1
00:00:00,080 --> 00:00:02,040
Speaker 1: Thanks for listening to the best of Coast to Coast

2
00:00:02,080 --> 00:00:04,960
Speaker 1: podcast and become a Coast Insider to hear the rest

3
00:00:05,040 --> 00:00:09,080
Speaker 1: of this fascinating conversation and check out recent shows featuring

4
00:00:09,160 --> 00:00:12,160
Speaker 1: guests sharing stories about growing up in a haunted house

5
00:00:12,400 --> 00:00:16,000
Speaker 1: that was possessed by an evil presence, a nightmarish encounter

6
00:00:16,079 --> 00:00:18,239
Speaker 1: with a UFO in the dead of night, and the

7
00:00:18,320 --> 00:00:21,440
Speaker 1: financial horror stories from those who won the lottery and

8
00:00:21,480 --> 00:00:23,560
Speaker 1: lived to regret it. Head on over to Coast to

9
00:00:23,600 --> 00:00:25,560
Speaker 1: Coast a m dot com and sign up for Coast

10
00:00:25,600 --> 00:00:28,840
Speaker 1: in Cider to hear these programs and many more truly

11
00:00:28,920 --> 00:00:32,800
Speaker 1: thought provoking shows from Coast to Coast. Now here's a

12
00:00:32,920 --> 00:00:37,160
Speaker 1: highlight from Coast to Coast AM on iHeart Radio and

13
00:00:37,200 --> 00:00:39,519
Speaker 1: welcome back to Coast to Coast at Phil Hall with Us.

14
00:00:39,600 --> 00:00:41,199
Speaker 1: Let me tell you a little bit about Phil. He's

15
00:00:41,240 --> 00:00:44,879
Speaker 1: an author of many books, including the History of Independent Cinema,

16
00:00:45,200 --> 00:00:47,720
Speaker 1: The Greatest Bad Movies of All Time, and In Search

17
00:00:47,760 --> 00:00:51,360
Speaker 1: of Lost Films and also The Weirdest Movie Ever Made.

18
00:00:51,440 --> 00:00:55,120
Speaker 1: He's the host of the sound cloud podcast, The Online

19
00:00:55,160 --> 00:00:57,560
Speaker 1: Movie Show with Phil Hall, and his film writing has

20
00:00:57,600 --> 00:01:00,360
Speaker 1: been published in The New York Times, New York Daily

21
00:01:00,360 --> 00:01:03,840
Speaker 1: News and Wired. He's also authoring the weekly column The

22
00:01:03,920 --> 00:01:08,160
Speaker 1: Bootleg Files on the Cinema Crazed website. Phil Hall here

23
00:01:08,200 --> 00:01:10,920
Speaker 1: on Coast to Coast, Phil, looking forward to talking about

24
00:01:10,959 --> 00:01:13,200
Speaker 1: this new book and all the things you've been down doing.

25
00:01:13,400 --> 00:01:16,080
Speaker 1: Welcome to the show. Hello George, Thanks for having me

26
00:01:16,120 --> 00:01:19,800
Speaker 1: on the show. Now, how did you, an expert in

27
00:01:20,000 --> 00:01:24,119
Speaker 1: cinema stumble across the weirdest movie ever made? And that's

28
00:01:24,120 --> 00:01:27,160
Speaker 1: the Patterson Gimblin Bigfoot film. Well, there's a bit of

29
00:01:27,200 --> 00:01:30,440
Speaker 1: a complicated story. I have my books published through a

30
00:01:30,480 --> 00:01:32,880
Speaker 1: company called bear Man of Media, and I just had

31
00:01:32,920 --> 00:01:35,480
Speaker 1: published a book In Search of Lost Films, which came

32
00:01:35,480 --> 00:01:38,720
Speaker 1: out in and I was trying to think of something

33
00:01:38,760 --> 00:01:40,759
Speaker 1: to come up as an encore for a new book.

34
00:01:41,400 --> 00:01:43,360
Speaker 1: And I went to my published shirt and I said,

35
00:01:43,400 --> 00:01:45,240
Speaker 1: I have this great idea for a book. It's going

36
00:01:45,280 --> 00:01:47,880
Speaker 1: to be called A Hundred Movies That Changed the World.

37
00:01:47,920 --> 00:01:50,160
Speaker 1: And it was basically would be a hundred essays of

38
00:01:50,280 --> 00:01:55,840
Speaker 1: films that made significant contributions to culture, politics, technology, etcetera.

