Brent Marchant

Catch Me on My New Blog!

2011-03-31T02:09:00.002-04:00

I'm delighted to announce the debut of my new blog, which I'm launching in connection with my new web site, www.BrentMarchant.com, which is set to go live in the near future. The new blog and web site represent major steps forward for me, so I hope you'll join me on this exciting new adventure!

The new blog will present a variety of posts, including news flashes on what I'm up to (most of which you'll be able to find on the new web site as well), along with entries exploring my insights into the worlds of movies and conscious creation, especially where the two overlap. Look for thought pieces, reviews and other offerings related to the foregoing. And, along the way, I hope to make you laugh, touch your heart, and provide you with enlightening and entertaining food for thought.

Please note that the new blog will be in addition to my ongoing contributions to the other web sites I write for, VividLife (www.VividLife.me), to which I submit reviews of current films from a conscious creation perspective, and FengSHe (www.FengSHe.org), for which I write essays on using conscious creation to promote balance in one's life. This blog, meanwhile, will still be accessible for viewing, for now, though I will no longer be posting new entries to this page.

If you'd like to offer your feedback on the new blog, use the comment function that will appear on that page or send me an email at info@brentmarchant.com. I look forward to hearing from you, and I truly hope you'll enjoy what I have to offer.

In the meantime, thank you so very much for your support of this blog over the past four years. I've enjoyed posting to this page, and I hope you've liked what I've written during that time. But as one door closes, another opens, and the opening made possible by this new undertaking should be something really special!

Interviews and Interactions

2011-03-25T08:27:00.001-04:00

I'll be returning to the airwaves this Saturday, March 26, at 7 pm Eastern, when I'll be a guest on the radio show Interviews & Interactions with host Linda Strasburg. The show can be heard on Salt Lake City's KTKK radio, AM 630, or over the internet at www.k-talk.com. So be sure to tune in for some inspiring interactive chat!

Comments? Email me at brentmarchant@momentpoint.com.

Fate Vs. Free Will

2011-03-23T02:06:00.000-04:00

Are we gifted with free will, or are we subject to fate? That's a question examined in Free will, fate duel in 'The Adjustment Bureau', my review of the new Matt Damon thriller in VividLife magazine, available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Writers' Voices

2011-03-03T04:43:00.001-05:00

Please join me this Friday, March 4, at 2 pm Eastern, when I'll be a guest on the radio show Writers' Voices with Monica and Caroline, with hosts Monica Hadley and Caroline Kilbourn. The show airs on KRUU, 100.1 FM, in Fairfield, IA, and live on the internet at http://kruufm.com. And if you can't listen live, check the web site's archives for an on-demand listening link after the initial broadcast.

Comments? Email me at brentmarchant@momentpoint.com.

Oscar Wrap-up

2011-03-02T07:51:00.001-05:00

Catch my wrap-up of this year's Oscars online in my latest VividLife post, Conscious Creation Films Win Big at Oscars, available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

And the Oscar Goes To...

2011-02-25T02:06:00.002-05:00

Who's going to win the Oscars? See my predictions in an Examiner article by Mary Barton at:

www.examiner.com/metaphysics-in-tacoma/oscar-predictions-by-an-expert

You can also read my reviews of many of the nominated films in my column at VividLife (www.VividLife.me) or in previous entries to this blog.

Comments? Email me at brentmarchant@momentpoint.com.

Man, Myth and the Occult, Part 3

2011-02-24T03:29:00.002-05:00

Twice is nice, but three times is even better! And that's how it will be this Friday, February 25, at 1 pm Eastern, when I make my third appearance on the Internet radio show Man, Myth and the Occult, with hosts Rev. Bryan D. Ouellette, Ph.D and Dr. Mike Kell. In the 90-minute interview, I'll discuss my writings about conscious creation and the movies, as well as my predictions for this weekend's Academy Awards. To tune in, visit the show page at:

www.blogtalkradio.com/mindbrainbody/2011/02/25/man-myth-the-occult-get-the-picture-part-iii-with-brent-marchant

The show is available for listening live at showtime and as an on-demand archive broadcast after the fact.

