See Me on VividLife!

I’m delighted to announce my appointment as Featured Contributor for Arts & Entertainment for VividLife magazine, a new web-based magazine and information resource. My weekly column will begin appearing on Wednesday July 15 at 3 pm Eastern time, when the web site goes live at http://www.vividlife.me/.

So what is VividLife? According to Founder Shayne Traviss, “VividLife is an online community of conscious minded, visionary individuals and businesses interested in personal growth, spirituality, conscious living, environmental conservation and protection, and working toward being the absolute best that we can be. VividLife will connect you to the most current, optimistic and inspiring stories, current affairs and research that pertain to opening your mind: eliminating ‘nos,’ ‘cannots’ and ‘impossibles’ and empowering you to utilize its resources to achieve your ultimate life.”

VividLife will cover topics ranging from health and wellness issues to spirituality, eco and green living, yoga and meditation and travel to raising healthy children, pets and personal growth. And, of course, it will feature my writings about movies and conscious creation/law of attraction principles.

I’m thoroughly excited about this new opportunity! So I hope you’ll join me in this new undertaking and visit VividLife, your ultimate life resource.

http://www.vividlife.me/

Hope for a Failed Species

“Whatever Works”

As humans, are we a race of greedy, self-serving morons hopelessly destined for an unceremonious demise brought about by our own witless, self-destructive impulses? Or are we a species capable of ushering in a future brimming with promise and potential for a more harmonious and compassionate world? According to the new Woody Allen comedy “Whatever Works,” the answer, in both cases, is “yes.”

“Whatever Works” tells the story of Boris Yellnikoff (Larry David), an aging, curmudgeonly, egotistical, condescending Gothamite whose disillusionment with life and contempt for humanity would make even the most jaded cynic look like an apple-cheeked pollyanna. Having experienced failure in virtually every aspect of life—marriage, career, even a suicide attempt—he now spends his days bellowing incessantly about the woeful state of mankind, berating virtually everyone around him and boasting that he is one of the few who is wise enough to see the big picture about man’s inevitable slide into decay as “a failed species.” Boris sees life as a struggle to get by, wherein each of us does “whatever works” just to get through the day. (How’d you like to be sitting next to him on a plane?)

Things take a surprising turn one night, however, when Boris meets Melodie (Evan Rachel Wood), a perky, young, dimwitted former beauty queen who has run away from her dysfunctional fundamentalist family in Louisiana. Even though she’s Boris’s emotional opposite and intellectual inferior many times over, Melodie touches something in Boris in a way that few others have. They quickly wind up living together and eventually marrying. As time passes, the interaction between the couple leads to internal changes that slowly surface in each of them (periodic backslides in character notwithstanding), and this process accelerates when Melodie’s parents, Marietta (Patricia Clarkson) and John (Ed Begley Jr.), show up unannounced in search of their long-lost baby. Changes abound for Boris and Melodie, as well as for the new arrivals, through their involvement with one another, with a pair of Boris’s acquaintances (Conleth Hill, Olek Krupa) and with a trio of outsiders (Henry Cavill, Christopher Evan Welch, Jessica Hecht). Outlooks shift, and, before long, all of the cards become shuffled in seemingly unforeseen ways. In the end, our hero’s “whatever works” philosophy comes to rule the day but in beautifully unpredictable ways no one expects, himself included.

From a conscious creation/law of attraction standpoint, this picture is an excellent exploration of probability principles. In particular, the film is at its strongest in its razor-sharp depiction of the range of probabilities open to us as practitioners of this philosophy.

Since conscious creation maintains that we all have an infinite range of options open to us at any given time, the only true limitations we have are the beliefs we hold and the choices we make. In the spirit of that notion, this movie provides an excellent example of how we can employ that idea in our lives and, in turn, a clear illustration of how (and why) we end up with the results we get.

Probability principles are reinforced in symbolic ways in the film, too. For example, we’re told that Boris’s former career was as a quantum physicist, one who investigates the science of possibility, an issue central to the picture’s story line. Admittedly, it’s a bit puzzling that Boris would willingly choose to adopt such a dour view of life, since, theoretically speaking, based on his professional calling, he should be aware of the unlimited range of probabilities open to him. However, his selection of such a negative worldview also gives validity to this particular expression of existence, one that’s ultimately just as viable as any other in conscious creation (unpalatable though it may be to many of us). Therein lie the essence—and the beauty—of the role of freedom of choice in conscious creation, a critical aspect of the process that we should never lose sight of and an integral message of the film.

I must admit I had some apprehensions about this movie going in. Having seen the trailers, I was concerned that this picture might be little more than an extended episode of Curb Your Enthusiasm, David’s long-running HBO comedy series. And the first half-hour indeed is somewhat like that, with the protagonist’s over-the-top screeds becoming tiresome rather quickly. I also found the film’s on-camera first-person narration a bit tedious at times, especially in the beginning. But as the story progresses, as additional characters and different themes are introduced, the film becomes much more engaging and enjoyable. If you can stick out the first 30 minutes, you may find yourself warming up to the picture like I did.

I can’t say that this movie offers any particularly earth-shattering new insights that we haven’t seen before. Director Woody Allen has explored many of these ideas and scenarios in earlier titles with better characters, performances, stories and writing (especially when it comes to one-liners). However, the one achievement this film accomplishes better than its predecessors is that it clearly delineates the difference between appealing and objectionable probabilities and the role that each of us plays in determining how we end up in one or the other. This theme has been present in many of Allen’s earlier pictures, but this film unquestionably knocks it out of the park. While a delineation such as this may seem obvious to seasoned conscious creation practitioners, those who are new to, or less experienced with, the philosophy may find the movie’s directness on this point a shining example of what to do, or what not to do, with one’s beliefs and choices.

It’s encouraging to see that, despite all the strife and despair we’ve created in our world, it just might be possible to get things right in the end. We need to make sure, however, that we hold the beliefs and make the choices that allow suitable manifestations to materialize.

Maybe there’s hope for this failed species yet.

(“Whatever Works”—2009; Larry David, Evan Rachel Wood, Patricia Clarkson, Ed Begley Jr., Henry Cavill, Conleth Hill, Olek Krupa, Christopher Evan Welch, Jessica Hecht, Michael McKean, Carolyn McCormick; Woody Allen, director; Woody Allen, screenplay)

Finding Our Way

“Away We Go”

Journeys of self-discovery have long been staples of the movie industry, but they’ve nearly always been depicted through adolescent coming of age stories. Rarely has the notion been explored through the eyes of those who are a little older and, at least theoretically, a little wiser. Where are the tales of the 20- and 30-somethings who wonder whether or not they’ve missed the boat of life and are floundering about trying to find their way? Thankfully, there now is a film for young adults who’ve experienced the uneasiness of feeling untethered and directionless, the comedy-drama “Away We Go.”

Burt (John Krasinski) and Verona (Maya Rudolph) are a young unmarried couple expecting their first child. They live in what appears to be a pieced-together shack, yet they seem to be doing fairly well for themselves financially (Burt works in insurance futures, Verona’s a medical illustrator). They live near Burt’s parents, Gloria (Catherine O’Hara) and Jerry (Jeff Daniels), and they look forward to sharing the joy of their new arrival with them—that is, until the free-spirited grandparents-to-be announce that they’re fulfilling their long-held dream of picking up and moving to Brussels, a move scheduled to occur a month before the baby is born.

Needless to say, Burt and Verona are thrown for a loop; one of the few reasons underlying their current living arrangements is now gone. This revelation, in turn, prompts them to wonder whether they’ve screwed up their lives and to question if there isn’t something better for them out there somewhere else. And so they embark on a road trip to investigate other opportunities, a journey that’s as much literal as it is metaphorical.

Burt and Verona’s trip takes them to a variety of locations. Along the way, they have a chance to witness examples of how others live and whether they wish to emulate what they see. Specifically, their journey takes them:

* to Phoenix, where the couple meets Verona’s former boss Lily (Allison Janney) and husband Lowell (Jim Gaffigan), an example of the American dream gone sadly awry in the tackiest of ways;

* then to Tucson to visit Verona’s younger sister Grace (Carmen Ejogo), whose successful but lonely life evokes sorrow and raises issues of the past that her big sister is reluctant to discuss;

* then to Madison, where Burt interviews for a new job and reconnects with an old friend, LN (Maggie Gyllenhaal), a flaky professor steeped in every New Age lifestyle cliché with her oh-so-sensitive squeeze Roderick (Josh Hamilton), a househusband so in touch with his feminine side that he’d make Alan Alda look like a chauvinist;

* then to Montreal to visit Verona’s old college friends Tom (Chris Messina) and Munch (Melanie Lynskey), the proud parents of a houseful of adopted children but whose seeming happiness is overshadowed by a painful secret;

* and then, quite unexpectedly, to Miami, where Burt attempts to comfort his brother Courtney (Paul Schneider), whose wife has just abandoned him and their young daughter.

But, even after all this travel and travail, Burt and Verona still don’t find the model on which to base their new lives. They have plenty of examples of what not to do, but that still doesn’t give them the template they need to create a happy existence for themselves. Maybe their own model would be the wisest option to pursue, but what would that be? Coming up with such a prototype is the challenge for the questioning couple, and by doing so, maybe they’ll find what they need (and discover some new things about themselves in the process). But, even more importantly, based on what they’ve seen in their journey, maybe they’ll also find they’re not as screwed up as they thought they were.

This film aptly illustrates many of the conscious creation/law of attraction principles discussed in Get the Picture. It’s a prime example of the belief evolution concepts discussed in Chapter 7, and it does so fittingly through the road trip story model that provides the basis for the cinematic examples discussed in that chapter. It also addresses the creation by default concepts covered in Chapters 1 and 2 in that it shows Burt and Verona being exposed to plenty of examples of people letting life happen to them rather than assertively taking the reins to figure out which probabilities are best. These unsuitable examples, ironically enough, give the young couple the inspiration they need to go out and create the reality that’s most appropriate for them.

One occasional criticism of the film has been that the character development is at times weak and/or inconsistent, that Burt and Verona are little more than undefined tour guides for carrying the story. However, I would contend that’s what most journey of discovery films are all about—the emergence of self-awareness of one’s beliefs and the creations that go with them. (After all, how can there be full development when that development is itself clearly in process?) In fact, I found it interesting that the protagonists actually seem to know themselves better than they often give themselves credit for; their self-awareness and their insights about what they want are often remarkably clear and incredibly specific, qualities that one could point to as healthy examples of character development (and in both on- and off-screen applications, too). Through this, Burt and Verona ultimately find that their lives may need mere tweaking than complete overhauls. We should all have it so good!

“Away We Go” is an endearing story from start to finish, with excellent performances by the entire cast (props in particular to Janney, Gaffigan, Gyllenhaal, and Hamilton). Sam Mendes’s direction is back in form, too, perhaps not at the same level as in “American Beauty” but certainly a strong recovery from “Revolutionary Road.” The picture is, admittedly, a rather strange release for a summer film, but it’s a welcome reprieve from the season’s typical fare.

Find your way to this film. After seeing it, you just may find new discoveries about your own way and the promise it holds for the future, leading you to ever greater degrees of personal happiness and fulfillment. And that’s always worth the trip.

