Recently, I got myself a copy of The New World Order, a new documentary film following people (like myself) who believe in conspiracy theories. Refreshingly, for a 'mainstream' documentary, the film was pretty fair, deciding to focus on the personalities themselves and their lives instead of trying to debunk their alternative world view. The film boasts some big names… Alex Jones, Jim Marrs and Daniel Estulin to name just a few.

The film also focused, however, on some less known researchers and activists: what might be called the next generation of conspiracy culture… names like We Are Change founder Luke Rudkowski, anti-war protester Seth Jackson, and, from my side of the Atlantic, Bilderberg researcher and filmmaker Timucin Leflef. Intrigued by a short clip from one of the director's films featured in the documentary, recently I managed to track down Timucin and had the chance to ask the Turkish-Irish filmmaker a few questions.

Richard Thomas: I think we should start with me just saying thanks for taking the time to answer these questions, I'm sure you have plenty of other projects that need your attention so it's really much appreciated.

I want to focus mainly on questions about your films in this interview but given your background it seems a little silly not to ask you how you first became interested in what the mainstream media very sadly simply dismiss as "conspiracy theories"? Also what are some of your key areas of interest: i.e. 9/11, Bilderberg etc?

Timucin Leflef: I can make time. Thanks for the opportunity.

I first became interested in this area through my desire to make science fiction films. I started writing my first Sci-Fi screenplay The Messenger in my early teens back in 1989. It was about a young alien boy sent back in time from a post-apocalyptic future Earth to "save the world" but who ironically gets caught up in a secret government project which destroys it. I guess I was a cynical teenager at the time.

The script became an ironic look at those end-of-the-world disaster movies which were so prevalent in the seventies, but it had an interesting twist at the end which I still won't reveal in case I finally do get to make it. The funny thing is that the script predicted a totalitarian dictatorship occurring "some time in the near future", the possibility of a civil war and an "end of the world" scenario being manufactured in order to reduce world populations. I was 14 when I came up with the idea and wrote it over several years. I still have the original story which I sent to myself by registered mail and haven't opened for copyright purposes.

Then in 1993 I came across William Cooper's research paper on the Origins and Identity of MJ-12 which was circulating around university campuses at the time. Strangely, some of the things I thought I was 'making up' for my screenplay, Cooper said he had seen plans for when he was in U.S. Naval Intelligence back in the 70s, including a totalitarian dictatorship in the near future, the possibility of a stage-managed "civil war" and an end-of-the-world scenario being manufactured for the creation of something called a 'New World Order.'

I was genuinely surprised. Here I was thinking I was making up these stories and there was Cooper almost halfway around the world saying something similar had actually been in the works since the 1970s. Because of this I started investigating his work further. My key area of interest has always been the possible manufacture of a false-flag alien invasion in order to band us together under a fascist global dictatorship. This also features in the script now.

Timucin Leflef: The last time the Bilderberg Group met in Turkey, in 1975, it was in Cesme and happened within 2 weeks of my birth. Shortly after the country fell into political turmoil, divided between left-wing and right-wing factions. At least ten people were being killed every day on the streets of Ankara and investigative journalists who claimed that the country was being destabilised by external influences wound up dead, so it was quite obvious what was really going on. Eventually in 1980 there was a military coup d'etat and a 'new order' was established. Shortly after however the country was destabilised economically as a means, in my opinion, of keeping the population constantly preoccupied with work, in accordance with Bilderberg policy.

When I found out this clandestine group of bankers, businessmen and society's rich elite were about to meet up again in Turkey thirty-two years later, this time in Istanbul, my city of birth, I had to investigate what their plan was for my home country this time round. Were they going to manufacture a war with Iran which has been on the cards ever since P.N.A.C. published Rebuilding America's Defenses Abroad in 2000?