Comments? Email me at brentmarchant@momentpoint.com.

Two New Radio Shows

2011-02-19T11:10:00.001-05:00

Two new radio shows are coming! The first is today, Saturday, February 19, at 6 pm Eastern, when I'll be a guest on Tell Me Your Story with host Richard Dugan. The show airs on KZSB AM 1290 in Santa Barbara, CA, and is available for listening live on the Internet at www.newspress.com/Top/index.jsp (click on the site's News-Press 1290 "Listen Now" tab).

The second is Monday, February 21, at 10 pm Eastern, when I'll appear on Life Changes with Filippo with host Filippo Voltaggio. The show is available for listening live or as an on-demand archive broadcast after the fact at www.lifechanges.ws.

Comments? Email me at brentmarchant@momentpoint.com.

'Biutiful' Transitions

2011-02-18T04:31:00.001-05:00

Life's transitions -- especially the one that comes at the end -- can be a time of great revelation, a notion examined in my latest VividLife post, Life's transitions probed in 'Biutiful', a review of the moving new drama "Biutiful," available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Healthy Boundaries

2011-02-09T03:07:00.000-05:00

Ever have trouble establishing healthy boundaries in your life? That's the subject of my latest VividLife submission, "Bonds, boundaries tested in 'Another Year'," a review of Mike Leigh's new film, "Another Year," available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Align, Shine and Prosper

2011-02-07T10:03:00.002-05:00

Learn how to "Align, Shine and Prosper" this Wednesday, February 9, at 8 pm Eastern, when I'll appear as a guest on the Internet radio show with the same name with host Doreen Agostino. To tune in, visit www.blogtalkradio.com/align-shine-prosper/2011/02/10/get-the-picture-conscious-creation-goes-to-the-movies and take the show's title to heart!

Comments? Email me at brentmarchant@momentpoint.com.

Knock-out Inspiration

2011-01-27T03:33:00.001-05:00

Looking for some knock-out inspiration? If so, check out my latest VividLife post, 'The Fighter' packs a spirited punch, a review of the new biopic "The Fighter," available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

The Feeling of Liberation

2011-01-17T18:38:00.000-05:00

We all long for the feeling of freedom, and it's a longstanding theme in art and culture. That idea is probed through the eyes of a ballerina in the new thriller, "Black Swan," which I've reviewed in my latest VividLife post, "Liberation, metamorphosis take flight in 'Black Swan'," available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Man, Myth and the Occult

2011-01-12T13:20:00.000-05:00

Once is nice, but twice is better, and you can find out just how much better this Friday, January 14, when I'll make my second appearance on the Internet radio show, Man, Myth and the Occult. The 90-minute interview with hosts Bryan Ouellette and Mike Kell airs live at 1 pm Eastern at www.blogtalkradio.com/manmythoccult/ and will be available for on-demand listening afterward. I'll discuss my writings, the upcoming movie awards season and the impending launch of my new web site (details to follow!). So tune in for a second helping of fascinating chat, news and information.

Comments? Email me at brentmarchant@momentpoint.com.

Tearjerker Metaphysics

2011-01-10T02:52:00.001-05:00

Tragedy and loss are difficult circumstances to reconcile, but taking an unconventional approach to handling them may help to provide the way out, a notion explored in my latest VividLife post, "'Rabbit Hole' delivers tearjerker metaphysics," a review of the new Nicole Kidman drama, "Rabbit Hole," available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Finding One's Voice

2010-12-29T01:36:00.000-05:00

Discovering oneself often involves "Finding One's Voice," a notion that is also the title of my latest VividLife post, a review of the engaging new biopic, "The King's Speech." Check it out at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Learning To Trust

2010-11-29T02:10:00.001-05:00

"Learning To Trust" is a vital lesson in making use of conscious creation/law of attraction principles. It's also the title of my latest post at www.FengSHe.org (click on the "Grounded Centre" Tab).