(“Away We Go”—2009; John Krasinski, Maya Rudolph, Catherine O’Hara, Jeff Daniels, Allison Janney, Jim Gaffigan, Carmen Ejogo, Maggie Gyllenhaal, Josh Hamilton, Chris Messina, Melanie Lynskey, Paul Schneider; Sam Mendes, director; Dave Eggers and Vendela Vida, screenplay)

To Boldly Go Where We’ve Been Before

“Star Trek”

The latest installment in one of the entertainment industry’s most successful and longest-running franchises, “Star Trek,” has been one of the most anticipated releases of the 2009 summer movie season for several years (yes, years). That’s translated into a lot of pressure being put on the cast of on- and off-screen newcomers who have assumed the mantle of this venerable series. Much speculation has focused on whether the new kids could deliver. I’m pleased to say that they have—and in convincing fashion.

Admittedly, I was more than a bit skeptical. As a longtime “Trek” fan, I wondered whether this latest offering could live up to the high standards established by the franchise through 10 theatrical films and 5 TV series. And questions abounded: What would the new movie be like? Would it have to rely on special effects and action to carry the story, or would it be character-driven as so many of its successful past installments were? Could it effectively re-create (or, in some cases, reinvent) characters that viewers have come to know and love for over four decades? Or would it end up committing one of filmmaking’s cardinal sins—that of failing to properly do justice to a classic? Fortunately, the film succeeds in all the right ways, and it has done so thanks to conscious creation/law of attraction principles, not only in terms of how they're reflected in the story on the screen but also in terms of what they have done for the prospects of the franchise going forward.

The film is essentially a prequel, telling the back story of how the crew of the Starship Enterprise from the original TV series came together. But it does so by featuring younger versions of the characters from that series, when they were still brash young recruits fresh out of their Starfleet Academy training. Viewers are thus treated to the inside scoop on the early days of long-running characters Capt. James T. Kirk (Chris Pine), First Officer Spock (Zachary Quinto), Dr. Leonard “Bones” McCoy (Karl Urban), Lt. Uhura (Zoe Saldana), Engineer Scott (Simon Pegg), Helmsman Sulu (John Cho), and Ensign Chekov (Anton Yelchin). Together with Captain Christopher Pike (Bruce Greenwood), the starship’s original skipper, the neophyte crew members do battle with the evil Nero (Eric Bana), a renegade Romulan who threatens to destroy all the worlds of the United Federation of Planets, the galactic alliance that the Enterprise is sworn to protect.

Conscious creation/law of attraction principles come into play in this film in a variety of ways, most notably in how it addresses the subject of probabilities. As practitioners of this philosophy are well aware, multiple probabilities for creation are available to us at any given moment. So it is, too, for the characters here, and it becomes apparent that this is true not only in their present moment but also across the vast expanses of time and space. What will they do with the options available to them? How will the choices they make—sometimes even those of a seemingly inconsequential nature—impact how events evolve over time? Do they have the courage to face their fears and live heroically to see the full flowering of their value fulfillment? These are all heady conscious creation questions, and they all have an opportunity to be addressed through the film’s characters and story line.

Those same sorts of questions were faced by those who brought this latest installment to the screen. They had big shoes to fill and some mighty big risks to address. But they rose to the challenge and brought forth a creation worthy of its storied birthright.

Perhaps the biggest risks involved what elements of the original TV series—from character traits to personal histories to starship technology—were to be retained, tweaked, or outright changed. This required some bold steps by the creators, particularly where the issue of fan reaction was concerned (longtime devotees of any art form seldom take well to alterations of that which they consider sacred). But here the creators’ well-calculated risks paid off handsomely, with viewers being shown sides of beloved characters that they never knew existed, their true multidimensional natures being allowed to shine through in intriguing ways. Such shrewd moves also enabled the opening up of potential new story lines for future installments in the series, including some that involve elements not previously introduced—or even contrary to—the previously chronicled “Star Trek” mythology. In the strictest sense, then, it may not be entirely accurate to label this film a prequel as much as a reboot of the franchise.

Those who are new to “Star Trek” needn’t worry about knowing the history or characters of the original TV series to understand what is going on in this film; everything is adequately explained without belaboring anything. And those who are acquainted with the long-running mythology no doubt will enjoy the way this movie seamlessly and subtly weaves together a host of elements from and references to the original TV series, the theatrical films, and even The Next Generation TV series. Effectively meeting the needs of both new and veteran viewers in this way is quite a feat indeed.

The cast and creators of this latest “Star Trek” installment have boldly gone where we’ve gone before—and have succeeded triumphantly in doing so. Let the mission continue . . .

(“Star Trek”—2009; Chris Pine, Zachary Quinto, Leonard Nimoy, Eric Bana, Bruce Greenwood, Karl Urban, Zoe Saldana, Simon Pegg, Anton Yelchin, Ben Cross, Winona Ryder, Chris Hemsworth, Jennifer Morrison, Faran Tahir, Tyler Perry; J.J. Abrams, director; Gene Roddenberry, source material; Roberto Orci and Alex Kurtzman, screenplay)

10 Little-known Gems

With the summer movie season nearly upon us, Hollywood is ready to release this year’s cavalcade of blockbusters. This annual array of high-tech eye candy, full of spectacle and special effects wizardry, will no doubt deliver more than its share of action, thrills, and larger-than-life figures. But while these films may be good examples of facing fears and living heroically—undoubtedly integral concepts for effective conscious creation—they nevertheless may fall short for those seeking more substantive fare. With only a few exceptions, such as new releases from directors like Woody Allen and Stephen Frears, this summer’s crop of new films may seem like a celluloid wasteland to moviegoers who desire more out of their cinematic experiences. So in light of that, it may be time for more selective viewers to turn to cable TV or the DVD rack to find more suitable offerings.

It’s with the foregoing in mind that I present the following list of little-known gems for alternative summer viewing. These movies may not be household names, but they effectively explore various aspects of conscious creation/law of attraction principles in highly entertaining ways. So, in no particular order, here are 10 candidates worth seeing:

“Stranger Than Fiction”: What happens when a novelist meets one of her fictional characters in physical form? And what if creation and creator are at odds with one another about the creation’s fate? A hilarious look at the nature of reality and what drives its materialization. (2006; Will Ferrell, Maggie Gyllenhaal, Emma Thompson, Queen Latifah, Dustin Hoffman; Marc Forster, director; Zack Helm, screenplay; 1 Golden Globe nomination)

“Vitus”: A multitalented child prodigy’s greatest challenge is learning what it takes to create a “normal” life for himself in the face of high expectations from everyone around him. He learns what a unique talent it takes just to be oneself. (2006; Fabrizio Borsani, Teo Gheorghiu, Julika Jenkins, Urs Jucker, Bruno Ganz, Eleni Haupt, Kristina Lykowa, Tamara Scarpellini, Heidy Forster, Daniel Rohr, Norbert Schwientek; Fredi M. Murer, director; Peter Luisi, Fredi M. Murer, and Lukas B. Suter, screenplay)

“Solaris”: High strangeness abounds aboard a space station launched to study a planet with unusual qualities—and capabilities—an experience that brings crew members into contact with their innermost thoughts and feelings in ways that startle, astound, and enlighten. Remake of a 1972 Russian film of the same name. (2002; George Clooney, Natascha McElhone, Viola Davis, Jeremy Davies, Ulrich Tukur; Steven Soderbergh, director; Stanislaw Lem, book; Steven Soderbergh, screenplay)

“Whale Rider”: A young Maori girl lives out her value fulfillment, rising to meet her destiny as a tribal leader, despite cultural obstacles that would hold her back. A gorgeous and moving offering from New Zealand. (2002; Keisha Castle-Hughes, Rawiri Paratene, Vicky Haughton, Cliff Curtis, Grant Roa, Mana Taumaunu; Niki Caro, director; Witi Ihimaera, book; Niki Caro, screenplay; 1 Oscar nomination)

“Bread and Tulips”: A bumbling housewife trapped in a bad marriage creates a new life for herself by taking off on an impromptu Venetian holiday, an opportunity that allows her to believe in herself—and blossom—in ways she never dreamed possible. A lively Italian romantic comedy. (2000; Licia Maglietta, Bruno Ganz, Giuseppe Battiston, Antonio Catania, Marina Massironi, Felice Andreasi, Vitalba Andrea, Tatiana Lepore, Tiziano Cucchiarelli, Matteo Febo, Lina Bernardi, Ludovico Paladin; Silvio Soldini, director; Silvio Soldini and Doriana Leondeff, story and screenplay)

“August Rush”: A young boy put up for adoption at birth uses his art—and his conscious creation wherewithal—to discover the truth of his background and to fashion the life he craves. A heartfelt, inspiring, metaphysical melodrama. (2007; Freddie Highmore, Keri Russell, Jonathan Rhys Meyers, Terrence Howard, Robin Williams, William Sadler, Marian Seldes, Mykelti Williamson, Leon Thomas III, Jamia Simone Nash, Bonnie McKee, Alex O’Loughlin, Aaron Staton, Ronald Guttman; Kirsten Sheridan, director; Paul Castro and Nick Castle, story; Nick Castle and James V. Hart, screenplay; 1 Oscar nomination)

“Malos Hábitos” (“Bad Habits”): A reflective exploration on the nature of the relationship between our two principal sources of nourishment—spirituality and food. An unlikely premise for a very thoughtful film. This hard-to-find gem from Mexico played primarily at film festivals but is available through import DVD sellers. (2007; Ximena Ayala, Elena de Haro, Marco Antonio Treviño, Aurora Cano, Elisa Vicedo, Emilio Echevarría, Patricia Reyes Spíndola; Simón Bross, director; Ernesto Anaya and Simón Bross, screenplay)

“Shadows and Fog”: The search for clarity in life—and how to employ it in our creations—is symbolically played out through the murky nighttime exploits of a circus troupe, a band of sharp-tongued prostitutes, a moody intellectual, a put-upon apparatchik, and rival gangs of vigilantes seeking a serial killer in a small town. A funny and surreal mood piece reminiscent of a Kurt Weill opera. (1991; Woody Allen, Mia Farrow, John Malkovich, Madonna, David Ogden Stiers, Donald Pleasence, Lily Tomlin, Jodie Foster, Kathy Bates, Anne Lange, John Cusack, Julie Kavner, Kenneth Mars, Wallace Shawn; Woody Allen, director; Woody Allen, screenplay)

“Big Eden”: When a gay New York City artist is called home to Montana to care for the ailing grandfather who raised him, he embarks on a journey of personal discovery to find the true nature of love, family, and happiness—that is, as long as he’ll allow himself to embrace the beliefs that will make it all possible. A real heartwarmer. (2000; Arye Gross, Eric Schweig, Tim DeKay, Louise Fletcher, George Coe, Nan Martin, O’Neal Compton, Corinne Bohrer, Veanna Cox; Thomas Bezucha, director; Thomas Bezucha, screenplay)

“UFOria”: A small-town grocery store cashier who’s convinced that Jesus’s second coming will be in a flying saucer gets caught up in a string of relationships with shady characters who seek to use her unique vision for their own purposes. A quirky, sometimes-cynical, often-surprising, little-known comedy. (1985; Cindy Williams, Harry Dean Stanton, Fred Ward, Beverly Hope Atkinson, Harry Carey Jr., Darrell Larson, Diane Diefendorf; John Binder, director; John Binder, screenplay; VHS format only)

Good viewing!

