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{{Infobox BBS
| image = Archived-En.png
| file = taff.txt
| author = Unknown
| date = Unknown
| subject =
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| bbs_main_page = [[ParaNet Main Page]]
| key_words = ParaNet, UFO, Ufology
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I M P O R T A N T N O T I C E
concerning the following text file
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ParaNet makes no endorsement of this material and the views
expressed herein are not necessarily the views of ParaNet. This
information is provided as a public service only.

This file is SHARETEXT material. This means that you are free to
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ParaNet(sm): Freedom of Information for a better world!

(C) 1991 ParaNet(sm) Information Service. All Rights Reserved.
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ParaNet File Number: 00230

This file is Copyright @1989 by UFO Magazine and is reprinted
with permission by ParaNet Information Systems. No portion of
this file may be used, reprinted or posted on any BBS without the
express written permission of UFO Magazine.

UFO Magazine was privileged--or is the word cursed?--to be
let in on the 'latest' inside information and gossip as the
production of "UFO Cover-up? Live!" developed over the course of
many months in the latter part of 1988. When the final product
aired on October 14 of that year, it was both more and less than
expected by the UFO Community--enlightening some, frustrating
many, and throwing most of us back into that endless, spinning
circle of rumor and speculation as to just who sits at the
controls when UFO information breaks into big media. Barry E.
Taff was the original writer hired to prepare the treatment and
screenplay for the show. The following is his first-hand
impression of what transpired over the course of "UFO Cover-
up..." Though based on real events, the opinions he expresses
should not be taken as reflecting those of either ParaNet or UFO
Magazine--Vicki Cooper/ASK UFO

"UFO Cover-Up? Live!": The Untold Story

by Barry E. Taff

During the course of development and production of the two-
hour, prime-time LBS syndicated special "UFO Cover-Up? Live!"
wild and unsubstantiated rumors circulated throughout the UFO
community about what was happening, particularly in regards to
what (or who) the sources of information were and who was calling
the shots behind the scenes.

As the original writer for that much discussed show, I can
reveal some rather startling, although perhaps less-than-
sensational truths about what REALLY occurred during the course
of the production, and why the resulting program was an
amateurish attempt at trying to chronicle and document current
events and the history of ufology.

I was hired at a salary well below scale, which was
acceptable at the time, for we all believed that this program
would be the chance of a lifetime, especially considering some of
the creative staff: Tracy Torme, Curt Brubaker, Bob Emenegger,
Marty (J.R.) Pasetta, Jr. During my initial interview for the
job, I found the producer to be extremely friendly and very
concerned that the end product of the show reflect a high caliber
of writing regarding the show's topic or premise.

The situation couldn't have sounded any better, and given
the involvement of associate and segment producers whom I already
knew and had worked with, along with UFO consultants such as
William Moore, Jaime Shandera and Stanton Friedman, it was truly
a once-in-a-lifetime opportunity.

However, after being told that the show's budget was
approximately $1,250,000.00 only later to learn that it was
closer to $825,000.00, I began to worry that things weren't as
they seemed. As the show progressed in development and
production, I discovered that I was hired for my vast knowledge
of Ufology's history, related technology and current events.
Although as it turned out, this zeal was not shared in entirety
by the show's producer.

As we began to choose the sources of information and those
individuals we wished to be associated with the show, based
entirely on the validity, accuracy and what we believed to be
corroborating evidence of their information, incredible rumors
began to flourish that the show was being run and/or manipulated
by insiders who were supposedly government intelligence officers
from such agencies as CIA, NSA or even MJ-12. This matter became
so comical that the creative staff made up a batch of "MJ" cards,
ranging from one through twelve, and pasted one on each of our
desks just to get a laugh when visitors came to the offices.

Initially, the producer who will remain nameless throughout
this piece professed to having a strong and sincere belief in
Ufology. For all intents and purposes that appears to have been
true, except for occasional asides where he demonstrated a far
stronger interest in butts; both that of cigars and young women.

About a third of the way into production, the first dark
clouds appeared, signaling something ominous on the horizon. The
producer, after having several meetings during production with
"Condor" and "Falcon"--both alleged clandestine government
intelligence sources for the show-began showing marked symptoms
of paranoia. He became quite irascible, demanding and
dictatorial to all of the production staff. One particular
demonstration of the came when he spoke with me saying, "I want
you to get into the possible government cover-up and conspiracy
based on the data we've collected, but at the same time I want
you to remain neutral in your approach." To say that his request
was a contradiction in terms would be an understatement, not to
mention an impossibility for any writer. My job as the writer
was to be as objective as possible, which accordingly meant that
I was to demonstrate, based on the voluminous data at our
disposal, that a U.S. government conspiracy had in fact occurred
over the last 42 years and was still in effect.