Comments? Email me at brentmarchant@momentpoint.com.

Hungering for the Truth

2010-11-09T04:57:00.012-05:00

"Fair Game"

What is truth? That's a question that philosophers, theologians and scientists have pondered without resolution for centuries. And when that question is examined in a conscious creation context, a philosophy that maintains we each create our own reality, definitive answers become even more elusive, for if we're each responsible for manifesting what we experience, one could argue that truth is a relative matter, not a universal one (even if that goes against what most of us would like to think). That being the case, then, what we ultimately see as "truth" is something that comes down to the beliefs we hold, the fuel that makes conscious creation possible. That notion provides a significant metaphysical undercurrent in the story line of the new political thriller, "Fair Game."

"Fair Game" recounts the back story of "Plamegate," an incident that captured national headlines during the administration of President George W. Bush. The affair centered on Valerie Plame (Naomi Watts), a covert CIA operative whose identity was publicly revealed--by name--in newspaper reports stemming from what were believed to be apparently intentional leaks by high-ranking (though never definitively identified) administration officials. Those leaks were allegedly initiated in retribution for the actions of Plame's husband, former ambassador Joe Wilson (Sean Penn), who blew the whistle on the administration's faulty pre-war assessments of Iraq's WMD arsenals shortly after the 2003 U.S. invasion began.

In the run-up to the Iraq War, the Bush administration attempted to use trumped-up "facts" about Saddam Hussein's weapons capabilities, including the supposed acquisition of huge stockpiles of yellowcake uranium from the African nation of Niger to be used in nuclear weapons production, to justify its pre-emptive military actions. Wilson, who had firsthand knowledge that the administration's contentions were grossly exaggerated, brought the misinformation to light in a New York Times op-ed piece, "What I Didn't Find in Africa," an act that allegedly led to the leaks shortly thereafter. As a consequence, Wilson's reputation and new business venture were seriously harmed. But, even worse, Plame's cover was compromised, leaving her exposed and endangering the lives of her contacts in the field, including some who were in the process of gathering sensitive intelligence information on the ground inside Iraq at the time.

In addition to recounting the events that made headlines, "Fair Game" also shows the incident's impact on the family's home life. The film thus takes a very public news event and brings it down to a personal level, showing the struggles that the couple experienced as a result of the administration's hard-ball tactics and the incessant, biased press coverage that followed (much of which painted the couple as unpatriotic, at best, and traitors, at worst). Death threats, phone harassment and constant media scrutiny ensued, making everyday life impossible. Eventually, however, the incident prompted a grand jury investigation and government hearings at which Plame testified, bringing the whole ugly affair to light. While no one in government was officially indicted for leaking Plame's name, the probe did result in an investigation, and subsequent conviction, of Vice-presidential Chief of Staff Scooter Libby (David Andrews) on felony charges related to the incident.

As viewers watch the narrative unfold on screen, it's quite intriguing to see the role that beliefs play in the film's story line, both from a theoretical standpoint and in relation to the particulars of the plot. As in everyday life, we're posed with choices on what beliefs we choose to adopt and which ones we opt to ignore.

For example, on the one hand, we witness intelligence-gathering insiders diligently working at attempting to develop accurate assessments of what was going on inside Iraq, based on what was thought to be reasonably reliable field information. From that, they sincerely came to believe that Saddam Hussein's weapons capabilities were far less menacing than initially thought. In going about their work, they simply did their jobs of collecting data and assessing it to arrive at conclusions based on the impressions they received. They operated in true conscious creation fashion, drawing upon their intellect and intuition to shape the beliefs they would use in making official recommendations to higher-ups.