What Is It With Us? (Part II)

In my last blog entry, I wrote about our obsession with violence in movies (and the world at large), its origins in our beliefs, and the need to change those beliefs if we ever expect to change our world. In this post, I want to go a little deeper, moving beyond the surface of those beliefs to see what’s driving them in the first place so that we may be better able to understand why they exist and what we can do to change them.

In most films with violence and destruction – just as in most crimes and warfare that take place in the outer world – the scenarios that unfold usually center on the acquisition of resources of some kind. The parties seeking to obtain said goods generally do so because they essentially believe they don’t have enough of their own, and so they resort to some form of aggression to take them from others. As one speaker put it at a New Age conference I attended years ago, these situations most often boil down to instances of “beating up your neighbor and taking his stuff.”

So where does this sense of lacking come from? I think it arises from a basic core belief in scarcity: There isn’t enough – and there never will be enough – of whatever we need, so we have to go get ours in any way we can. This notion thus becomes the rationale for all kinds of heinous acts, from simple shoplifting to full-scale war. If only the perpetrators would realize that they’re acting out of beliefs that they could change, the outcomes would be quite different.

Scarcity beliefs, as with most others, likely emerge through our individual and collective experiences. And the longer the beliefs persist, the more entrenched they become, which makes it more difficult to change them. But change is never impossible if we’re willing to allow ourselves to open up to and embrace other probabilities. For instance, where scarcity issues are concerned, why not simply create more of the sought-after commodities? Some might doubt the veracity of that, but there’s a famous little story about someone who did something with loaves and fishes, for example, that would seem to contradict that. If that example is too esoteric or implausible for your liking, then consider the many entrepreneurs who have amassed legitimate fortunes for themselves during economic slowdowns like the Great Depression. Miracles do happen, but they originate with those manifesting them; it’s not the result of dumb luck or capricious chance but a concerted creative effort (even if it’s not always consciously recognized as such).

The frustration of scarcity, however, may be too much for some to handle, and they ultimately give up. Responses to this can range from depression to despondency to suicide. I believe it’s also the driving force behind the collective death wish that so many have and have had throughout the ages. Prophets of many stripes have foretold of the end being near for eons, and yet, somehow, we still seem to be here. I can’t speak to what happened to them in their individual realities, but a world as many of us know it has somehow managed to continue. We can see evidence of that, for example, in our ongoing existence in the wake of the society-ruining ravages of Y2K (remember that?) or the earth-shattering planetary alignment of May 5, 2000 (quite a shocker, wasn’t it?). I imagine we’ll all wake up and be quaking in our boots on the morning of December 22, 2012, too.

Such apocalyptic visions do seem to take hold nevertheless, probably because they represent an easy escape. In the 1991 metaphysical talkfest “Mindwalk,” actor John Heard spoke of ancients who envisioned Armageddon at every turn. But he also noted how many of these ancestors, who were leading hard lives at the time (as many of us are today), actually welcomed it as a relief from their everyday ordeals. They saw it, as he put it, as “the ultimate day off, as opposed to the ultimate off-day.” And this, perhaps, may account for the popularity of such current cultural materializations as the Left Behind book series and movies like “Knowing,” even if they don’t always share the same sense of hopefulness as our forbears.

But is throwing our arms up in futility and wishing for an end to it all an adequate response? I can’t speak for everyone, but for me, it’s not. In fact, I see it as the ultimate abrogation of personal responsibility, one of the cornerstone principles of conscious creation. In choosing to experience reality as physical beings, we had to have agreed to the rules of this game at some point, including those concerning responsibility. Now that we’re here, however, it would seem many of us are looking to opt out in one way or another for one reason or another. But don’t we realize that we can change the rules by changing our beliefs and not resorting to acts of desperation or cowardice to get by? Somewhere along the line, we’ve lost sight of that.

I’d like to hope that, with the flowering of law of attraction and conscious creation principles in recent years, we’re becoming aware that we can create our way out of our difficulties if only we’ll allow ourselves to do so. Admittedly, that does take a sense of personal responsibility, but we’re seeing that idea being championed more readily and more openly now than we have in a long time, as evidenced by comments from the President on downward. This emerging initiative is essentially a lesson in the responsibility of responsibility.

Tragedies big and small occur all the time, yet people live to tell about them and are often better for having gone through them (just ask anyone who’s had a near-death experience, for example). We’re at a critical time in our history as a species where we can overcome our self-created obstacles by manifesting self-created solutions if only we’ll allow ourselves the wherewithal, personal courage, and sense of responsibility to forge ahead with them.

Will we, as I wrote in Chapter 6 of Get the Picture, be willing to face our fears and live heroically to reap the rewards available to us? Each of us must answer that for ourselves, but I’d like to hope the answer is yes. I can’t tell others what to do, but based on my experience, I’d encourage them to give the idea a shot, for I have found that, in the end, making the effort is well worth it.

What Is It With Us?

The last few times I went to the movies, I was really struck by something unnerving while watching the previews: The excessive level of violence depicted in the parade of new releases was quite troubling. Granted, this is nothing new when it comes to the movies, and many of the upcoming films featured are typical of traditional summer fare – blockbusters riddled with action and explosions and superheroes galore. So why should I find this so disturbing?

My first thought was, “Brent, you must be getting old.” But then I realized that this wasn’t it; there was more to this than me becoming an old softy in my advancing years. So I pondered this a bit further, and it wasn’t long before a simple rhetorical question popped into my head that plausibly seemed to address the issue: Why must there be so much violence on the screen in the first place?

The easy answer to that, of course, is the stock reply that many filmmakers give when asked this question: Such violence is merely a reflection of what’s going on in the world. Opponents of that view, by contrast, would contend just the opposite, that the world is a violent place because of what we see in visual media like the movies, with impressionable viewers simply acting out what they see on screen. For me, however, neither of these answers is satisfying, and that’s where conscious creation comes in.

Conscious creation teachings maintain that we create our realities from within based on the beliefs we hold. So if there’s so much violence going on in the movies (or in the streets), then that, too, must be a result of our beliefs – no matter how loathsome they may be. The reflection/acting out arguments noted above are nothing more than superficial chicken-and-egg exercises that only address the symptoms of this issue and never get to its root cause. In conscious creation, if we truly want to alter the outcome, we need to change the force that’s driving it in the first place.

This realization, of course, begs the next question: What is it with us that we feel so compelled to see so much carnage on the screen (or to act it out in real life)? That, unfortunately, is a question I don’t have an answer for.

No matter what the answer is, violence is seemingly everywhere in the movies. I should note that I’m not dogmatically opposed to its inclusion in a picture, either, as long as it’s in context and not gratuitous. Yet it’s hard to escape the rampant explosions and routine displays of mangled bodies in today’s cinema. In fact, there’s so much of this in the movies, even in award-caliber films, that it prompted Jon Stewart, host of the 2008 Oscar broadcast, to quip “Thank goodness for ‘Juno’ and teen pregnancy” during the show’s opening monologue. And with the summer movie season at hand, there’s plenty more destruction and savagery on the way, as can be seen in the first looks at new films like “Terminator Salvation.” Even previews of “Star Trek,” that long-standing staple of avant-garde optimism, show what appears to be an uncharacteristically elevated level of “action” in the franchise’s latest offering.

I’m amazed at how unfazed viewers are about all this, too. For instance, in the recently released sci-fi fantasy “Watchmen,” to which I gave a conditional recommendation (see my previous blog entry, “The Responsibility of Power”), there is an inordinate level of brutality that made the film difficult to watch at times, despite its many other redeeming qualities. And yet, in nearly all of the write-ups I read about this picture, viewers and critics often complained at length about its nudity and language and said virtually nothing about its graphic violence. Are flesh and foul words really greater artistic offenses to be shielded from? Do skin and swearing really trouble us more than seeing someone getting his head bashed in? Moreover, have we become so desensitized to on-screen violence that we don’t even notice it any more? If so, I’d argue, there’s something seriously wrong with our thinking.

I bring all this up because it relates to a bigger issue, one that I discussed in another recent blog entry, “As the Paradigm Turns.” In that post, I eagerly expressed my hope about the many positive changes that are taking place in our world these days – developments that are arising from within us. I’m encouraged about what we’re creating and the beliefs associated therewith. But I’m also concerned that, without the implementation of other necessary changes, such as shifts in our beliefs about violence, both in the arts and elsewhere, the aforementioned improvements could be derailed or negated by a lack of alteration to our own inner nature. If we want the world to change, we have to change ourselves first.

In light of that, then, it’s time for us to take a good, hard look at ourselves and ask “what is it with us” when it comes to the issue of violence. No matter how or where it’s expressed, violence still originates from within. And with all the positive progress we’ve made so far, it would be a pity to see that undermine what we’ve already accomplished. We must do what we can now so that our new paradigm continues to forge ahead and not get thrust into reverse.

Get the Picture on Dreamland Podcast

On March 28 I hope you’ll log onto Dreamland, the popular internet radio show on Whitley Strieber’s UnknownCountry, to hear me and host Anne Strieber discuss conscious creation as it's addressed in three films, "Slumdog Millionaire," "Groundhog Day," and "The Wizard of Oz."

The show will be available for listening online for four weeks and thereafter will be posted in the site's archives for UnknownCountry subscribers. Subscribers will also have access to an exclusive second interview in which Anne and I discuss the movie “Doubt” and other topics from a conscious creation standpoint. To subscribe, visit UnknownCountry.com.

The Responsibility of Power

“Watchmen”

Thoughts, feelings, and beliefs are very powerful things. In fact, as author and consciousness explorer Jane Roberts wrote of them in The Nature of Personal Reality (Seth Session 625, November 1, 1972), they contain enough power to send a rocket to the moon. So, then, as I wrote in the introduction to Get the Picture, given that our thoughts, feelings, and beliefs form the basis of our reality, there’s a tremendous responsibility incumbent upon each of us to manage that power properly so that it’s not abused. It’s a consideration that should be integral to every creation we seek to manifest, no matter how seemingly great or small. And it’s that very theme that’s central to the recently released cinematic fantasy “Watchmen.”

The story line of this sweeping spectacle is far too complicated to detail here, but, in a nutshell, it follows the exploits of the Watchmen, a group of superheroes who have been forced underground for what are seen as renegade vigilante activities. Having been looked upon approvingly by the public for decades, with their ranks even spawning a second generation of selfless Samaritans, these now-discredited (and unemployed) champions of society are subjected to dealing with their forced retirement. They spend most of their time engaged in a variety of lackluster personal and professional pursuits, their lives mere shadows of their past glories. But that all changes one night when they’re reunited, albeit somewhat reluctantly, by a common goal – investigating the murder of one of their own, a grizzly crime that gives them pause to ponder about their own safety and purpose to track down whoever is responsible for their colleague’s death. In doing so, however, they wind up uncovering the plan of a secret initiative whose staggering global ramifications are almost incomprehensible.