Through various means I got in touch with Jim Tucker who has been following them without fail for over thirty years. I made sure he knew he was in Turkey as an invited guest and I met him at the airport just to make sure he was safe and to translate for him. He's in his 80's now, so I figured he probably needed help. Fortunately Turkish people were very supportive of him and were very clued-in to the whole Bilderberg story thanks to campaigners, websites like http://bilderberg.org/ and books like Daniel Estulin's The True Story of the Bilderberg Group. Jim is a bit of a hero now in Turkey.

There were huge protests in Taksim Square and even the Turkish Prime Minister got involved. Turkish delegates at the meeting that year told the Bilderberg warmongers that if they were indeed planning to start a war with Iran, that "Turkey would have nothing do to with it". It was the first time in history that this illegal cartel was exposed to such an extent – with huge protests and daily news reports on Turkish national TV, which fortunately isn't as censored as the western media. It appears Bilderberg were perturbed by the Turkish response and may have changed their tactics since because of it.

Other people who showed up that year were a Romanian journalist, another guy who wishes to remain anonymous and a film crew from New York who were making a documentary about it. I have to state for the record however that neither Alex Jones nor Daniel Estulin were there that year, even though Alex later made it appear like he had been for his documentary Endgame by using footage filmed by the New York crew. Although I generally admire Alex's work, I question his continued attempts at taking credit for other people's research, which has been especially true of Bill Cooper's work.

The crew themselves were a nice bunch, and I agreed to being involved in their documentary when they told me it was going to be about "people exposing the New World Order". However, once Alex got on board, it turned into a documentary about "Conspiracy Theorists" (his words) which is a derogatory term used to discredit genuine researchers in this field. Also, the tone of the movie changed to one that was essentially attempting to ridicule us and not look at the evidence that we presented. A lot of my interview was cut and clipped in such a way as to make me look foolish. Whether they had been manipulated, or whether it was always their plan, I still don't know, but none of the information I'm presenting you with now showed up in their documentary.

I'm a filmmaker who just happens to have an interest in this area and for lack of a better term I wound up blowing the whistle on the 2007 meeting when I wrote a communiquE to the Turkish PM about it. Because of this I was intimidated by Bilderberg security and also received death threats as a result. (I was also assaulted because of this, but at a later time). However, all of this was conveniently ignored in favour of promoting Alex Jones. I even found out at one point that Alex had asked the crew to lie and say that he really had been in Turkey that year.

I do know that Bilderberg friend and publicist Cengiz Candar had in my opinion attempted to control the outcome of the documentary when we were in Istanbul by sending two good-looking female journalists to "help" Jim Tucker. When I pointed out that Candar was good friends with Bilderberg member Paul Wolfowitz, one of the girls said she was "embarrassed" and they scarpered shortly after for some reason. I have it on tape. Whether or not they got in touch with the documentary crew later I do not know, but the end result was quite strange.

Another example: Are we really to believe they were out filming in Louisiana and just happened to "bump into" a guy who just happened to be "on holiday", who just happened to "work for the Pentagon" and just happened to be in the "right place at the right time" to ridicule Seth Jackson on camera?… Ri-i-i-i-ight. If you were to write that in a film script no-one would ever believe it. And I somehow wonder whether the crew themselves were even aware of it? When they broadcasted their intentions for their documentary on the Alex Jones Radio show - which he hosted from Austin, Texas and NOT Istanbul that year - all the world, including the military intelligence protecting Bilderberg learned about them. After this, their documentary quite conveniently became another propaganda device for the Alex Jones camp, to the effect that most people who watch it now believe it's another one of his movies. I've even read reviews where people assumed they took most of their footage from Alex's documentary Endgame, which is preposterous. It really makes me wonder whether the allegations about him being "controlled opposition", a "gate-keeper on the truth", or somehow being related to Project Mockingbird are justified? Is Alex Jones an Inside Job?