By contrast, we simultaneously witness an administration hell-bent on going to war, pursuing a course of action that it was willing to justify by virtually any means, including the manipulation of data to formulate "beliefs" that allegedly supported its objective. It then unhesitatingly sold these beliefs to the public (even if the underlying information didn't support their viability) to gain support for their materialization. Anyone who didn't buy in to this "official" view was suddenly demonized (including the intelligence experts who were charged with gathering the information to be used in formulating official policy in the first place). Since Wilson's actions ran counter to the official beliefs that everyone was supposed to accept without question, he and anyone closely associated with him (such as his wife) were suddenly "fair game" for ridicule, retribution and unfair scrutiny. The negative public reaction to their allegedly disloyal actions, in turn, lent more support to the administration's official stance, further strengthening the beliefs behind it--that is, until the supposed sources of the leaks were themselves revealed.

In both sides of this incident, the power driving their associated beliefs was palpable. That's important to recognize, not only here but also in any situation we encounter, for the impact that results from that kind of power can be significant, as both of the foregoing scenarios illustrate.

So which set of beliefs was "correct" in this controversy? It's pretty obvious from the film (and the way events ultimately played out) which one prevailed, but no matter which side each of us came down on at the time these events unfolded, it's important to realize that the views we each held about the war and this scandal were, at their core, based on our individual beliefs. Each of our respective "truths" ultimately rested with whatever contentions we bought into at the time.

To be sure, I have my own opinion of what went on, and it's probably pretty easy to guess what that is. But I'm also willing to acknowledge that the views that others held were just as valid, even if I fundamentally disagreed with them, because I know that their truths were based on the beliefs that they held and the input that they used to form them.

Regardless of how one views this incident, the Plamegate affair (and its depiction here) nevertheless helps to illustrate a significant conscious creation principle: Considering the power of beliefs and the fallout that can materialize from them, it's vital that we gather and assess the input of our intellect and intuition carefully, thoughtfully and genuinely to develop informed beliefs. This is especially important when the stakes are high, and given the magnitude of the stakes involved in matters as critical as war and peace, personal and professional reputations, and even one's peace of mind, it's easy to see why.

So how accurate is this film in depicting the events that transpired? That's hard to say, since movies such as this always bill themselves as "based on actual events," a disclaimer that provides some convenient wiggle room for invoking cinematic license. That issue is further compounded by the fact that I (and probably most viewers) neither know the principals personally nor was a party to the story's particulars. And even if I had been closely acquainted with the situation, who's to say that I would have been able to discern the "real" truth of things; after all, many of the characters in this film are involved in the murky world of intelligence gathering, a process often rife with intentional deception and misdirection, as illustrated by Plame's own chameleon-like ability to easily adopt fictional personas and to convincingly pass herself off as a mild-mannered suburban housewife while all the time engaging in highly secretive activities, circumstances sure to affect whatever beliefs I might have held about all this. In the end, then, I guess the degree to which one assumes that a picture like this is presenting an accurate portrayal of "the truth" ultimately depends on the beliefs one holds going in and subsequently forms while watching the movie. From where I stand, I believe it presents an accurate depiction of events (and does so quite well). But then that's just my opinion.

"Fair Game" is a gripping political thriller, as well as an excellent examination of how a married couple holds up under pressure, an unusual fusion of narratives, but one that works well. Its script is clear and concise, especially in its presentation of the complicated political and intelligence-gathering maneuverings. But its real strength rests with its performances. Watts's portrayal of Plame has Oscar nomination written all over it, and her fellow cast members, while effective in their roles, were wise enough to let their lead shine.

Truth is something that we all must ultimately decide for ourselves, and this picture shows just how important it is for us to get things right with regard to it. If we don't, one day we just may find ourselves to be our own fair game.

("Fair Game"--2010; Naomi Watts, Sean Penn, Noah Emmerich, Michael Kelly, David Andrews, Bruce McGill, Liraz Charhi, Khaled Nabawy, Adam LeFevre, Sam Shepard, Polly Holliday; Doug Liman, director; Jez Butterworth and John-Henry Butterworth, screenplay; Joseph Wilson, book, The Politics of Truth, and Valerie Plame, book, Fair Game; www.fairgame-movie.com/)

Comments? Email me at brentmarchant@momentpoint.com.