After repeated meetings with "Condor" and "Falcon", the
producer's attitude and orientation toward the show altered even
further. His increasing paranoia and loss of objectivity caused
him to ignore virtually every significant piece of information
and event presented to him in the treatment and original
screenplay. All attempts to persuade him to take seriously the
Freedom of Information Act (FOIA) documents and data from books
like Clear Intent, Sky Crash, Intruders and Above Top Secret,
along with facts on the cattle mutilation mystery, were
fruitless.

Under normal circumstances, a producer waits for a finished
first draft of a treatment and/or script before asking for a re-
write if such is desired. With the frenzied state of mind the
producer was now in, he would demand to see every page as it was
written, frequently lose it after it was turned in and if not,
would ask for it to be re-written because it didn't meet with his
approval. Because of his confused state of mind, he really had
no idea exactly what he wanted. The producer's incredible
indecisiveness drove the creative staff to distraction and
finally to their wits end, as the show was on a very short-term
deadline.

Yes, we did have the cooperation of several government
intelligence sources. Emenegger said he would talk to his
sources about furnishing never-before-seen footage of a supposed
UFO landing at Holloman Air Force Base. Tracking camera footage
of a missile launch depicting a UFO paralleling the missile
flight, was also, at one point, made available from another
associate of Emenegger's. Unfortunately, both of these
potentially incredible pieces of film footage were ultimately
withheld.

When the final treatment and partially completed teleplay
were presented to the producer, his response was shocking. He
rejected them because they were too serious. In the producer's
own words: "What you've given me here is totally useless. I
can't use a single page of it. I want copy, schlock, camp...not
screenwriting." My response was simple and straightforward,
"Don't you want a serious show that will blow people out of their
chairs? Aren't you concerned with the integrity and quality of
the program?" The producer simply stared into my face with a
blank expression.

At this point, it became obvious to all on board that the
show was dramatically changing, and would not reflect the title
it was promoting. For this and many other reasons too numerous
and unrelated to mention here, many of the show's other prominent
individuals began to slowly withdraw, such as Emenegger, Curt
Brubaker and Tracy Torme.

"UFO Cover-Up? Live!" had the potential for being one of the
most powerful and impacting pieces of its type ever aired.
However, the producer did everything in his power to insure that
didn't occur. The show's greatest enemy was perhaps no the
producer, per se, but the fear and paranoia induced within him.
Is it only by chance that his paranoia became more obvious after
the aforementioned meetings with "Condor" and "Falcon"?

From a viewer's standpoint, the show was rather pitiful. It
dragged, was incredibly redundant, never really got to the point
and was painfully studded with such professional gaffes as a set
of horrid glowing pyramids and supposedly live dialogue by in
studio guests all obviously reading off teleprompters--except for
the skeptics. All of this was the result of the producer's re-
orientation.

Just prior to the live studio airing, consultants Bill
Moore, Jaime Shandera and Bob Emenegger were so annoyed with the
producer's altered behavior that they began playing practical
jokes on him right on the set, just to demonstrate how intensely
they disliked how they and the show were being mishandled.

So if there's anyone you wish to blame for being deprived of
what was promised, or why the show was more of a sedative than an
eye-opening dramatic look at what's actually been transpiring in
ufology, don't blame the original writer, the director, the
associate or segment producers, who all knew their jobs and did
them superbly. The producer's paranoid state of mind and
resultant change of attitude should catch the flak. The question
is, why did he suddenly change? Just what influences caused it?

In actuality, it would have been really interesting and
exciting had the CIA, NSA or MJ-12 (presupposing the latter
actually exists) infiltrated the production and attempted to
manipulate the show. At least that would have put some
excitement into it. It should be noted that later the producer
was visited by a local FBI agent--a story that has been
confirmed--apparently to discuss the show and it's contents. The
reason for this aftermath visit is not known to this writer or
the show's other production members, but it along with the
repeated visits by "Falcon" and "Condor" may have also
contributed to the wild rumors, which still continue to plague
the field. As Tracy Torme once joked, "If someone's mustache is
crooked, MJ-12 must be sending a secret message!"

Perhaps the next time around, assuming there will be one,
the right production company will hire the right producer. And
perhaps that producer will give the show the proper guidance and
vitalization to convey the truth as opposed to a limited and
perhaps biased perspective, if not a totally unprofessional one.

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