Again, I have nothing against the guys who made the documentary and I did everything I could to help them out as fellow filmmakers, but I still have questions about what really happened especially after attempts were made to steer their documentary. I mean, Daniel Estulin knows much more about the Bilderberg Group than I do. They followed him for almost a year, yet he was cut from the final movie. Don't you find that a little strange? Jim Tucker hardly appears in the movie and he's been following Bilderberg for 30 years! Essentially, you should never take anything at face value, even within the alternative media, as that too is susceptible to manipulation.

I suppose my question is what do you think UFOs could represent and perhaps more importantly why?

Timucin Leflef: I'm sceptical about the extraterrestrial hypothesis because I know that "fear of the unknown" is a great way of motivating the masses into giving up their personal freedoms for increased security. If people are lead to believe they're being invaded by "aliens", that their own governments are powerless to defend them and that the only answer is to join a U.N.-backed global military dictatorship, then they will willingly relinquish their national sovereignty, personal freedoms and property for an alleged "greater good", especially if they believe it will save them. Pretty soon they'll find themselves slaves to an autocratic world government which will dictate their every choice – one example being the number of children they will be permitted to have, which is already being enforced in China. It will essentially be a world where they will have less rights than they were born with.

The truth is, it doesn't matter whether aliens exist or not, what really matters is what does the Global Elite want you to believe? It has been well documented that UFO technology was developed by the Nazis in order to win the Second World War. This technology was then transferred to the United States, most likely under Project Paperclip, in an attempt to take control of it before the Russians could. As fellow Sci-Fi Worlds interviewee Nick Redfern pointed out in his book Body Snatchers In The Desert, the Roswell incident was simply a military experiment that went wrong. The whole alien crash scenario was a great way of covering up the fact they used Japanese Prisoners of War in an experiment that would have eventually been deemed inhumane under the guidelines of the Geneva Convention. Stories about alien encounters have often turned out to be cover stories for military experiments or technology.

The alien invasion hoax is also another reason why so many Hollywood science fiction movies involve aliens arriving in vast armadas to destroy us and take over our planet. They were quite prevalent in the 50s and you can find modern-day examples like ID4: Independence Day, War of the Worlds and even Mars Attacks. Very few movies about extra-terrestrials actually involve aliens with peaceful intentions. E.T. certainly comes to mind, but even movies where they arrive as our benevolent "saviours" like The Day The Earth Stood Still, is still another permutation of the New World Order hoax, in which case it's about giving up our sovereignty, our "petty little differences" as Reagan put it, and joining a fascist global regime in order to achieve an alleged "world peace". It will be world peace but with a seriously heavy price on our freedoms.

Mostly, though, these movies are programming us to believe that once we see vast armadas of classified military vehicles hovering in the sky, that they will in fact be UFOs driven by "extra-terrestrials" who are here to "kill us and take over our planet." And then the only solution we'll be presented with will be a heavy reliance on a Militarised 'New World Order' to save us. That's where the real agenda lies.

Timucin Leflef: Back in 1991 I wrote a satirical short story for our school magazine at a time when the Catholic Church was kicking up a storm about prophylactics being sold at the Virgin Megastore. The story involved the Catholic Church taking over Ireland some time in the near future in order to restore their waning power and was a way of acknowledging the fact we had been under a Catholic Dictatorship since the 1920's. I also wrote it to acknowledge the many stories that were surfacing about some priests' predilections for young boys, which also came quite close to affecting my own life in my late teens.

When I returned from university in 1997, I rewrote the story as a 30-minute short film script entitled Totalit-Eireann, a play on the words Totalitarian and Eireann – the Irish genitive word for 'Ireland'. It was a mixture of ideas from Blade Runner to Isaac Asimov's robot stories and was about robots scapegoated by a futuristic fascist military regime. However, my attempts at getting 80k worth of film finance for it a year later failed. For budgetary reasons and for the fact that I was adamant to make it anyway, I retitled it A.D. and changed it from being a story about robot 'good guys' into alien 'bad guys'. I found that it would be easier and more cost-effective to have a man in a scary-looking alien mask than to build a convincing-looking robot.