Set against the backdrop of an alternate version of 1985, the film takes viewers into a violent and crime-ridden world somewhat reminiscent of that in the sci-fi classic “Blade Runner.” It’s a bleak existence where the cold war rages on relentlessly and where Richard Nixon is still President (talk about scary). At the same time, forces are feverishly at work to resolve the world’s myriad troubles and prevent World War III from breaking out. But will they achieve their goals in time? And at what cost? What’s more, are the seeming altruists behind these efforts everything they appear to be? All of these factors (and more) figure in to our heroes’ quest to solve the mystery of their colleague’s demise, taking them – and us – on a harrowing journey fraught with countless perils, ever-present danger, and endless wonder.

What I found most engaging about this film is its exploration of conscious creation as it relates to the management of personal power. The subject is eloquently addressed by one of the Watchmen, Dr. Manhattan (Billy Crudup), a former scientist who, as a result of an experiment gone awry, has become the embodiment of a quantum being, one who can manipulate matter on a whim and experience virtually any probable existence he wants in an instant. Despite the stupendous marvels such vast powers make possible, however, he struggles with them, for at his core he is attempting to manage these mind-boggling capabilities based on his much more limited experience as a human being with all of man’s frailties and failings. Over time, though, he comes to terms with this metaphysical conundrum. He sees the potential for the abuse of such powers and tries to convey that message to his human counterparts. But will they listen? Or will they ignore his warning and use them for self-serving ends, giving in to what he sees as man’s inherent savagery? Based on many of the situations that unfold in the film, the good doctor would appear to have ample reason for being discouraged, especially when this question even becomes an issue for his superhero peers. This is a potent message for a world seemingly gone mad, one that both characters – and viewers – would be wise to heed.

“Watchmen” is by no means a perfect movie. When it’s on, it’s brilliant. Its special effects are visually stunning, and its profound metaphysical insights are presented with remarkable clarity. It also has a superb soundtrack and loads of tongue-in-cheek humor. When it’s off, however, the picture can be somewhat tedious. At a running time of 2:42, it could have stood some judicious pruning of extraneous detail to make the film tighter all around. It’s also gratuitously and grotesquely violent in a number of sequences, with some visuals that would make even the strong of stomach more than a little queasy at times (yours truly included). I question the need for the inclusion of such imagery, but then if you consider the premise postulated by Dr. Manhattan regarding man’s inherent savagery, I suppose a case could be made for including such revolting displays to drive home his point (still, keep the barf bag handy if you’re easily upset by such sights).

“Watchmen” packs a punch on many levels, but it does so most effectively when dealing with its central theme of managing our personal power responsibly. It’s a message that’s as relevant to our own outer world today as it is within the context of the film’s alternate timeline. Indeed, this is one history lesson we’d all be well served to learn from.

(“Watchmen” – 2009; Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino, Matt Frewer, Stephen McHattie, Laura Mennell, Rob LaBelle, Robert Wisden; Zack Snyder, director; David Hayter and Alex Tse, screenplay; Alan Moore, graphic novel author; Dave Gibbons, graphic novel illustrator)

Note: If you haven’t already guessed, this is not a film for the kiddies! Even though this picture is based on comic book-style superhero characters, this movie is far different from this genre’s comparatively tame counterparts. The film is rated R, though I must admit that I’m amazed it managed to evade the stronger NC-17 rating, due to its strong violence, pervasive adult language, and frequent nudity (even if computer generated in nature). Parents should strongly consider the suitability of this picture for younger viewers (no matter how much they may beg, whimper, or pout).

Get the Picture on BeliefNet.Com

See conscious creation in the movies covered as you've never seen it before! The subject is now being featured in a slide-show gallery, written by yours truly, at BeliefNet.com, the enormously popular and widely read clearinghouse web site for all things spiritual, religious, metaphysical, and philosophical. The 12-slide gallery features key points addressed in Get the Picture, illustrated beautifully by movie stills from pictures profiled in the book. Enjoy!

Join the Discussion!

Want to share your thoughts about your favorite films from a conscious creation perspective? If so, visit my "Law of Attraction/ Conscious Creation Goes to the Movies" groups at these three spots: PowerfulIntentions.org, Netflix.com, Facebook.com. See you there!

As the Paradigm Turns

There’s been much talk lately (especially since the November elections) that the world is changing, that the paradigm is turning. The specific changes involved run the gamut from political structures and initiatives to social trends and developments to the very nature of our essential worldview. Regardless of the changes in question, though, the central theme underlying nearly all of them is the same – that we’re replacing competition with cooperation (and none too soon as far as I’m concerned!).

The most important consideration to bear in mind with all of this, from a conscious creation/law of attraction perspective, is where the changes are coming from, namely, from within each of us. Our beliefs and consciousness are shifting on the inside, and, as a result, the outer reality we’re manifesting reflects those internal changes. And since we’re doing it simultaneously, it’s a mass co-creation whose impact can be seen and felt on a wide scale.

Such changes are appearing not only in the trends and structures themselves but also in a host of related materializations. One of the most significant of these is in the artwork reflecting those shifts, and my personal favorite – film – is no exception in this regard. In fact, motion pictures are often at the forefront of such sweeping societal changes, and they frequently have considerable impact on their emergence. In addition to depicting specific shifts, movies help to promote those changes by making them more visible to more people, which, in turn, fuels even greater enthusiasm and support for these developments. That’s important, especially when those changes depend on cooperation for their viability.

The silver screen’s influence can be seen in movies from virtually all genres, too. In the area of documentaries, for instance, many films have been released that address emerging changes on a wide variety of topics, such as the environment (“An Inconvenient Truth,” “The Eleventh Hour”), humanitarian and sociopolitical issues (“Darfur Now,” “Zeitgeist”), and social policy issues (the films of Michael Moore, such as “Bowling for Columbine” and “Sicko”). At the same time, many documentaries have been released that discuss the underlying consciousness shifts that make the foregoing changes possible, including such cinematic primers as “The Secret,” “What the #$*! Do We (K)now!?,” “The Indigo Evolution,” “The Moses Code,” and “One – The Movie.”

Of course, theatrical films are not to be outdone on this front, either. More and more pictures showcasing these subjects have been and are being released, including “Syriana,” “Good Night, and Good Luck,” “The Constant Gardener,” and “Milk.” In particular, a number of these films have focused on our inherent connectedness, an essential quality to make the overriding cooperation trend possible, including “Crash,” “Pay It Forward,” and, in their own unique ways, “Hard Pill,” “American Beauty,” and “Magnolia.” And, just as with documentaries, a number of theatrical releases have come to serve as conscious creation/law of attraction primers, such as the visually stunning “What Dreams May Come.”

None of this would be happening, however, were it not for the new filmmaking production and distribution channels that have been arising as well, another development attributable to our shifting beliefs and consciousness. New production companies like Participant Productions, for example, are bringing these pictures to the marketplace. One film currently in the works, “Shift – The Movie,” is a production being made by a collective effort, making the end product as much as movement as it is a motion picture. And new distribution networks, such as movie subscription services (Netflix, the Spiritual Cinema Circle), special showings at alternative locations, simultaneous movie releases in multiple formats, direct internet downloads, and on-demand cable services, are making these works accessible to an increasing number of viewers in an increasing number of ways.

As the paradigm continues to turn, I’m sure we’ll see more of these kinds of films come our way, and very possibly in ways we can’t yet even imagine. It should make for some intriguing viewing indeed.

Note: I’ll be discussing this subject in detail in an upcoming internet radio show interview on April 8 at 5 pm, Eastern Time. Tune in to The Wellness Roadshow with host Catherine Bradford to hear this engaging live conversation. And if you can’t catch the show at the time of its live broadcast, be sure to check it out afterward in the show’s archive section.

Putting It to the Test

In my last blog, I wrote about New Year’s resolutions from the perspective of conscious creation. I specifically addressed the importance of examining our beliefs and how such an analysis applies to setting and carrying through on our hoped-for resolutions. And now that a month has passed, it’s time for a status check on those resolutions. So, at the risk of sounding like Dr. Phil, how are they workin’ for you?

I sincerely hope that your resolutions are panning out as desired. I particularly applaud those of you who did the advance belief work I wrote about, for it provides the foundation for implementing this process; your likelihood of success is virtually assured to be greater than that of those who didn’t put in the up-front effort. But regardless of whether you did or didn’t do such an analysis, if your resolutions aren’t working out as planned, don’t lose faith; this just means there’s more belief work to be done. If you didn’t review your beliefs previously, that means it’s time to do so now; if you did, and the results haven’t turned out as hoped for, then you need to go back and reexamine your beliefs (and whatever changes you might have made to them) to see what you overlooked initially.

I mention this because the belief examination process is important to bear in mind with conscious creation in general, not just as it relates to making New Year’s resolutions. After all, recall from my previous blog that the creative efforts that go into making resolutions are the same as those that go into any other materialization effort, thus making it possible for every day to be like New Year’s Day. It thus makes belief work an everyday practice, too.

But there’s an even more significant reason why I bring this up: When our hoped-for creations don’t turn out as planned, it’s a point where many conscious creation practitioners (especially aspiring ones) often give up on the process entirely. They consequently buy into a belief that the practice doesn’t work, that it might be nothing more than wishful or delusional thinking (not realizing, of course, that that’s a belief in itself—and one that can manifest just as readily as any other). Is that really the route we want to take?

Quite simply, when a creation or resolution doesn’t manifest as planned, it means that the creator has to reevaluate the thinking behind it to see why it hasn’t materialized as anticipated (or at all). Clearing away the beliefs that don’t work and rewriting them in more suitable forms are what’s needed in such instances, but that won’t happen without a fundamental belief that the conscious creation practice itself works.

It’s also important to bear in mind that when we create our individual realities, we create the totality of those realities, not just portions of them. As I wrote in the introduction to Get the Picture, we can’t pick and choose which elements we create and which ones “just happen” to us. It’s not a salad bar. We can’t claim credit for the glorious rainbow or the gorgeous sunset without also admitting responsibility for the toxic waste dump or the devastating hurricane. If something goes awry in our reality, then we have to see what beliefs we’re holding onto that created that result—and accept our responsibility for them as practicing conscious creators. Disavowing participation won’t achieve anything.

Thus it’s at times like this when our commitment to conscious creation really gets put to the test. So how do you plan to score on it?

Admittedly, there may be times when it’s tempting to throw in the towel if a creation or resolution doesn’t turn out as planned, especially if identifying the impeding beliefs is particularly difficult. But think of the elation that results when things do go as planned. In light of such successes, are you really willing to give up on the process entirely because of a failed materialization attempt? Besides, it’s probably not even accurate to characterize such situations as “failures,” because they prompt us to take a more introspective look at ourselves and what we’re thinking. That, in itself, could help to clear significant belief blockages, thereby enabling innumerable future successes to manifest that might have remained unmanifested otherwise.

When in doubt, don’t give up on the process. A speed bump in the road of conscious creation is merely a means for getting our own attention to examine beliefs in need of alteration and to allow the materialization of improvements in our lives. And that can work wonders when our faith in conscious creation is put to the test, a test that I want all of us to pass.