39
00:01:56,280 --> 00:01:59,360
Speaker 1: And my publisher said that's a terrible idea. He said,

40
00:01:59,360 --> 00:02:01,720
Speaker 1: go back and just pick one movie and write about it.

41
00:02:02,280 --> 00:02:03,720
Speaker 1: And I went back to the list, and I looked

42
00:02:03,760 --> 00:02:05,760
Speaker 1: over the list and I realized my publisher was right

43
00:02:05,840 --> 00:02:07,760
Speaker 1: because a lot of the movies that were on the

44
00:02:07,800 --> 00:02:09,679
Speaker 1: lists had been written about to death. We don't really

45
00:02:09,680 --> 00:02:12,040
Speaker 1: need another book about Citizen Kane or Gone with the

46
00:02:12,080 --> 00:02:14,959
Speaker 1: Wind or The Godfather. But on the list was the

47
00:02:15,000 --> 00:02:17,920
Speaker 1: Patterson Giblin film. And I thought, you know, I've never

48
00:02:17,960 --> 00:02:20,960
Speaker 1: seen a book about the Patterson Giblan film from a

49
00:02:21,000 --> 00:02:25,160
Speaker 1: cinematic appreciation angle. There are a lot of books about Bigfoot,

50
00:02:25,240 --> 00:02:28,400
Speaker 1: and of course Patterson Giblin film plays into that, but

51
00:02:28,480 --> 00:02:31,079
Speaker 1: there's never been one that looks at this little fifty

52
00:02:31,120 --> 00:02:34,120
Speaker 1: nine seconds of film as a work of cinema. And

53
00:02:34,160 --> 00:02:35,840
Speaker 1: I went back to my publisher and I said, what

54
00:02:35,880 --> 00:02:37,680
Speaker 1: do you think? And he said, go for it. And

55
00:02:38,400 --> 00:02:41,080
Speaker 1: the book came out last month on October one, and

56
00:02:41,120 --> 00:02:45,079
Speaker 1: it's available now on Amazon and all the book e

57
00:02:45,200 --> 00:02:47,800
Speaker 1: commerce sites. And how did you get the title the

58
00:02:47,840 --> 00:02:50,520
Speaker 1: Weirdest Movie Ever Made? I was trying to think of

59
00:02:51,480 --> 00:02:54,000
Speaker 1: something that would make the book stand out because many

60
00:02:54,000 --> 00:02:56,000
Speaker 1: ways the title is about one half of the book.

61
00:02:56,080 --> 00:02:58,519
Speaker 1: Because if the title can grab you, that's going to

62
00:02:58,639 --> 00:03:02,400
Speaker 1: be a great seller. But looking at the Patterson Gimblin film.

63
00:03:02,760 --> 00:03:04,680
Speaker 1: It is the weirdest film ever made when you stop

64
00:03:04,720 --> 00:03:06,600
Speaker 1: and think about it, because you you're looking at it's like,

65
00:03:06,919 --> 00:03:09,400
Speaker 1: what is this thing? Is this real? Is this fake?

66
00:03:09,880 --> 00:03:13,320
Speaker 1: How did these two guys with no experience in filmmaking whatsoever,

67
00:03:13,880 --> 00:03:15,680
Speaker 1: wind up in the right place at the right time,

68
00:03:16,200 --> 00:03:19,080
Speaker 1: and how did they wind up the just being there

69
00:03:19,200 --> 00:03:23,600
Speaker 1: with this, uh, this thing on camera? There was the

70
00:03:23,600 --> 00:03:26,960
Speaker 1: whole story is is so odd? And I started researching

71
00:03:26,960 --> 00:03:30,840
Speaker 1: the book, and the story got weirder and weirder as

72
00:03:30,880 --> 00:03:32,799
Speaker 1: I delved into it. And the only word I could

73
00:03:32,880 --> 00:03:35,160
Speaker 1: really think of was was weird to describe this? And

74
00:03:35,200 --> 00:03:38,080
Speaker 1: that's where it became the weirdest movie ever made. Let's

75
00:03:38,200 --> 00:03:40,640
Speaker 1: let's talk about the film if you can. For us,

76
00:03:40,720 --> 00:03:45,000
Speaker 1: Phil it happened on October twentieth ninety seven. Kind of

77
00:03:45,040 --> 00:03:48,080
Speaker 1: brief us on just what happened. What happened? They were

78
00:03:48,120 --> 00:03:52,000
Speaker 1: two fellows from Washington State named Roger Patterson and Bob Gimlin.