I also changed the lead character from male to female because my sister Ayse was getting into movies at the time and I wanted to give her a dark role to scare off any potential stalkers and also to counter all the sickeningly nice 'girl-next-door' roles she was being offered at the time. Her cyborg character was rewritten as a clone, again for budgetary reasons.

However, even at a revised 10k budget, it was still difficult to get money for my movie, perhaps because most people didn't believe a special effects film could be made at that level. It eventually came to a point where in 2000 I was working as a cameraman for a Community TV station which was being closed down by the Irish Government. In the middle of all this I had the inspired idea to make the sci-fi movie on a shoestring budget, with no proper funding, no equipment and no real idea how the finished product would turn out. It was a risk, but I had to take it as I knew nobody else could make it.

Fortunately, when you get the ball rolling, providence ensues and people are more than willing to help you out. We shot most of it on a 3-chip mini-DV camera which I borrowed off a friend and edited the footage later on my computer. I also credited everyone for the actual work they did, however insignificant their contribution may have appeared. However, I also believe in the Auteur Theory - There is no 'I' in 'Team', but there is an 'I' in 'Tim', so beware.

My biggest sci-fi influences for A.D. had to be Blade Runner, The Terminator and of course The Matrix, hence the cheap experimental bullet-time effects. Add to this my biggest sci-fi influences over the years which were 2001: A Space Odyssey, Total Recall, Robocop, Aliens, The Running Man and The Time Tunnel TV Series. You could probably add Mad Max 2: The Road Warrior to this list, although like the swine flu shot, it's not quite mandatory… yet.

Timucin Leflef: Well, I do love movies from that era, especially the ones that are visually stylish, thrilling and funny. That's why I've always liked Hitchcock movies, especially North By Northwest and also the early Bond movies from the 60s, like Goldfinger and From Russia With Love. Dr. Strangelove is also a personal favourite of mine for these reasons. It has to do with finding a certain type of tone, style and humour.

With the UFO B-movies of the 50's, I essentially like them for their unintentional humour, which I find is often funnier than the gross-out comedies you see nowadays. I like Earth Versus The Flying Saucers mainly for Ray Harryhausen's work and just to see how they did their special effects back then. Project Bluebeam itself is a way of harking back to those movies from the 1940s and 50s with their film noir style, quaint-looking effects, and their naïve outlook on 'the future'. I like the idea of making a sci-fi film noir done very much like Sin City, except funny, in colour and hopefully - if I can get the budget for it - in 3D.

Timucin Leflef: Well, yes. The plan is to wake people up to certain possibilities and the best way of reaching them would be through popular culture. Books are certainly one way of achieving this goal and both George Orwell and Aldous Huxley were quite successful in alerting people to the Elite's fascist global agenda. Documentaries are another way, but over the years I have noticed how several researchers, writers and documentary makers have either been murdered or have died under suspicious circumstances, including Bill Cooper, Rik Clay, Jim Keith, Stephen Knight and allegedly Hunter S. Thompson who was making a documentary. Which begs the question why is Alex Jones still alive?

However, mainstream features are most likely the best choice in my view. Not only are they a means of reaching a mass audience, but primarily because you're telling a story to entertain people. And what better a way to enlighten than through entertainment? This is what I think Stanley Kubrick was attempting to do with some of his movies, like Dr. Strangelove, which in my opinion is a perfect satire on Dr. Henry Kissinger and his cra-haaa-zy pro-nuclear foreign policy. You just gotta hand it to Old Heinz! Anthony Burgess admitted that A Clockwork Orange was based on rumours about the British Government's use of mind control techniques on prisoners in the 1970s. And of course Eyes Wide Shut - just Google the Elite's interest in Satanic ritual and I'll say no more.