Be It Resolved

It’s that time again, when many of us are grappling with the issue of New Year’s resolutions. Should we make any? If so, which ones? How likely are they to succeed? And what will happen if they don’t?

New Year’s resolutions are admirable propositions, and they can yield many beneficial results when they manifest successfully. But, from a conscious creation perspective, such success depends on more than just wishing hoped-for changes into being. Unfortunately, though, many of us embark on these undertakings with little more than that, and it’s simply not enough to go on.

Some might think me a pessimist for saying that, but nothing could be further from the truth; I strongly believe in the power of making positive changes in our lives. For me, however, success with New Year’s resolutions depends heavily on the conscious creation groundwork we put into place prior to their implementation. This begins with examining the beliefs associated with whatever it is we want to alter. Asking ourselves probing questions about those beliefs (and the consequences of their proposed alteration) can significantly increase the probability of success and satisfaction: Are the beliefs sound enough to make the projected changes achievable? Are they too ambitious? Too limited? Is it possible to envision the outcomes before the changes manifest? Are there conflicting beliefs or intents that could sabotage the anticipated materializations (a particularly helpful question in instances where fear, doubt, or contradiction hold sway)? What are the consequences of success? Of “failure?” And will further changes be necessitated by a resolution’s successful manifestation?

Without such an analysis, the probability of achieving satisfying results diminishes, and I believe that’s why so many people ultimately fail on their resolutions – they simply don’t put in the necessary belief-related legwork in advance. Attempting to commit to change, without committing to examining the beliefs that underpin such change, is often a recipe for failure. This is not to suggest that we should dwell obsessively on how to attain success, because that can lead to the trap of semi-conscious creation (as discussed in Chapter 1 of Get the Picture), but proceeding without taking stock of our existing and proposed beliefs can usher in disappointment – undoubtedly not the best way to start the New Year.

And what happens if a resolution doesn’t appear realistic or feasible? In my view, just don’t make it. Forcing a change without the proper belief support for it is a disaster waiting to happen, and if enough of these disasters manifest in one’s life, they can affect one’s worldview significantly. Pushing the envelope is one thing, but pushing the Universe is something else entirely.

I believe this approach to implementing resolutions is essential whenever we commit to making changes in our lives, not just at New Year’s. Given its value, then, there’s no reason why we should have to wait for the start of the year to make use of it. January 1st may provide a convenient starting point (especially for gauging results over time), but potentially every day could be New Year’s Day. Either way, just make sure to take this step before you start out, regardless of whether or not you’re a resolution traditionalist.

Happy New Year, everyone! And good creating with whatever resolutions you undertake!

In the Spirit of the Season

I decided to change probabilities for the holidays this year. In lieu of giving presents, I chose to use my gift money to make charitable donations. I realize that I may not be doing my part as a good little consumer to help the economy, but given how many people are struggling and how many worthy causes are hurting for support, I felt the resources I could spare would be put to better use by assisting those who are truly in need.

In late October, I sent an email to those with whom I usually exchange gifts explaining my plans for this year, and I encouraged them to follow suit. Nearly everyone wrote back and concurred with the idea. In fact, a number of them said they would contact others with whom they usually exchange gifts and suggest that they do the same. Before long, I was delighted to see this effort take on a life of its own.

I’d like to think this illustrates how small gestures can yield big results. It also shows, as I wrote in Chapter 8 of Get the Picture, how we’re all truly connected. The beliefs and intents we hold fan out in all directions, like ripples in a global pond, touching many others who are seemingly far removed from, yet nevertheless integrally linked to, each of us.

The results of this undertaking particularly remind me of the message in the film “Pay It Forward,” one of the pictures profiled in the aforementioned chapter. Its story has a number of parallels to my probability shift (only told a bit more eloquently).

Eugene Simonet (Kevin Spacey), a junior high school social studies teacher, gives his class a special assignment – to come up with innovative suggestions on how to change the world. One of his students, Trevor McKinney (Haley Joel Osment), a bright, sensitive, impressionable young man, is particularly captivated by the task. He takes the assignment to heart and creates a plan that’s a real original: He proposes that each person help three others with something they can’t accomplish on their own. Anyone who successfully receives the necessary assistance must then help three more people in need of aid, who must in turn do the same, and so on in an endless chain of permutations that eventually encompasses virtually everyone on the planet. Trevor calls his plan “pay it forward,” an altruistic concept of doing for others that purposely runs counter to socially ingrained expectations based on the more familiar notion of “pay it back.”

Word of the pay it forward movement finds its way into the outside world, eventually wending its way to Chris Chandler (Jay Mohr), an intrepid reporter who decides it would make a good story. He’s genuinely puzzled by this phenomenon of supreme selflessness, especially when he becomes a direct beneficiary of it. Chris thus begins researching the story to trace it back to its source, bringing the work of an enterprising seventh grader to the wider world, with even greater impact than imagined.

“Pay It Forward” has a great message for this time of year. Because of that, I’d like to suggest this picture as a new classic for the holidays. If you haven’t seen it, be sure to watch it with those you care about, especially the youngsters in your life. What a great gift this film is, one whose sentiment is truly in the spirit of the season.

(“Pay It Forward” – 2000; Kevin Spacey, Helen Hunt, Haley Joel Osment, Jay Mohr, James Caviezel, Jon Bon Jovi, Angie Dickinson, David Ramsey, Gary Werntz, Kathleen Wilhoite, Colleen Flynn; Mimi Leder, director; Leslie Dixon, screenplay; Catherine Ryan Hyde, book)

A Visionary Hero

"Milk"

Heroes arise from every conceivable milieu. Some may seem like obvious candidates, while others are the unlikeliest of champions. But no matter what backgrounds these noble souls may hail from, once they come into their own, they’re forces to be reckoned with, for the impact they have in reshaping their worlds is formidable. One such hero provides the focus for what is undeniably one of the year’s best movies, the recently released biopic “Milk.”

This outstanding new film tells the life story of Harvey Milk (Sean Penn), a mild-mannered, discreet, somewhat unfocused gay New Yorker who moves to San Francisco with his lover Scott (James Franco) in the early ’70s in search of doing something constructive with his life. Little did he realize what would come of it.

Not long after opening a camera shop in San Francisco’s Castro district, a once-conservative neighborhood that was quickly becoming home to the city’s emerging gay population, Milk grew increasingly dissatisfied with the prejudice and injustice heaped upon his peers by everyone from local business owners to the police. But rather than become indignant and embittered about these patently discriminatory practices, Milk channeled his energy into politics, organizing his constituents into a voting bloc ready to exercise its power. For his efforts, Milk was elected to the San Francisco city council as the first openly gay politician to hold major public office in the country.

But Milk’s vision extended beyond the Bay Area. He looked outward across the nation, hoping to use his experience and that of his community to influence activities elsewhere. He was particularly troubled by initiatives launched to overturn gay rights ordinances in communities across the country, a movement spearheaded by former beauty queen Anita Bryant. To squelch the campaign, Milk ultimately brought the fight to California, an effort through which he was successful in stemming the tide on both the local and state level.

In pursuing these goals, Milk faced down his share of fears, including death threats, which he defiantly brushed off as evidence that he must have been successful in getting his message across. In this regard, Milk was every bit the embodiment of the hero one needs to be to become a truly adept conscious creator, a concept discussed at length in Chapter 6 of Get the Picture. But as important as this quality was to his success, Milk was proficient at an even more important conscious creation skill – the ability to envision outcomes. He clearly saw what he wanted to achieve and believed passionately in the possibility of its fulfillment. And when he most needed for those results to come to fruition, they did, without qualification.

Despite his success and defiance, however, Milk made enemies along the way, too, most notably fellow councilman Dan White (Josh Brolin). Frustrated at his inability to achieve his own goals, White eventually resigned from the council but later regretted his decision. When his reinstatement was denied by Mayor George Moscone (Victor Garber), White took out his anger on those he believed were most responsible for thwarting his efforts, Moscone and Milk, shooting and killing both of them in San Francisco City Hall.

But Milk’s impact did not die with his death. In the wake of his murder, 30,000 San Francisco residents marched on City Hall to hold a candlelight vigil. He became a symbol of the gay rights movement, inspiring countless initiatives at the state and local level across the country. A number of accounts of his life were produced, too, including an Oscar-winning documentary (“The Times of Harvey Milk,” 1984) and this Oscar-worthy film.

“Milk” is a top-notch picture from start to finish. Penn’s performance in the lead role is outstanding, as are the portrayals by Brolin as Milk’s troubled nemesis and by Emile Hirsch as Milk’s protégé Cleve Jones. Credit screenwriter Dustin Lance Black with giving an excellent script to the superb ensemble cast and director Gus Van Sant for pulling it all together into a riveting package.

The inspiration this film delivers is palpable. On one level there’s the inspiration of a champion leading the charge in a noble cause. On another there’s the inspiration of a conscious creator practicing his art in full flower. But no matter which perspective one chooses to view this picture from, one can’t help but be awed by the tremendous sense of empowerment it engenders. And that in itself is both heroic and visionary.

(“Milk” – 2008; Sean Penn, Emile Hirsch, Josh Brolin, Diego Luna, James Franco, Alison Pill, Denis O’Hare, Lucas Grabeel, Victor Garber, Howard Rosenman; Gus Van Sant, director; Dustin Lance Black, screenplay)

It’s the Beliefs, Stupid

When Bill Clinton ran for president against incumbent George H.W. Bush in 1992, the country was languishing in a recession that the administration was reluctant to acknowledge. Realizing that this was the central concern of voters, Clinton picked up on it and made it the central theme of his candidacy, going so far as to hang a sign in his campaign offices that read “It’s the economy, stupid.” It helped him win that election and put him on a path to re-election four years later.

The present-day parallels to the early ’90s are striking in many ways, and President-Elect Barack Obama’s focus on those similarities no doubt helped propel him to victory in the November election. Regardless of one’s political views, one can’t help but concede that he ran a brilliant campaign and scored an impressive win. But now that the campaign is over, the real task begins: He’s got his work cut out for him.

Or, should I say, we’ve got our work cut out for us.

The list of challenges facing this country today is indeed daunting. But, as practitioners of conscious creation, we must also realize that we contributed to their creation. So it’s not up to just one person – our new president – to resolve these dilemmas; it’s up to all of us.

As we set about seeking solutions, there are several significant points that we need to bear in mind: (1) when we create our reality, we create the totality of our reality, not just parts of it; (2) when we engage in the creation of events that affect more than just our individual selves, we engage in the practice of co-creation; and (3) because of these two foregoing considerations, all aspects of our reality are, in their own way, interconnected. I discuss each of these points at greater length in Get the Picture, but I repeat their essence here, for they truly are central to understanding our current circumstances. They are also integral to the mass problem-solving tasks we must now get ready to undertake.

Of course, as in any conscious creation pursuit, it’s our underlying beliefs and intents that drive the outcomes. So now, as we face the challenges we’ve set for ourselves, it becomes more important than ever to get a handle on these areas. In other words, to paraphrase the Clinton campaign slogan, it’s important for each of us to come to grips with the idea that “It’s the beliefs, stupid.”