79
00:03:52,880 --> 00:03:57,720
Speaker 1: Roger Patterson was obsessed with the concept of sasquatches and

80
00:03:57,840 --> 00:04:01,440
Speaker 1: he had received a tip that there were Sasquatch Prince

81
00:04:02,120 --> 00:04:05,760
Speaker 1: in northern California outside of the city of Humboldt. Bob

82
00:04:05,840 --> 00:04:08,280
Speaker 1: Gimlan was a friend of his. They had both been

83
00:04:08,880 --> 00:04:11,040
Speaker 1: rodeo riders at one time. They had both served in

84
00:04:11,080 --> 00:04:14,720
Speaker 1: the military. Neither of them had any experience in filmmaking,

85
00:04:14,760 --> 00:04:17,800
Speaker 1: but they decided they would go down to California and

86
00:04:17,880 --> 00:04:21,120
Speaker 1: see if they could film a sasquatch in the wild.

87
00:04:21,240 --> 00:04:24,279
Speaker 1: And they had a sixteen millimeter camera, which actually turned

88
00:04:24,279 --> 00:04:28,120
Speaker 1: out Roger Patterson leased it from a camera store in

89
00:04:28,200 --> 00:04:29,919
Speaker 1: his town and didn't bring it back, so it was

90
00:04:30,000 --> 00:04:34,240
Speaker 1: a stolen camera. And they went to this area in

91
00:04:34,240 --> 00:04:38,960
Speaker 1: northern California looking for the sasquatch, which is something nobody

92
00:04:39,000 --> 00:04:42,760
Speaker 1: had ever filmed before. They went deep into the woods.

93
00:04:42,800 --> 00:04:45,640
Speaker 1: They it was so far and they couldn't bring their automobiles.

94
00:04:45,640 --> 00:04:48,919
Speaker 1: They had to take pack horses to ride in and

95
00:04:49,120 --> 00:04:52,200
Speaker 1: slow and behold. At a sandbar which is known as

96
00:04:52,200 --> 00:04:56,520
Speaker 1: Bluff Creek, they said they saw something which had never

97
00:04:56,560 --> 00:05:00,000
Speaker 1: been seen before and had never been captured on camera. Uh.

98
00:05:00,080 --> 00:05:04,480
Speaker 1: Roger Patterson was on his horse when they saw the sasquatch,

99
00:05:04,839 --> 00:05:07,400
Speaker 1: which is why the first part of the footage is

100
00:05:07,520 --> 00:05:09,920
Speaker 1: very shaky, because Roger was trying to get off his horse.

101
00:05:09,960 --> 00:05:13,359
Speaker 1: The horse was apparently scared while he was still holding

102
00:05:13,400 --> 00:05:16,560
Speaker 1: the camera. He injured his ankle in doing so, but

103
00:05:17,120 --> 00:05:21,080
Speaker 1: he maintained a good grasp on the camera and was

104
00:05:21,160 --> 00:05:24,039
Speaker 1: able to film the Sasquatch walking off into the woods.

105
00:05:24,080 --> 00:05:27,320
Speaker 1: Apparently it was I didn't really want to interact with

106
00:05:27,800 --> 00:05:31,279
Speaker 1: these two guys, but it made its casual way out

107
00:05:31,320 --> 00:05:33,560
Speaker 1: of the scene. It didn't seem to be agitated, except

108
00:05:33,600 --> 00:05:35,880
Speaker 1: at one point it just turned around to look at them.

109
00:05:36,680 --> 00:05:41,120
Speaker 1: In doing so, it's arms spread unusually why, which is

110
00:05:41,120 --> 00:05:43,880
Speaker 1: one of the most famous frames from the film, and

111
00:05:43,920 --> 00:05:48,960
Speaker 1: then walked off. Roger and Bob were had some plaster

112
00:05:49,080 --> 00:05:51,520
Speaker 1: with them, so they were able to make plaster casts

113
00:05:51,600 --> 00:05:56,760
Speaker 1: of the footprints of the Sasquatch, and they went back

114
00:05:56,839 --> 00:06:01,839
Speaker 1: to Humboldt with their film and with their plastic casts,

115
00:06:01,960 --> 00:06:05,120
Speaker 1: and the rest, as the cliche goes, is history. I've

116
00:06:05,160 --> 00:06:08,640
Speaker 1: looked at this film several times, Phil, and that scene

117
00:06:08,640 --> 00:06:10,960
Speaker 1: that you depict that's on the cover of your book

118
00:06:11,520 --> 00:06:16,720
Speaker 1: is a really strange, weird looking frame, isn't it. It is?