Live Smart & Well

2010-11-07T15:06:00.001-05:00

Live smart and well this Tuesday, November 9, when I'll be a guest on the internet radio show "Live Smart & Well" with host Inez Bracy. To tune in, visit www.blogtalkradio.com/inezbracy at 7 pm Eastern.

Comments? Email me at brentmarchant@momentpoint.com.

Two New Posts

2010-11-02T11:10:00.003-04:00

Two new posts are up! "The Flow of Consciousness" is my latest submission to FengShe, a thought piece on making effective use of this valuable personal resource. Visit www.FengSHe.org and click on the "Creativity" tab.

"Meditation on a Common Fate" is my latest post to VividLife, a review of the thoughtful new drama, "Hereafter." Visit www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

The Power of Belief

2010-10-29T01:46:00.004-04:00

"The Social Network"

As any conscious creator knows, beliefs are powerful things, for they give rise to the probabilities we experience in our surrounding reality. Sometimes the beliefs are so powerful that they seemingly take on a life of their own, particularly when infused with the input of the mass consciousness. The growth of the internet in general, and of social media in particular, is one such example of this, a scenario explored in the new docudrama, "The Social Network."

The film tells the back story behind the formation of the social networking web site Facebook, as outlined in the book The Accidental Billionaires. The story chronicles how Harvard undergrad Mark Zuckerberg (Jesse Eisenberg), a fast-talking wunderkind computer tech, developed a social networking site for the university's student body, a resource that unified the school's existing patchwork of loosely connected but largely uncoordinated web sites. Aided by his peers Dustin Moskovitz (Joseph Mazzello), who handled the programming, and Eduardo Saverin (Andrew Garfield), who managed the money, Zuckerberg built his brainchild into a cyber-phenomenon that initially expanded from Harvard to other universities and then to the internet at large, achieving astounding success that quickly made Zuckerberg the world's youngest billionaire.

However, Zuckerberg's success came at a price when he became embroiled in two nasty lawsuits. (The pretrial/settlement discussion proceedings from these suits actually carry much of the story, introducing viewers to the particulars through flashbacks, showing how Zuckerberg and his opponents got to this point.) One of the suits involved a claim that Zuckerberg stole the idea for Facebook from a trio of well-heeled classmates, identical twins Cameron and Tyler Winklevoss (Armie Hammer) and Divya Narendra (Max Minghella). The other proceeding centered on a claim brought by Saverin, who argued that he was unfairly railroaded into a seriously devalued stake in the company by a group of new investors/partners who Zuckerberg courted with the aid of Napster founder Sean Parker (Justin Timberlake). According to the film, the claims were ultimately resolved through large payouts, but then what's a few million bucks to the world's youngest billionaire?

If that all sounds a little cynical, you're right, but then that attitude would be very much in line with much of the film's tone. Admittedly, I don't know any of the story's principals personally, nor can I vouch for the accuracy of the narrative as it's presented here, so I can't speak authoritatively to the story's level of authenticity. But that doesn't change the fact that the characters, as they're depicted in the film, are largely cynical, self-serving schemers. And, knowing that, it makes me want to ask, "Why should viewers care about all this?" After viewing the picture, part of me wanted to say, "So what?"

When I ran this picture's story through the filter of conscious creation principles, I could see where it had its merits. For starters, given the phenomenal growth of Facebook, the movie clearly illustrates the impact of the power of belief and the role it plays in the manifestation of consciously created materializations. It's quite obvious that, despite some of the founders' motives (some of which they may not have been fully aware of themselves at the time), the protagonists (especially Zuckerberg) were very passionate about the beliefs underlying their creation, an attitude that no doubt played a huge role in its success. Their clarity of thought, unimpeded by the hindrances of fear, doubt or contradiction, allowed their passion to blossom in full flower. And, as noted above, when that passion was further enhanced by the energized beliefs of the mass consciousness, the power of the original beliefs became that much more amplified, ultimately contributing to the creation's explosive proliferation.