Given the size and scope of the challenges at hand, it’s time for us to grow up as conscious creators. We must move forward, self-aware of what we’re doing. The time for sleepwalking is over (that’s what got us into this mess in the first place) and to cast aside the un-conscious and semi-conscious creation practices that I spoke of in Chapter 1 of Get the Picture. It’s also time to put away the idea than any one individual, no matter how much power we may have imbued him or her with, can solve the problems that we’ve created en masse. These are all principles of a paradigm whose time has come and now, thankfully, must go.

Some might contend that this is going to be a difficult process, and they could be right. On the other hand, with recognition of the problems and the intents that caused them, the solutions might come much more easily than expected. Either way, the ease or difficulty we experience in the process will depend, as it always does in conscious creation, on where our beliefs lie. Knowing what they are will determine what we shall become.

The time ahead could be seen as an overwhelming burden. Or it could be seen as a golden opportunity for introducing tremendous innovation and enlightenment, the likes of which we’ve never seen or even dreamed of. It’s up to us, though; what will we choose? If nothing else, we at least know where to start looking. And for that, no one can say we weren’t told.

Express Intent

"The Express: The Ernie Davis Story"

Sports movies are, admittedly, often among some of the corniest and most formulaic films out there, riddled with ubiquitous clichés, manipulative plot devices, and predictable story lines. But every so often, one comes along that, if it doesn’t break the mold, it at least bends it enough so that its cinematic lineage is not quite so obvious. And, if we’re lucky, that movie just might teach us a few things about conscious creation in the process. Such is the case with “The Express: The Ernie Davis Story.”

This well-crafted biopic tells the short but glorious life story of Ernie Davis (Rob Brown), “the Elmira Express,” a charismatic, lightning fast halfback from upstate New York who went on to tremendous success in the football program at Syracuse University. Davis played a pivotal role in leading his team to the 1960 national collegiate championship through an undefeated regular season and a post-season victory in the Cotton Bowl, a game in which he was named MVP. Two years later, Davis would go on to win the prestigious Heisman Trophy as the most valuable player in all of college football.

En route to achieving these accomplishments, we can see Davis’s conscious creation/law of attraction skills at work. Beginning as early as childhood, we see through flashbacks how a young Ernie (Justin Martin) drew upon the power of belief within him to achieve such goals as overcoming stuttering and developing outstanding skills as a runner. Later, upon entering college, we see Davis envisioning the goals he wishes to achieve as a football player – winning a national championship for Syracuse (which had never been done before) and the Heisman (which no African-American had ever received), objectives that indeed would become realized.

But Davis’s accomplishments extended beyond the football field. At a time when the country was still rife with racial prejudice and blatant segregation, Davis earned respect for himself without stooping to the crass, confrontational ways of those who would try to hold him back. He let his accomplishments on the field speak for him, never having to lower himself to his detractors’ level, yet all the while always keeping sight of who he truly was as an individual off the field.

Davis’s achievements also show us what’s possible to accomplish through collective and not just individual efforts. His spirit of teamwork aptly illustrates his understanding of the significance of the connectedness of all things and the role it plays in effective co-creation. When Ernie won, everybody did.

Davis had plenty of mentors along the way, too, and he never shied away from availing himself of their wisdom. First there was his kindly grandfather Pops (Charles S. Dutton), who played a huge role in shaping young Ernie’s upbringing. Then there was Jim Brown (Darrin Dewitt Henson), the NFL great who preceded Davis at Syracuse and helped recruit his protégé to play at his alma mater. But perhaps one of the biggest influences was Davis’s coach, Ben Schwartzwalder (Dennis Quaid), who ultimately would end up learning as much from Davis as he did teaching him. The reverse mentor role was one that suited Davis well, too, as he himself would later become instrumental in recruiting his successor protégé, Syracuse and NFL great Floyd Little (Chadwick Boseman).

Sadly, Davis’s football accomplishments ended when his collegiate career was over. He was drafted by the NFL’s Cleveland Browns, where he looked forward to sharing the backfield with his idol, Jim Brown. However, Davis was stricken with leukemia and died at age 23. Nevertheless, despite that fact, Davis’s many accomplishments were so respected by the professional team he never played for that the jersey number that was to be assigned to him was retired without him ever having taken a snap of the ball.

“The Express” is a wonderful film on many levels – inspiring, touching, and entertaining, all without being trite or overly sentimental. It’s a great period piece and features a dynamite performance by Quaid, some of the best work he’s ever done. But one of the things I like most about it is that it’s a film one can enjoy without necessarily being a football fan. It’s about people, and, if there’s nothing else Ernie taught us, it’s that people count, and that’s a wonderful “Express” intent if I’ve ever seen one.

(“The Express: The Ernie Davis Story” – 2008; Rob Brown, Dennis Quaid, Darrin Dewitt Henson, Omar Benson Miller, Nelsan Ellis, Charles S. Dutton, Justin Martin, Justin Jones, Nicole Beharie, Aunjanue Ellis, Elizabeth Shivers, Saul Rubinek, Chelcie Ross, Chadwick Boseman; Gary Fleder, director; Charles Leavitt, screenplay; Robert Gallagher, book)

On a personal note: In the interest of full disclosure, I must say that I’m probably a bit partial about this film, given that I am myself a Syracuse graduate. Davis’s playing days were over long before I attended, so I never got to see him work his magic on the field. But I’m proud to see that his story is finally making it to the big screen, given that it has been almost fifty years since he achieved his enviable accomplishments. Davis has sometimes been referred to as the one of the greatest football players no one has ever heard of, but I’m hoping this film will help to change that and to earn him the recognition he deserves for his achievements both on and off the field.

Immerse Yourself

Over the years, I’ve found that one of the most effective ways to further one’s conscious creation education is to attend conferences on the subject. These events are excellent learning forums for those who are just starting out, and they’re great refresher courses for students who are a little further along the path. They feature a wealth of learning resources, including excellent presentations by knowledgeable speakers, valuable experiential exercises (like guided visualizations), great opportunities for interacting with kindred spirits, and a chance to recharge your energetic batteries. But, perhaps best of all, they make it possible to immerse yourself in the material for a few days. Such concentrated exposure allows you to focus your attention fully on this philosophy and practice, enabling their empowering concepts to percolate throughout your being.

Such immersion can yield profound personal growth results, too, as I found out for myself recently when I attended one such gathering, the Colorado Seth Conference in Denver. So how did I reap such rewards? For starters, I availed myself of all the aforementioned resources, which shed some much-needed light on things for me. But the most significant insights came about from just being playful with conscious creation concepts, an undertaking made easy by simply being present in an accepting and nurturing environment such as this.

This became particularly apparent at one of the event’s social functions, a dance with an oldies (’50s, ’60s, and ’70s) theme. The ballroom was aptly decorated for the event, and organizers encouraged conference participants to dress in costume, which I happily chose to do. Little did I realize, however, how important this would prove to be: The simple act of dressing in a different set of clothes – in my case, the outfit of a ’60s radical – was quite revelatory. Not only did I look different, I felt different, too. I no longer saw myself as the Brent I had been when I arrived at the conference but as a different probable self (see photo). I even got into character, which prompted others to see me and respond to me differently (some didn’t recognize me at first, either). Appropriately enough, I became a “radically” different person through this experience, and this transformation proved to be as enlightening as it was fun; it became an outward, extrapolated symbol of what was happening to me internally. The adoption of some radical new thinking and a new set of beliefs about what I wanted for my future had come into being during the conference, and getting into costume fittingly and playfully reflected – and reinforced –that internal shift. When I became consciously aware of this, that realization made the impact of the change all the more profound.

As I wrote in Chapters 8 and 9 of Get the Picture, getting in touch with other aspects of your being – your other probable selves – can be a great way to discover elements of yourself that were previously hidden. Accessing those other aspects can be an excellent way to solve problems, develop new talents, unmask buried qualities, and even chart totally new territory. And events like these conferences are excellent venues for such explorations, for, as I wrote in Chapter 10 of Get the Picture, stepping out of one’s all-too-familiar everyday existence and trekking through the uncharted turf of alternate realities (be they physical or otherwise) can enhance these experiences even further. They allow all kinds of new developments to occur, sometimes with even greater speed and/or magnitude than one thought imaginable. In short, they can help to open new vistas that pay dividends in many ways.

I strongly encourage anyone seeking to immerse themselves in conscious creation principles to attend such events. Personally, I’m most at home at the Seth-Jane Roberts conferences, since it was through these particular teachings that my conscious creation education began, but these events are by no means the only ones out there. Do an online search to look for all of the available options, and pick one that speaks to you intuitively. Then go and have a blast. You owe it to yourself; you won’t regret it.

P.S. I’m pleased to announce that the entries from this page are now being featured in the blog section of New World View (http://www.newworldview.com), a multifaceted web site devoted to the exploration of consciousness. Visit the NWV home page for details on how to sign up for the site and how to access its many features. Be sure to check out the site’s marketplace page, too, which features an array of books by many authors (including yours truly) and other consciousness-related items. Enjoy!

Photo © 2008, by Oshara Waago

Something To Believe In

“The X-Files: I Want to Believe” and "Henry Poole Is Here"

As we all know, conscious creation is all about beliefs. No matter what aspect of life we concern ourselves with, beliefs always factor in as the driving element. That’s especially significant when we consider the big picture issues of life, such as our overriding worldview, because the core beliefs we hold in that regard underlie those that support everything else. Coming to terms with those beliefs can be a seriously challenging task, particularly if we experience difficulty in defining them or even identifying their existence. But two very different recent releases help to shed some light on this question – and quite well at that.

“The X-Files: I Want to Believe” may seem an unlikely candidate in this context, given the franchise’s reputation (first as a TV show, later as a movie) as a vehicle for tales of science fiction and horror. Yet the franchise’s second big screen outing is so concerned with beliefs that it’s even in the title.

In a nutshell, former FBI special agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) are coaxed out of hiding and retirement, respectively, to help solve a particularly troublesome case. And, as far as the plotline is concerned, that’s all one really needs to know, for that part of the story is largely unimportant, a mere pretext to what the film is really all about – the protagonists’ search for meaning in their new lives. After years of chasing monsters in the dark, a time when their purpose in life at least seemed fairly clear, Mulder and Scully are each left to wrestle with the question of what their mission is now. Mulder, who always had been an ardent believer in the magic of the paranormal and the extraordinary, suddenly sees himself in quite a pedestrian existence, wondering whether he can recapture the wonder of his past beliefs and use them as a guiding principle for his new life. Scully, a scientist and fence-post Catholic who long toiled to find balance between the rational and the miraculous, finds herself still ensconced in this challenge, still struggling to determine whether reason or spirituality should guide her new existence. These core belief dilemmas, in turn, further affect the characters’ search for answers in other areas of their lives, such as their relationship with one another, the future of their vocations, and coming to terms with their morbid fascination with “the dark side.”

This picture, unfortunately, hasn’t been well-received by viewers, critics, or fans of the franchise, but that may be due to preconceived notions coupled with misleading marketing. The film was plugged primarily as a thriller in the tradition of the franchise, but it’s clearly anything but. It’s principally a character study, cerebral and introspective, rarely if ever suspenseful except for how Mulder and Scully will respond to their circumstances. Those seeking to be scared will likely be disappointed (and rightfully so); however, those looking for something more profound than a simple horror story will be rewarded beyond their expectations.