119
00:06:16,800 --> 00:06:20,080
Speaker 1: And what's weird about it is the creature for lack

120
00:06:20,120 --> 00:06:23,080
Speaker 1: of a better word, uh, that is out of shape.

121
00:06:23,080 --> 00:06:27,320
Speaker 1: It's out of proportionate. It doesn't look like uh, regular

122
00:06:27,360 --> 00:06:31,600
Speaker 1: animal animals are beautiful creations of symmetry, and this thing

123
00:06:31,680 --> 00:06:34,560
Speaker 1: is not symmetrical at all. The legs are unusually thick

124
00:06:34,560 --> 00:06:38,000
Speaker 1: and muscular, the arms are are far too long to

125
00:06:38,080 --> 00:06:41,120
Speaker 1: go with that body that from the forehead up it

126
00:06:41,200 --> 00:06:45,320
Speaker 1: sort of looks like a gorilla, but it's it's walking

127
00:06:45,400 --> 00:06:48,960
Speaker 1: like a human thought slightly hunched over. And when it

128
00:06:49,000 --> 00:06:52,560
Speaker 1: turns around to look at you, unfortunately the film is

129
00:06:53,120 --> 00:06:55,400
Speaker 1: so shaky and blurry you don't get a clear picture,

130
00:06:55,880 --> 00:06:58,360
Speaker 1: but there seems to be a human human issue face,

131
00:06:58,480 --> 00:07:01,800
Speaker 1: not a human face, looking back at you. And it's

132
00:07:01,839 --> 00:07:05,200
Speaker 1: just when you see this thing, it's like, what is this?

133
00:07:05,440 --> 00:07:08,200
Speaker 1: And is this a guy in a custom or was

134
00:07:08,240 --> 00:07:12,320
Speaker 1: this actually a fasquatch, which had been part of Native

135
00:07:12,360 --> 00:07:17,320
Speaker 1: American folklore since the beginning of civilization. There have been

136
00:07:17,400 --> 00:07:20,680
Speaker 1: rumors that Gimblin might have been in the suit, if

137
00:07:20,720 --> 00:07:25,880
Speaker 1: there was one, while Patterson was taking the film of

138
00:07:25,880 --> 00:07:28,280
Speaker 1: of him walking around. Have you heard that as you

139
00:07:28,320 --> 00:07:31,520
Speaker 1: were writing the book? I never heard that. That doesn't

140
00:07:31,560 --> 00:07:35,760
Speaker 1: seem very logical because both Patterson and Gimblin were rather

141
00:07:35,840 --> 00:07:43,960
Speaker 1: short people. The fasquatch is a fairly tall thing, and uh,

142
00:07:44,160 --> 00:07:47,360
Speaker 1: Gimlin is not a tall person, so if he was

143
00:07:47,400 --> 00:07:49,800
Speaker 1: in the suit, he'd have to be wearing elevator shoes.

144
00:07:51,000 --> 00:07:53,640
Speaker 1: Prior to the movie. In the film and your book,

145
00:07:53,880 --> 00:07:56,720
Speaker 1: what did you think about all these Bigfoot stories that

146
00:07:56,800 --> 00:07:58,880
Speaker 1: have been coming down? Writing the book was a lot

147
00:07:58,920 --> 00:08:01,000
Speaker 1: of fun because I was little kid in the nineteen

148
00:08:01,080 --> 00:08:04,600
Speaker 1: seventies and back then you couldn't turn on the TV

149
00:08:05,000 --> 00:08:07,360
Speaker 1: or or go to the movies or open a magazine

150
00:08:07,360 --> 00:08:09,960
Speaker 1: without seeing something related to Bigfoot or some sort of

151
00:08:10,000 --> 00:08:16,080
Speaker 1: paranormal or cryptozoology phenomenon. And it brought back a lot

152
00:08:16,080 --> 00:08:19,440
Speaker 1: of happy memories for me because this is something which

