What???... that makes no sense. It doesn't fly. Why would Patterson or Deatley do such a thing? Because they're schemers? Come on, RK. Why the hell would even a chancer like Patterson cook up such nonsense? Why would he have to? Think about it. Patterson, supposedly, has captured a real Bigfoot on film. They wouldn't need any flim flammery. They wouldn't care what it looked like. Patterson has a slam dunk on film and wouldn't give a ****. It's the duck's nuts and he's gonna be cashing in, big time. Why complicate things with such nonsense? It serves no purpose. Patterson was a liar and a showboater, but, he was not brain damaged. What little extra zing he could wring out of such a story would simply be not worth the time, effort and risk. It does not add up... if it was real.
Even Patterson didn’t believe that he had a slam dunk at first, until he saw the film. (And the three Bigfooters who saw the film on Sunday weren’t all that impressed with it. The film was mostly blurry and jumpy, and Patty was far away. When I saw it in a theater in the mid-70s, it was no slam dunk. There was no stabilization, and either slow motion or close-ups may have been lacking.)
Regardless of their own impressions of the film, Patterson and/or DeAtley would likely have realized that they would be suspected by some of darkroom manipulation to produce an authentic-looking result—and therefore that it would be good to forestall such an objection by (falsely) claiming to have developed it the day after it was filmed. There was no “time and effort” involved in making such a claim.
And Patterson and DeAtley didn’t realize they were running a “risk,” either, by claiming the film was developed on Saturday. They had no idea of the Kodachrome 2 movie-film development schedule at Technicolor in Seattle, which would have made same-day development impossible, nor about the impossibility of it being developed there by a rogue employee, nor about the impossibility of amateur development of it.
(About seven years or more ago I interviewed, at length, Frank Ishihara, head technician at Technicolor, and he told me that any unauthorized development would have been easily detected, and that even if the film had been brought in on Friday it wouldn’t have been available for pickup on Saturday. (EDIT: Make that, "even if the film had been brought in on Saturday it wouldn’t have been available for pickup on Sunday.") I haven’t yet written up my interview, but I hope to do so eventually.)
Even if they did realize they were running a risk with their claim, that might not have mattered much—at any rate, not to DeAtley. It would be years before skeptics raised objections about the film development timeline.* By that time they’d have cashed in.
*Even 13 years later, skeptic Kenneth Wylie’s 1980 book,
Bigfoot: A personal inquiry into a phenomenon, did not object to the one-day film development claim. It only notes, “the name of the camera shop that developed the film would almost certainly reveal further interesting problems with the above case.” (page 187)
PS: And, as I wrote, “Patterson may have thought it would make a more dramatic Hollywood recreation that way.” I.e., with a rush to ship off the film for development immediately.