In contrast to the dark drama of “The X-Files” is the gentle comedy-drama “Henry Poole Is Here.” But as strikingly different as the story is, it’s thematically similar from a conscious creation standpoint. When the film’s title character, a soft-spoken young atheist (Luke Wilson), receives a diagnosis that he’s dying, he chooses to slip away by quietly drinking himself to death. He seeks sanctuary for this undertaking by buying a run-down bungalow and moving into the house as-is. However, his well-meaning real estate agent (Cheryl Hines) feels guilty about the home’s condition and has the structure’s exterior rehabbed with new coats of paint and stucco. The plastering leaves much to be desired, as evidenced by a big ugly water stain along one of the outside walls. But that stain soon becomes the focus of widespread attention when one of his neighbors, an overzealous Catholic busybody (Adriana Barraza), sees the face of Christ in it and is profoundly moved by this unlikeliest of miracles. This, in turn, sets in motion a host of vignettes involving Henry and a cast of colorful characters, all of whom have different, yet profoundly moving experiences at the wall. And in the end, they all come away from it with something to believe in.

Like “The X-Files,” this film has received its share of criticism, largely for its predictability and sentimentality, which at times verges on being manipulative, and I wouldn’t entirely disagree with those complaints. However, the picture is so well written – far better than the story it covers – that it’s worth seeing for that alone. Some have also been critical of the film’s religious proselytizing, but it’s never heavy-handed in my view. Its overarching emphasis on notions like faith, trust, and hope – concepts that transcend religion – are more important, even if they’re couched in somewhat conventional imagery. In my opinion, those ideas can provide solid foundations for anyone’s core beliefs, no matter what religious or secular forms they ultimately may take in our lives.

At a time of year when most films are long on style and short on substance, it’s refreshing to see pictures like these being released amidst the summertime extravaganzas. That’s important in an age like ours, when people are so hungry for meaning that they strain to see it in everything from building structures to snack foods. Such sustenance is essential, for it provides a firm footing on which to base our very existence.

(“The X-Files: I Want to Believe” – 2008; David Duchovny, Gillian Anderson, Amanda Peet, Billy Connolly, Xzibit, Mitch Pileggi, Callum Keith Rennie, Adam Godley, Fagin Woodcock; Chris Carter, director; Frank Spotnitz and Chris Carter, screenplay; Chris Carter, source material)

(“Henry Poole Is Here” – 2008; Luke Wilson, Radha Mitchell, Adriana Barraza, George Lopez, Cheryl Hines, Morgan Lily, Rachel Seiferth, Richard Benjamin; Mark Pellington, director; Albert Torres, screenplay)

Hear It on Your Terms

One of the real joys associated with Get the Picture is participating in internet and broadcast interviews, and now on-demand podcasts from two of my recent internet radio shows are available for listening and download.

The first is a 90-minute interview I did with host Catherine Bradford for the show Dot to Dot: Creating Global Community, which was originally broadcast on July 23. The show is archived at http://www.contacttalkradio.com/hosts/bradford-dot.htm in two installments, one each of 60 and 30 minutes. Just visit the site's archives and click on the July 23 show's tabs for downloading or listening.

The second is a 60-minute interview I did with Dr. Michael Brickey for http://www.agelesslifestyles.com/. Visit the web site and click on the show titled "How Movies Can Help You Be Ageless" under the heading "Recent Posts." That will open a new window with a download tab, located in the show's description.

And remember, your feedback is always welcome. Happy listening!

Summer Heroics

Every summer, like clockwork, the motion picture industry trots out its annual crop of action-adventure and superhero films. To many movie buffs, such pictures might make for dazzling eye candy, but they’re generally regarded as little more than fluffy, escapist special effects extravaganzas. Yet, from a conscious creation perspective, they often offer us more, even if such contributions are not readily obvious or recognized.

As I wrote in Chapter 6 of Get the Picture, courage and heroism are essential components of the manifestation process. In fact, these qualities are just as integral to making conscious creation work as they are to the success of the plotlines of summertime blockbusters. Without such elements in place, many of our beliefs may never get fair try-outs, and otherwise-worthwhile creations would thus never see the light of day. So, like our big screen counterparts, whether we’re engaged saving humanity from dastardly evil-doers, or birthing brave new materializations, or simply exploring sides of ourselves that have never been examined before, all of these undertakings embody acts that stem from beliefs fueled by courage and heroism. And films that tell such tales often provide the requisite inspiration viewers may need to flesh out their innermost heartfelt, but untried convictions.

This summer, the movie industry is offering us an array of pictures with characters engaged in a variety of heroic behavior. Champions of noble causes live out grand adventures, as in films like “Ironman,” “The Dark Knight,” and “Indiana Jones and the Kingdom of the Crystal Skull.” Elsewhere, introspective inquisitors boldly explore life’s great mysteries, as in “The X-Files: I Want To Believe” (how’s that for a fitting conscious creation title?). Even unlikely heroes—everyday folks—participate in envelope-pushing acts, as in the heart-tugging drama “The Visitor” (see my review of this picture at http://andnowforthegoodnewsmovies.blogspot.com/).

Courage and heroism are underrated qualities of the conscious creation process, often deserving of far more attention than they typically receive. In fact, the very manifestation of our creations might depend on our willingness to draw upon them in the first place. And yet all it may take to employ the process successfully is a little motivation.

So to see examples of movies that aptly illustrate these principles, be sure to check out some of this summer’s new releases. Grab that cape of yours, and fly on down to your local multiplex. Your reality may depend on it.

Thoughts on a Passing

Rob Butts passed on last Monday, May 26.

Many of you no doubt know the man and his works. But for those of you who don’t recognize his name, Rob is someone you should know.

Rob Butts played an integral role in bringing the philosophy and principles of conscious creation into the world. He was the soft-spoken scribe who diligently recorded the metaphysical insights delivered by his wife, author Jane Roberts, during sessions with her noncorporeal channeled entity, Seth, over the course of 20 years. The revelations of those sessions provided the foundation for conscious creation theory and the material for the many books on the subject that Jane and Seth produced. That material also ultimately provided the philosophical basis for the concepts explored in Get the Picture.

None of that would have happened, however, had it not been for Rob’s faithful transcribing of those hundreds of sessions. His annotations to the transcripts provided additional insights into and context for the information conveyed during the sessions. He gave legs to the material that Jane and Seth birthed.

Conscious creation practitioners owe a lot to Rob. His role in quietly advancing these principles was invaluable. And, fortunately, he was with us long enough to see his contributions publicly recognized at two Seth Network International conferences in his home of Elmira, New York in 1997 and 1999. He was widely applauded for his efforts at those events, and rightfully so.

Many thanks for your contributions, Rob. Best wishes to you in your new adventures in consciousness.

Continuing Education

Sometimes we all have to go back to school to get remedial (or refresher) training in a given subject. I found that out for myself recently in an area I’d like to think I know a few things about – conscious creation, the metaphysical practice that provides the philosophical foundation for Get the Picture.

Last week, I completed a long and often frustrating search to find a new apartment. I believed (key word there) going in that it would be difficult, and, of course, that’s exactly how it turned out, since beliefs form the basis of this practice. My conscious creation collaborator, All That Is, faithfully complied with the underlying intent of my request, wrong-headed though it may have been to incorporate difficulty as an inherent part of the process. I guess I bought into that notion partly because it reflected my beliefs associated with difficult past experiences. I also likely embraced it because I had a lengthy list of requirements and preferences for what I wanted out of a new place. What’s more, many naysayers told me that, given what’s in the market, I’d never find what I was looking for. In my own defense, however, I resisted their negativity and limited outlooks, genuinely believing in the true spirit of a confirmed conscious creator that eventually I would find what I wanted.

Nevertheless, once I began my search, I repeatedly came up dry. The places I looked at lacked one or more of the required elements and sometimes barely met those that they did fulfill. And the longer this went on, the less confident I became that my wish list would be realized. My faith in one of my cherished beliefs appeared to be caving in, despite the fact that internally I knew better. I pondered what to do and ended up reminding myself of something that Jane Roberts and Seth wrote about in The Nature of Personal Reality, that the primary factors that undercut conscious creation’s manifestation are fear, doubt, and contradiction. In my case, I clearly was allowing doubt to hold sway over me, which was keeping the desired results at bay. It was time for an attitude adjustment. The apartment I wanted was out there; all I needed to do was cast aside my doubt and reaffirm my faith in the belief that conscious creation would bring me what I was looking for.

The day after I underwent that shift, the apartment I wanted materialized. It was precisely what I sought. I went for it and quickly was approved for a lease.

This experience once again proved to me that anything is possible in conscious creation. I guess I just needed a reminder of its validity. Perhaps this was due to the magnitude of what I was seeking to manifest, since it arguably was more elaborate than anything I had ever attempted. To illustrate what I mean by that, the apartment is larger and has more amenities than my current home, it’s located in a better building in a better neighborhood, and it costs less than what I’m paying now. How’s that for hitting the jackpot? But then, if I’m as committed to conscious creation as I profess to be, should I really be surprised at the result?

By all rights, according to the prevailing wisdom, such a place shouldn’t exist. Yet it does. So how is that? Dumb luck? Remarkable coincidence? Good timing? If this were a case of only one or two of the desired elements being fulfilled, these more conventional arguments might hold water. But since this was an instance of a tailor-made laundry list of requirements and preferences being materialized, one that many would say goes beyond what’s “realistically” achievable, I have to believe that this is more than just sheer chance or happenstance. To me it speaks to one thing and one thing alone – the veracity of conscious creation as a means for effective manifestation.

In the end, this experience clearly reminded me of Get the Picture’s central message. It pointedly recalled the lessons of a number of the movies profiled in the book. For example, just as in “Lost Horizon” (Chapter 7), my recent experience shows how a seemingly unreachable goal indeed can be realized if we only allow it. Similarly, as in “Groundhog Day” (Chapter 5), it points out what can be attained through the continual refinement of probabilities, ultimately resulting in the desired outcome. And, as in the profoundly inspiring film “What Dreams May Come” (Chapter 9), it makes clear that thoughts really do become things when we put our mind to it, no matter how outlandish or improbable the sought-after manifestation might appear on the surface.

As readily as I make use of conscious creation as an approach to living, I still sometimes need to be reminded of the capabilities and of the beauty of this process. The search for my new residence was a prime example of this, an exercise in my own personal continuing conscious creation education. While this experience may have had its share of frustrations (ones that I admittedly built into the process), the rewards have been more than worth it. If nothing else, the renewed awareness of what can come out of the practice makes my enthusiasm for it more impassioned than ever.

P.S. Got a conscious creation story that reflects the lessons of the movies in Get the Picture? If so, I’d love to hear it and share it with readers of this page. Write me at brentmarchant@momentpoint.com. Thanks!

Get the Picture in New York

On a recent trip to New York, I had the great pleasure to visit lower Manhattan’s East West Living bookstore and café. I had the opportunity to sign copies of Get the Picture and meet with book buyer Cami Aronowitz (pictured with me here). Be sure to check out the store’s Web site to learn more about its product line and its schedule of upcoming events.