153
00:08:20,040 --> 00:08:23,360
Speaker 1: was part of the pop culture of my youth. And

154
00:08:23,920 --> 00:08:26,560
Speaker 1: I always at the time, as the kid, always has said, oh, well,

155
00:08:26,600 --> 00:08:29,240
Speaker 1: the Bigfoot's out there, because it's it's on TV. It

156
00:08:29,280 --> 00:08:32,120
Speaker 1: has to be real, uh, And going into this, I

157
00:08:32,200 --> 00:08:34,880
Speaker 1: never really knew the story behind Bigfoot, and that was

158
00:08:34,880 --> 00:08:38,199
Speaker 1: actually the most fun I had is trying to figure

159
00:08:38,200 --> 00:08:41,200
Speaker 1: out just when did Bigfoot come into popular culture because

160
00:08:41,360 --> 00:08:44,880
Speaker 1: for me and people of my generation, it was always there,

161
00:08:44,880 --> 00:08:46,959
Speaker 1: but there had to be a time when Bigfoot actually

162
00:08:47,000 --> 00:08:50,720
Speaker 1: made its debut in front of the American public and

163
00:08:50,720 --> 00:08:55,000
Speaker 1: then later, of course the world public. Who was William

164
00:08:55,160 --> 00:08:58,000
Speaker 1: row and what was his role with any of this? Now,

165
00:08:58,040 --> 00:09:01,000
Speaker 1: William Rowe was an interesting person because he was a

166
00:09:01,000 --> 00:09:05,040
Speaker 1: construction worker in British Columbia in the late nineteen fifties.

167
00:09:05,679 --> 00:09:08,840
Speaker 1: He said that he saw a female Sasquatch in the

168
00:09:08,880 --> 00:09:13,840
Speaker 1: woods when he was out on a job, and he

169
00:09:13,960 --> 00:09:19,800
Speaker 1: described the female Sasquatch as having furry, floppy breasts. And

170
00:09:19,880 --> 00:09:23,120
Speaker 1: this is important because when you look at the Pattison

171
00:09:23,160 --> 00:09:25,680
Speaker 1: Giblin film when a big Foot turns around to look

172
00:09:25,760 --> 00:09:30,839
Speaker 1: at the camera, bigfoot has furry, floppy breasts. Now, if

173
00:09:30,840 --> 00:09:32,480
Speaker 1: this was a man in a guerrilla suit, that would

174
00:09:32,480 --> 00:09:35,040
Speaker 1: have been a little strange because back then, if you

175
00:09:35,080 --> 00:09:38,080
Speaker 1: wanted to buy a guerrilla costume like they would have

176
00:09:38,120 --> 00:09:40,680
Speaker 1: in the Three Stooges movies or the Bowery Boys movies,

177
00:09:41,040 --> 00:09:44,960
Speaker 1: it was a male guerrilla, they didn't have breasts. But

178
00:09:45,080 --> 00:09:48,679
Speaker 1: here you have a female guerrilla with breasts, with fur

179
00:09:48,800 --> 00:09:53,400
Speaker 1: covered breasts, as William Roe described it. Now, a lot

180
00:09:53,440 --> 00:09:56,960
Speaker 1: of anthropologists said that Bigfoot was fake because if this

181
00:09:57,000 --> 00:10:00,360
Speaker 1: was supposed to be a primate, primates do not have

182
00:10:01,000 --> 00:10:05,360
Speaker 1: for on their breath. The female primates don't whereas Bigfoot does.

183
00:10:06,000 --> 00:10:08,680
Speaker 1: But then that also raises the question, well, then maybe

184
00:10:08,720 --> 00:10:12,680
Speaker 1: Bigfoot is not a primate, or if it is, it's

185
00:10:12,679 --> 00:10:16,360
Speaker 1: a subspecies and is genetically different from the primates we

186
00:10:16,360 --> 00:10:19,200
Speaker 1: would assume either in Africa or the orangutan in Asia.

187
00:10:20,840 --> 00:10:23,640
Speaker 1: Even though the title is the weirdest movie ever made?