Feature films therefore may be a safer alternative as they can give you a degree of artistic license. I find comedies tend to be popular, and sci-fi is certainly one genre that allows people to suspend their disbelief to the point where they're open to accepting fresh ideas, which is useful if you're attempting to cause a shift in people's consciousness. This is why a movie like The Matrix could only have worked as Sci-Fi. Try doing it as a musical - "Hey Dude, Where's My Gun? I just found out I'm The One" – and it may not have been as effective.

Timucin Leflef: Well, I really admire John Collins's ability to pull off dead-pan humour and keep such a straight face. We were laughing so much shooting his scenes. He has a knack when it comes to comedy and reminds me of a younger, leaner Leslie Nielsen, so I was quite lucky to have him on board. Owen Callaghan ('The Cleaner') was also quite good even though he was a non-actor. Considering the fact we had very little money and hardly any time for rehearsal, I was quite happy with the way a lot of the performances turned out. And although I'd prefer more rehearsal time in future, I find it's usually better just to cast the right people in the right roles and let them be themselves. That way their performances come across as being more genuine on screen which is perfect for the implicit nature of film acting as opposed to stage acting where you need to project more.

It was also a matter of pride for me to have friends and family in the movie. Luckily, my sister Ayse proved perfect for the main role. So much so, I wrote the feature-length version with her in mind, although she's married now and has a young kid which means acting is on the back burner with her for a while. So definitely, I have no doubt I will work with them all again. Except maybe Lord Gator. He's moved onto bigger things now and won't answer my calls.

Timucin Leflef: The biggest obstacle for me was getting funding for the movie. After a few initial rejections, I finally gave up trying which was probably the best decision I made. Once I decided to go no budget and produce the movie myself "no matter what", the second biggest obstacle then was getting the actors to take time out from their schedules and commit to working on a specific day. I had to shoot around their conflicting schedules because I couldn't afford to pay them proper wages or could only pay them partial wages at best. This is why a lot of A.D. was shot over weekends.

Another problem was that the original story was about robots, which would have been prohibitively expensive, so I figured if I changed the story into one about aliens, it would be easier to make. Just get a guy in a scary mask and hey presto!

Additionally, another major obstacle in my mind was the audience's high expectations regarding special effects in movies these days. When you're shooting a movie like that on a shoe-string budget, something has got to give. I therefore figured if I made it as a comedy the audience would be more forgiving of its rough edges, hence the tongue-in-cheek humour which developed during the rewrite. Fortunately, people who see it often think it's funnier and in ways better than many of the short films funded here to the tune of 80k by the Irish Film Board. That gives me a real sense of achievement.

Timucin Leflef: Again, it was another of those cases where I had written a story which turned out to be more accurate than I had initially realised. I wrote it originally to poke fun at Catholic Imperialism. Fortunately, after doing further research, I was pleasantly surprised I had hit the nail on the head, albeit through sheer dumb luck on my part. Legally speaking, the U.S. is still a colony of the British Empire, but Britain itself was colonised by Rome.

As the Vatican is a continuation of the Roman Empire which itself has been around for over two millennia, you'll find they have accumulated a vast amount of wealth over that period. They funded Hitler and then created the Bilderberg Group to continue Hitler's plan for a New World Order. This is why both the Nazi Prince Bernhardt and Eugenicist Joseph Rettinger were Knights of Malta. It also turns out that the Vatican is a military order, much like in my movie, which is why some of their members have titles such as 'Knights' or 'Generals'.

Essentially, if you follow the money, you'll find the Vatican is a major player in the scheme of things and that the old adage "All Roads Lead To Rome" is still applicable to this day.

