun, and Willy Ley look at one of the props from “Man in Space.”
2) Von Braun in “Man in Space” points to the final stage in his proposed rocket.
The discussions between the CIA people and Disney may actually have taken place, because in August 1955, Frederick C. Durant 111, who was a member of the Robertson CIA panel, showed Walt Kimball’s documentary “Man in Space” during the Sixth Congress of the International Astronomical Federation in Copenhagen. “Because of Mr. Disney’s position as the foremost producer of cartoon files in the motion picture industry, and his prominence and wide acquaintanceship in film production matters, it is believed that he can be of valuable assistance to this office…”
Once Walt Disney had finished his meetings with the USAF, he began to work on the requested UFO documentary for the public. He asked his animators to think up what an alien would look like. Meanwhile, he waited for the Air Force to deliver on the promised film. “Disney cancelled the project, but by this time a lot of animated film of ‘creatures’ had been completed by his artists.”
“So Disney went ahead and made a short “documentary” anyway, featuring Jonathan Winters impersonating various “characters” associated with typical UFO lore.”
“I specifically recall Mr. Winters as an old lady/grandmother who saw a UFO and reported it… then he portrayed the Air Force officer who investigated the sightings and offered explanations. He also portrayed a little boy in a room who had a telescope looking up at the stars and, to the little boy’s amazement, an alien came through the telescope into his room (I think I’ve got this right). Of course the boys father didn’t believe that story.”
The UFO documentary was never shown in public, but Kimball did show the 15-20 minute piece at the 1979 UFO Symposium. The documentary, however, did not contain any of the dramatic UFO footage everyone had been anticipating. “Gregory kept a file of all the movie’s reviews, notifications, and advertisements, carefully underlining every statement that might cause problems for the Air Force or generate interest in UFOs. From Richard Dyer McCann’s review in the ‘Christian Science Monitor,’ Gregory singled out the statement, ‘It will almost certainly stir up a storm of public controversy,’ and added the marginal note, ‘This is something that neither PIO (Office of Public Information) or ATIC would like to undergo again!’_ ATIC asked (Dr. J. Allen) Hynek (AF Chief UFO Consultant) and Air Force officers to review the film before its release, and asked photo experts to compare copies of the Mariana and Newhouse films with the excerpts shown in the movie. ATIC Chief Scientist A. Francis Arcier met with agency officials to discuss the preparation of a case file giving the official Air Force explanation for every sighting portrayed in the film.”
More importantly, the Air Force had not only prepared for the fallout from the film, they had actively participated in the development of the documentary. Three key former Blue Book members Albert M. Chop, Major Dewey J. Fournet, Captain Edward Ruppelt provided technical assistance to Greene and Rouse. The three Air Force men had many meeting with the producers. Greene told researcher Robert Barrow: “Together we went into a lengthy and exhaustive study of reports, various documents and affidavits of UFO sightings and reports from radar experts which, with some heretofore top secret motion pictures, in color, of flying saucers, form the basis of the film.”
Most importantly Greene and Rouse obtained two key UFO films that had just been declassified for “UFO.” The two films, both showing daytime UFOs in flight were, the Great Falls (Montana film which showed two objects) and the Tremonton (Utah film which showed 12 objects). The films had been analyzed and presented to the CIA Robertson UFO Panel in January 1953 as the best photographic evidence held by the USAF related to UFOs. Following their appearance at the Robertson panel the Air Force chose to keep the two films classified. “As a matter of fact, you know, one of our agreements was to go over the script at the Pentagon, and if there was any question about anything they had the right to ask about it. Strangely enough, no one even questioned the thing about the landing at Holloman Air Force Base. It was like, “Well OK” . . . I just couldn’t believe it, (Emenegger and Sandler began as UFO disbelievers) but said, “Oh Well – I’ll go along with it.” One conversation led to another. Everyone couldn’t have been more open about what we were doing. Anyone along the line could have questioned it, which I expected. They could have said, “What the hell are you guys talking about?” This included Col. George Weinbrenner, if you recall.”
The main film promised to the two men was dramatic footage of an encounter between the occupants of a landed UFO and officials at Holloman Air Force Base. It impressed Emenegger who described what he saw in 1988, “What I saw and heard was enough to convince me that the phenomenon of UFOs is real – very real.”