The film is also remarkably insightful on another important conscious creation concept. On several occasions in the film, Zuckerberg observes that his creation will never be finished, that it will continue to evolve as an intrinsic part of its nature. These observations are sublime reflections of the conscious creation notion that we're all in a constant state of becoming. Such thinking, whether or not it was consciously in the minds of the founders at the time they were setting up Facebook, clearly played a large role in its growth and success, for it embodies a key principle of how the philosophy fundamentally operates.

However, as laudable as these depictions of conscious creation principles are, the film also illustrates another of the philosophy's significant concepts (and one about which the characters, arguably, have much to learn). With the use of conscious creation power comes the responsibility to manage it effectively. While many Facebook users would likely applaud the founders for their creation, there are those, such as the parties to the lawsuits depicted in the film, who would probably beg to differ, calling into question the founders' ability to responsibly manage the power that went into the manifestation of their creation. By blindly disregarding the fallout from their actions, the characters veer dangerously close to engaging in un-conscious creation or creation by default. And this doesn't even begin to take into account the responsibility of power issue as it relates to the myriad privacy concerns that have been raised by real world Facebook users, a consideration not addressed in the film but that's nevertheless part of the larger, off-screen story related to this phenomenon's manifestation in physical existence. In this regard, then, the picture offers viewers a cautionary tale about the responsibility of managing one's conscious creation power, for the consequences that flow out from ill-considered beliefs can be quite considerable indeed.

While the film is effective at depicting the aforementioned conscious creation concepts, given the picture's overall tone, I still can't help but think there are better cinematic examples that viewers could draw upon for inspiration. Achieving success needn't be a descent into cynicism, an exercise in potentially deceptive practices or an engagement with questionable characters as long as the underlying beliefs are sound and honorable. Those looking for the latter may have to look past the former to see how this principle is portrayed in this picture.

With all that said, however, I must admit that "The Social Network" is a well-made movie. Aaron Sorkin's writing is razor sharp, despite occasional lapses into legalese and tech-speak, and the performances are excellent across the board, especially Eisenberg, Garfield and Timberlake, all of whom are worthy of consideration come awards season. I only wish I could say I enjoyed the picture's story as much as I enjoyed its technical attributes.

The power of belief is an amazing force, as this film demonstrates. May we all come away from it aware of that power and the responsibility that comes from using it.

("The Social Network"--2010; Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Minghella, Joseph Mazzello, Rooney Mara, Brenda Song, Douglas Urbanski, David Selby; David Fincher, director; Aaron Sorkin, screenplay, Ben Mezrich, book, The Accidental Billionaires; www.thesocialnetwork-movie.com)

Comments? Email me at brentmarchant@momentpoint.com.

The Courage To Create

2010-10-14T12:12:00.003-04:00

“Mao’s Last Dancer”

Our ability to create effectively depends greatly on having the freedom to do so—the freedom to choose what we want to manifest, the freedom to decide how we go about it and, perhaps most importantly, the freedom from limitations (self-imposed and otherwise) that could potentially block our path. All of these elements contribute to the development of that all-important attribute, the courage to create, a capability that provides the focus of the captivating new biopic, “Mao’s Last Dancer.”

The film tells the life story of world-famous Chinese ballet dancer Li Cunxin (Chi Cao). Selected by Communist Party officials at a tender young age to enroll in a prestigious ballet training program, the youthful Li (Wen Bin Huang) wasn’t sure why he was chosen, since he knew virtually nothing about the art form in which he was to be indoctrinated. In fact, he wasn’t sure he even wanted to participate in the program, because it meant leaving his family in their rural village for life in Beijing. But Li’s parents (Joan Chen, Shuang Bao Wang) saw this opportunity as a way for their son to escape his impoverished roots and build a better life for himself. Of course, the officials who chose Li had more in mind than cultivating his dancing skills. With an aging but formidable Chairman Mao still firmly in power and the opening up of China to the West still in its infancy, Li’s development as a propaganda tool was just as crucial to the Party as any of the moves he would make on the stage.