Timucin Leflef: Wow, you make her sound like she's Mary Poppins on steroids. I've never heard that actual term being used before, although I do know that mind control experiments have been around since the 1950s when MK-ULTRA was formed as a research programme into chemical control of the human mind. Then in the 1960s, Dr. JosE Delgado's pioneering research lead to the development of the 'stimoceiver', a radio receiver which could be implanted into the brain to create what would have eventually lead to, in Delgado's view, the creation of a "Psychocivilized Society". He demonstrated this device by implanting it into a bull's brain and managed to stop it from charging at him simply by pressing a button. This transmitted a radio frequency to the bull which stopped it in its tracks. The demonstration was filmed, is well documented and lead to further research being done through a covert military operation in the1970s known as Project MILAB. Again, the idea of 'alien abduction' and 'alien implants' was used as a clever way of covering the fact they were conducting military mind control experiments on an unsuspecting public. A documentary was even shown on Irish national television in the late 1990s in which European MEPs were attempting to get these experiments stopped.

I do find it quite concerning that the modern-day equivalent of this device, the VeriChip, is being touted as a medical necessity, allegedly to allow emergency services to gain quick access to your medical records, or to "find your granny" who may have "strayed away from the old folks home". Apparently, a variation of this means of Radio Frequency Identification (RFID) will be used as a replacement for cash, but there is a far more sinister application behind it. If you've been implanted subdermally with an RFID chip, not only will they be able to track your location through the mobile phone network, which will act as a net in some ways, but the fact that it operates on microwave frequencies leaves it open for potential misuse as a mind control device, much like Delgado's work in the 60's. According to sources from within the Bilderberg Group, mass-microchipping was discussed at their meeting in Chantilly, Virginia in 2008. This will allegedly be for reasons of "National Security" or "anti-terrorism", but will in fact be used to keep tabs on us and control us, very much like what happened to Jewish people during the Holocaust. Again, Bill Cooper was the one who predicted they would be using such devices to control populations in a "cashless system of economic control", so be very wary once they start promoting RFID tagging for our 'safety'.

In my opinion, after viewing the link you provided, the Professor you mention reminds me of those nuclear physicists in the 1940's who were short sighted enough to believe they were developing the A-Bomb for 'World Peace', only to later discover what a monstrous military weapon they had unleashed on the world. His insistence that Transhumanism will lead to "making a lot of money" and will also lead to "a lot of power" speaks for itself. In my opinion he is an insult to University Professors everywhere in that he shows no sign of independent critical thought but chooses instead to regurgitate the same old ideals of the Nazi Eugenicists. It is irresponsible and highly dangerous.

Timucin Leflef: I wrote a feature-length version of the movie on a Masters Degree course back in 2006. It was also set in Ireland and probably has one of the most exciting opening sequences in sci-fi film history. I'd like to think so anyway. However, the Irish Film Board told me they don't like making 'genre movies' which came as a bit of a surprise to me seeing as cringe-inducing movies about miserable people living boring little lives is a whole genre unto itself at which the Irish Film Board excel. I've therefore set my film in the States now, but still won't reveal the opening sequence until the movie has been released.

Timucin Leflef: Well, I've been developing A.D. and Project Bluebeam, both of which are features, over the last few years. I was also making my own documentary on the New World Order, but was whacked on the back of the head last year in a suspicious assault, so I guess I may have to back out of that now. The funny thing is Jim Tucker predicted something like that would happen.

I'm primarily a writer-director. Because of this, I only write scripts I would direct myself. Writing scripts for someone else to direct is like giving away your best work to make someone else look good. Besides, they're only going to change your vision of it anyway. So no, I wouldn't write for any series or film unless I was also given the freedom to direct it, turn it completely on its head and make it more interesting. As regards remakes, I don't think I'd ever remake someone else's movie as they seldom turn out as good as the original, unless I were making a spoof or approaching the material from a totally different angle. With this in mind, I was quite impressed by the latest Star Trek offering in that they brought a fresh perspective to the franchise and also harked back to the colour, style and the sense of fun of the original series. That would be more my style of filmmaking.

Timucin Leflef: Most certainly. You can check out my site lightfilms.com and also see my short films at vimeo.com/lightfilms and youtube.com/lightfilms1 I've also started my own personal blog at www.timucin.com And of course you can add me on the alleged CIA data-mining site ... facebook.

Check out the latest video blog from Richard @ his YouTube Channel.