And, speaking of New York, to quote the city’s colorful former mayor, Ed Koch, “How’m I doin’?” I’d really like to know! Drop me a line at brentmarchant@momentpoint.com to give me your feedback about this bulletin board, as well as your comments about Get the Picture. Thanks!

Photo © 2008 by Lavelle Porter

Conscious Creation on the Small Screen

Eli Stone

Movies are undoubtedly my greatest entertainment passion, but every so often something on the small screen catches my attention that’s well worth a look. That’s especially true when the material illustrates conscious creation principles at work. Such is the case with the quirky new comedy-drama-fantasy offering, Eli Stone (Thursdays, ABC, 10 p.m. Eastern).

The series follows the life of the show’s title character, a high-powered San Francisco lawyer (Jonny Lee Miller) who begins experiencing unexplained visions, often at inopportune times, such as during meetings with his boss (Victor Garber) and intimate moments with his fiancée (Natasha Henstridge). Many of these spectacles at first seem irrelevant and annoying, but they quickly turn bizarre, even unnerving. The apparitional appearance of pop star George Michael singing his hit song "Faith" in Eli’s living room, for instance, stretches the suddenly befuddled protagonist’s limits of believability, causing him to question his own sanity.

However, as events unfold, Eli realizes the visions aren’t just random occurrences; he sees that they have meaning. Viewers thus get to watch our hero coming awake, even if he does so somewhat reluctantly. Still, over time, Eli becomes attuned to the synchronicities occurring around him and begins drawing upon the magical approach to conscious creation, using his intellect and intuition to grasp the nature of the reality he’s manifesting. By doing all this, Eli gradually gets a better handle on the new world that’s forming around him. He also gains a better understanding of who he is and what his life purpose is. This is the flowering of his personal value fulfillment.

The seemingly obtuse but fittingly synchronistic materializations occurring in Eli’s life help to clarify his value fulfillment by steering him in a new direction—that of taking on the worthy causes (and cases) that no one else will handle. That’s how, for example, he comes to represent the mother of an autistic child whose condition was believed to be caused by a faulty vaccine preservative. Or how he takes on the case of immigrant agricultural workers whose infertility is suspected to have been the result of pesticide exposure. This is a far cry from the life he led before as a successful but self-absorbed corporate shill. Thankfully, both for him and his new clients, he’s able to hear the ring of his own internal metaphysical alarm clock.

The series features snappy writing and a host of colorful supporting characters, such as Eli’s wisecracking though devoted assistant (Loretta Divine) and a sage but streetwise acupuncturist/spiritual advisor (James Saito). The plot lines are solid, presenting genuinely uplifting stories, but telling them without the overwrought sentimentality of many of this genre’s predecessors (think of the scripts as having been more inspired by Mad magazine than Kodak moments). Some of the visionary sequences are a bit over the top (and feature a little too much George Michael music for my taste), but the show’s real strengths shine through in its quieter moments, when it aptly illustrates conscious creation principles at work.

It remains to be seen if Eli Stone can find an audience, especially in the wake of the recent Hollywood writers’ strike and all the attendant fallout on production and broadcast schedules. The show is fortunate to have the enormously popular Lost as a lead-in to its time slot, but its success ultimately will depend on how well it stands on its own. In the meantime, perhaps the best thing that fans of this series can do is to draw from the wisdom of Eli’s unlikely muse, who simply said “you gotta have faith.”

A Gem of a Film Comes to DVD

"Hearts of Darkness"

One of the movies I had the great pleasure to profile in Get the Picture was “Hearts of Darkness: A Filmmaker’s Apocalypse” (1991). This superb documentary provided an in-depth look at the gut-wrenching ordeal that went into the making of Francis Ford Coppola’s Oscar-winning Vietnam War film, “Apocalypse Now.” It showed, in unflinching detail, how the director toiled to produce a picture that effectively captured the madness of this insane conflict, an undertaking that pushed him to the limit and nearly cost him everything. It’s also an excellent cinematic exploration into an artist’s struggle to overcome creation by default by using the magical approach to conscious creation.

At the time I wrote Get the Picture, “Hearts of Darkness” was available only in VHS format. Many fans of this documentary, as well as of the movie that inspired it, lamented that it had not been made available on DVD. It was even perplexingly excluded from the special edition DVD release “Apocalypse Now—The Complete Dossier” (2006), a two-disc boxed set that included the film’s original theatrical version (1979) and its later-released director’s cut (2001) (so much for being complete!). Fans of the “Apocalypse Now” saga believed (and rightly so) that the absence of this back story documentary from the special edition, as well as its unavailability as a DVD unto itself, left a gaping hole in the lore of this monumental motion picture.

Fortunately, that oversight has been corrected. A DVD version of “Hearts of Darkness” was released late last year, shortly after Get the Picture hit bookstores. Finally, the wait is over; viewers can now enjoy this Emmy Award–winning documentary in a contemporary video format.

For future reference, I’ll include further information updates on the films profiled in Get the Picture on this Web page as they become available. In the meantime, dear readers, if you hear any interesting developments about these movies that you would like to share with me, please write me at brentmarchant@momentpoint.com. Thank you!

GET THE PICTURE at Transitions Bookplace in Chicago

Readers and movie fans anxious to hear how conscious creation principles are portrayed through film turned out in force for an in-person author event featuring yours truly on January 11 at Transitions Bookplace in Chicago. The event, which was held in the bookstore’s spacious and comfortable café, opened with a brief presentation on the subject, followed by discussion, questions, and book signing. Many thanks to those who attended, and a special thanks to Transitions for hosting.

Photos © 2008 by Dion Tillmon

Author Event, Transitions Bookplace, Chicago

Hi Everyone,

I’ll be doing a talk and book signing on January 11, 2008 at 7 pm at Transitions Bookplace, 1000 W. North Ave., in Chicago (www.transitionsbookplace.com). If you live in metro Chicago (or will be visiting the area at that time), stop by. I’d love to meet you!

In the meantime, happy holidays!

Brent

In Grand Style

I’ve always believed in celebrating milestones, no matter how simple or accomplished. Such recognition is significant for taking stock of an achievement, to give oneself a well-earned pat on the back (something most of us probably do far too seldom) and, especially, to say thank you to those who supplied support and encouragement along the way. Besides, it’s a helluva lot of fun, too.
Celebrating in grand style was the theme of the evening on Saturday November 3 for the official launch of Get the Picture, hosted by yours truly. The event was held at the Goose Island Brewpub in Chicago in a private party room with a library motif. (How fitting is that for a book release party? Talk about one’s manifestations mirroring one’s beliefs!) Thirty guests attended the reception, which featured ample food and libations, special presentations, and book signings. The event even captured the attention of Publishers Weekly magazine, which featured it in its “Picture of the Day,” November 20 online edition.

While marking this milestone certainly was personally enjoyable for me, it was even more important for me to recognize the many people who so generously supported me in this project. In particular, the event was an opportunity to honor those to whom the book is dedicated, my longtime friends Linnaea Burkett and Karen Sanders, both of whom were present to receive signed copies of Get the Picture. (Mike Dunghe, to whom the book is also dedicated, was unable to attend due to family obligations.) The party also allowed me to say thanks for the pivotal contributions of my longtime friends Mary Dillman, who “unwittingly” provided the catalyst that launched this undertaking, and Cathy Aldrich, who introduced me to the writings of Jane Roberts and thus sparked my study of conscious creation. There simply wouldn’t be a Get the Picture without the involvement of any of them.

Of course, there wouldn’t have been an event without the valuable assistance of those who aided in its planning and execution. To that end, I’d like to extend a hearty thank you to the staff of Goose Island, especially to Sandra Duncan, director of catering sales and special events, for putting on a great show. I’d also like to extend my gratitude to those who put their special talents to use and to those who made significant contributions, most notably to Jill Brazel of Jill Norton Photography, for her gorgeous pictures; to Cyndi Safstrom, for her inventive video presentation footage; and to Moment Point publisher Sue Ray and my longtime college friends Mark Sullivan and Kevin Haynes, for their beautiful floral arrangements. Great job, everybody!

Consciously creating Get the Picture was a tremendous thrill for me, and celebrating its arrival in physical reality made it all worthwhile. And what a bash it was! It was truly a night to remember, one of great fun – and grand style.

Thanks everybody and happy holidays!
Brent

Linnaea Burkett (center) and Karen Sanders (right) receive signed copies during a special dedication presentation.

Thanks to Mary Dillman for helping to get the ball rolling with Get the Picture (little did she know what she was doing – well, consciously, at least).

My gratitude goes out to Cathy Aldrich, who introduced me to the writings of Jane Roberts, sparking my interest in conscious creation.

We had cake, too, courtesy of Chicago bakery, Bake For Me!

(All photos copyright © 2007, by Jill Norton Photography)

For More of My Thoughts About Film . . .

Be sure to check out my posts at www.AndNowForTheGoodNews.com, the companion Web site to the new book And Now for the Good News, by Moment Point publisher Sue Ray. From new releases to old standbys, I’ll bring you write-ups about movies that, like the book’s subtitle, deliver “a mega-dose of positive news to inform, inspire, and fill you with optimism.”

My posts will appear regularly on The Headlines page on the site.

Talk to Me

Imagine you’re a child early on Christmas morning. The anticipation of the big day ahead makes it difficult to curtail your enthusiasm for the festivities that lie in store. Mustering every last bit of composure to keep your excitement in check is, to say the least, taxing, if not downright confounding.

Now, imagine what it might be like to feel that way every day for several months. That’s the kind of anticipation I’ve been attempting to corral ever since I completed the manuscript of Get the Picture earlier this year. Naturally such eagerness is fueled in part by wanting to see the finished product in physical form. But it’s also due in part to see what you, the readers, think of it. I’m understandably curious about what you make of the book’s writing style and its contents, but I’m even more interested in learning what you plan to do with the information contained within its pages once you’ve finished your initial read.

To me, the publication of Get the Picture marks a significant milestone in the odyssey of this project. The baby is at last born. But what happens to it next is equally important. I’m looking forward to what becomes of the child as it makes its way in the world, to see its impact on those who read it.

That’s what this companion Web page is all about, and that’s where you come in, dear readers. I need for you to talk to me, to tell me what you think about Get the Picture – how you feel about its contents, how you’re using it in your individual and collective lives, what you like and dislike about it, what should have been included and excluded, and what you’d like to see out of any siblings that may be born into its family. This applies equally to the book’s metaphysical subject matter, as well as to its film selections. It’s all part of the evolutionary process that’s playing out here – that of the book’s constant state of becoming.

I believe books and other forms of artistic expression are (or at least should be) interactive creations between those who produce them and those who become involved with them, and that’s no different in this case. In writing Get the Picture, I’ve done my part, and now I hope you’ll do yours by giving me your valued feedback. I’d like to hope that this Web page will lead to a meaningful, ongoing dialogue between us about what’s covered in the book and how it can be put to use in daily life. I’ll even throw in a few new ideas of my own along the way to keep the conversation going. Get the Picture has provided the spark of that discussion; now it’s up to you and me to stoke the flames that it ignites.

Write me. I’d love to hear from you.

Brent Marchant
brentmarchant@momentpoint.com

Get the Picture will be available in stores and online November 1, 2007.