As the documentary neared completion, the two producers waited for the promised dramatic alien landing footage taken at Holloman AFB. Colonel Bill Coleman, however, withdrew the film offer. According to what Emenegger told researcher Tim Good, Coleman had declared, “The timing was politically inappropriate, due to the Watergate scandal.” “The government intended to release to me several thousand feet of color and black and white film taken between 1947 and 1964 showing crashed UFO discs and extraterrestrial bodies in historic footage to be included in the HBO documentary supported with official government confirmation.”
As with Kimball and the Emenegger/Sandler team, the promised film was never released to Howe. Despite Doty’s claim that the government had authorized the release of film showing crashed saucers and alien bodies for use in the HBO documentary, it never materialized. Doty and others at the base told Howe that this was due to “political delays.” When the alleged historical film footage didn’t materialized, HBO canceled the documentary, and Howe was forced to move on to other projects. “During the Reagan administration I met with Bob Scott and General Glenn Miller… they wanted another program like we had done, and we spent a lot of time discussing it. Bob Scott was a Reagan appointee… He had a Glen E. Miller retired general as his aide, or second in command. We spent a lot of discussion. There was a lot of stuff in the vault that he wanted to get out. I even had General Miller come to our house to meet Hynek and his group to take them out to Norton so they could look around… Miller was, interestingly enough, was head of one of the studios in Hollywood – one of the old ones. He got Reagan his first contract. So there were these strange connections. I met with Miller and Scott like at Denny’s restaurant. It was like “Meet at Denny’s and we will discuss this.”
Vallee, on the other hand, was “negative and skeptical” about the offer of the UFO footage being promised by the two generals. He felt that if the government wanted to release the information they could simply go to someone like the national Academy of Sciences and announce the discovery of the alien presence. I was to have talked to the Colonel, The, I now believe dead, Colonel who was then a Captain in 49’, and who retrieved the live alien from the crash at Roswell – the second Roswell crash, and took him to Los Alamos. This Colonel was to have stayed with the live extraterrestrial on a pretty-much 24-hour basis until the alien died on June 18, 1952 of unknown causes according to the briefing paper, and according to what the Flacon/Doty said on the two-hour live special. (UFO Cover-up…Live)… I was supposed to go and film with the Colonel.
Emenegger was not offered a film interview with the alien. Through Paul Shartle he was offered an actual chance to go to New Mexico and see the alien (EBE-3) that was now a guest of the government. Prominent author Whitley Strieber was made the offer of publicizing a 16mm film that had been taken of the alien, along with other bizarre tales. Whitley described his government encounter this way, “I had some personal experience with them. I was approached by a retired officer from the Air Force Office of Special Investigations with all kinds of stories, how the government had taken 16mm film of an alien that they had done an operation on in 1952 to enable it to talk through otherwise atrophied vocal cords. It struck me as… I wouldn’t have written it as fiction because it was ridiculous. They tried to make me believe that aliens had something to do with Jesus Christ and all sorts of ridiculous things which if I had gone out into the public with would have make me look like a fool.”
In most of the cases involving the live alien footage and the interview with the “keeper,” there was one delay after another. Finally like the offer of UFO films made to other researchers in the seventies and early eighties, the offer was eventually withdrawn. “One, which appeared to be dead, was laid out on a table – or slab, the other was clearly alive and moving around on the floor. He was given no information as to the source of the footage, which he was told was “top secret”, but he was in no doubt that it was a genuine piece of old film. Mike described it as being similar to the alien autopsy footage that had been shown on television. (The Santilli “Alien Autopsy” film) At no time did he say it was the same, just similar. Of the footage he personally viewed, he said: ‘If the film that I saw was a fake, it was a brilliant fake.’”
Was the “well-know” employee Kimball, or was there a second “well-known” Disney employee who was also a UFO buff? Was the Kimball Disney story told by Kimball in 1979, just a cover for a film that the Disney people had actually gotten from the government? Maloney has not yet released the name of the man who showed him the film. If it was Kimball who showed the alien film in his house, then the government now knows where that missing UFO film went. Grant Cameron |
Source: http://www.ascensionearth2012.org/2014/05/the-disney-ufo-connection.html
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