188
00:10:23,880 --> 00:10:27,560
Speaker 1: What did you think of the movie itself? You know,

189
00:10:27,640 --> 00:10:29,600
Speaker 1: it's I could watch this thing over and over and

190
00:10:29,640 --> 00:10:34,120
Speaker 1: in fact I have well nine solid seconds, right, fifty

191
00:10:34,160 --> 00:10:36,200
Speaker 1: nine seconds, and you just can't get enough of this

192
00:10:36,400 --> 00:10:39,760
Speaker 1: because and that's the beauty of it, because it's it's

193
00:10:39,800 --> 00:10:42,000
Speaker 1: a blink of an eye type of the situation. If

194
00:10:42,040 --> 00:10:44,680
Speaker 1: this was a ten minute film or fifteen minute or

195
00:10:44,679 --> 00:10:48,319
Speaker 1: even a two minute film, it would wear out its welcome.

196
00:10:48,400 --> 00:10:52,559
Speaker 1: But it happened so quickly, and really half the film,

197
00:10:52,800 --> 00:10:55,400
Speaker 1: half of the fifty nine seconds is blurry and shaky

198
00:10:55,400 --> 00:10:58,280
Speaker 1: while Roger Patterson's trying to study himself, or so he said,

199
00:10:59,360 --> 00:11:02,480
Speaker 1: Uh made you see Bigfoot just walking away with that

200
00:11:02,640 --> 00:11:07,840
Speaker 1: the brief glimpse backwards. It's it's it's beautifully it's really

201
00:11:07,880 --> 00:11:10,840
Speaker 1: beautifully shot, and it's it really adds to the mystery

202
00:11:10,960 --> 00:11:14,080
Speaker 1: of it because if it was a clear picture of Bigfoot,

203
00:11:14,120 --> 00:11:16,160
Speaker 1: or a Bigfoot was walking to the camera or if

204
00:11:16,160 --> 00:11:20,160
Speaker 1: he uh, if it was a longer chase through the woods,

205
00:11:20,440 --> 00:11:22,600
Speaker 1: it would not have had the same effect. This happens

206
00:11:22,640 --> 00:11:25,080
Speaker 1: just so quickly. It's like, oh, my god, did I

207
00:11:25,120 --> 00:11:27,800
Speaker 1: really see what I think I saw? I'm sure feel

208
00:11:27,880 --> 00:11:31,040
Speaker 1: that the frame has been analyzed and blown up and

209
00:11:31,120 --> 00:11:35,680
Speaker 1: everything else by experts. Has anybody said anything about that? Oh,

210
00:11:35,840 --> 00:11:39,280
Speaker 1: everybody has an opinion on that. There are people who

211
00:11:39,280 --> 00:11:44,680
Speaker 1: have studied this film religiously. They've had motions stabilization software,

212
00:11:44,720 --> 00:11:46,800
Speaker 1: so they take the shake out of the film so

213
00:11:46,840 --> 00:11:48,560
Speaker 1: we could see what Bigfoot would look like if the

214
00:11:48,559 --> 00:11:54,520
Speaker 1: camera wasn't shaking. Uh, they've measured it with computers. Half

215
00:11:54,520 --> 00:11:57,679
Speaker 1: of the opinion is it's completely impossible for this to

216
00:11:57,800 --> 00:12:00,360
Speaker 1: have been duplicated by a man in a suit. And

217
00:12:00,400 --> 00:12:02,599
Speaker 1: the other half of the opinion is, uh, it's a

218
00:12:02,640 --> 00:12:07,280
Speaker 1: man in a suit, So it's a It's a polarizing

219
00:12:07,280 --> 00:12:09,000
Speaker 1: film too. That's the beauty of it too. You can't

220
00:12:09,000 --> 00:12:12,840
Speaker 1: be indifferent to it. Uh. To quote George W. Bush,

221
00:12:12,880 --> 00:12:15,959
Speaker 1: either you're with us or against us, and that's the

222
00:12:16,280 --> 00:12:18,680
Speaker 1: story with Bigfoot. Either you're with us and believe that

223
00:12:18,800 --> 00:12:22,880
Speaker 1: this is a real creature, or you say you're fake.

224
00:12:22,920 --> 00:12:25,239
Speaker 1: In that case, then you're against those who are advocating

225
00:12:25,240 --> 00:12:28,360
Speaker 1: for the sasquatch. Listen to More Coast to Coast a m.

226
00:12:28,480 --> 00:12:31,680
Speaker 1: Every weeknight at one a m. Eastern, and go to

227
00:12:31,720 --> 00:12:33,800
Speaker 1: Coast to Coast am dot com for more