Li struggled with his early training, a challenge that would persist in his life even as a teen (Chengwu Guo). Abusive taskmaster instructors, like Teacher Gao (Gang Jiao), made life difficult for the sensitive young artist, hampering the growth and maturity of his abilities. But, thanks to the thoughtful and inspiring guidance of mentors like Teacher Chan (Su Zhang), Li eventually came into his own as a powerful performer with a dynamic stage presence, one clearly destined for greatness. However, those who made him also wanted to make sure that they got a proper political payoff from their investment, that his dancing would make an ideological statement equally powerful to its artistic merits.

As China began to play a more prominent role on the world stage in the early 1980s, its leadership was anxious to show off its assets in all their artistic and propagandist glory. Because of that, Li was chosen to participate in a student exchange program with the Houston Ballet. Before long, the dutiful, disciplined young star was off to America to study with the company’s artistic director, Ben Stevenson (Bruce Greenwood). Little did anyone know what that would lead to.

Li arrived in America as a reserved, polite representative of his country and its ideology. And just to make sure he toed the line, Li was strongly cautioned by the local Chinese consul (Ferdinand Hoang) to avoid the “decadent” temptations of the West, especially its women, who were not to be trusted. But once Li got a taste of what life in the West was like, particularly the artistic freedom it afforded, his loyalties slowly began to shift. With the rapid ascendance of his star power and the blossoming of a new romance with an aspiring young ballerina (Amanda Schull), there was no going back—something Li would soon find out about, both literally and figuratively.

Li initially sought an extension of his stay but was quickly turned down by Chinese officials, a ruling that prompted him to seek asylum—and that subsequently touched off an emotionally charged international incident with harsh consequences for all involved, including Li’s family back in China. But, armed with the support of a sharp immigration lawyer (Kyle MacLachlan), a new marriage to a U.S. citizen to legally justify his stay and his personal commitment to the courage to create, Li fervently pursued his goal, despite the burdens involved.

Li’s story is an excellent example of someone who’s willing to take on the challenges associated with the pursuit of a dream of artistic freedom, arguably the noblest embodiment of the essence of the conscious creation process (in all its artistic and metaphysical implications). In doing so, he stares down his fears and overcomes the limitations that stand in his way, key objectives necessary for accomplishing such a goal. Li’s experiences in America illustrate this most pointedly, but then that’s because he was prepared for it, having endured similarly challenging conditions during his “training” in China, an education that clearly involved more than just learning his ballet routines. Some of Li’s obstacles were startlingly difficult to overcome (and sometimes maddening to contemplate, given their self-imposed nature), but his struggle to beat them continually made him physically and emotionally stronger, enabling him to live up to the potential of which he was truly capable. Li’s efforts in this regard, in turn, illustrate his drive and desire to live out his value fulfillment, the conscious creation principle related to becoming one’s truest, best self, an objective aimed at benefitting oneself and one’s peers (and, in Li’s case, the legions of ballet fans around the globe). Of his accomplishments one can genuinely say, “What an artist!”—and not just for his dance moves.

“Mao’s Last Dancer” is a triumphant film, undoubtedly one of the year’s best releases, not only for its inspiring story but also for its technical brilliance. The dance sequences are magnificent, easily in the same league as predecessor pictures like “The Turning Point.” Its performances are solid across the board in both its on- and off-stage scenes, giving the film a wonderful sense of balance that could have easily been overshadowed by the sheer artistry of the ballet sequences (a pitfall that, thankfully, was avoided). The writing, which could readily have become trite and predictable, is crisp and free of cliché, quite a feat for a biopic, where a known story line and an established outcome provide the basis for the narrative.

Interestingly, the film is also an engaging period piece, depicting a 1970s version of China and a 1980s version of the U.S. that evoke feelings of nostalgia that simultaneously seem both foreign and familiar. Given the many developments that have occurred in both cultures since then, it’s hard to believe so much has changed in such a relatively short period of time. The portrayal of 1970s China in particular seems almost quaint with its ubiquitous bicycle riders and its “revolutionary” ballet sequences, which, while faithfully presented, come across now like exercises in tastefully restrained camp, a directorial coup for sure.

The picture has been playing in sporadic limited release over the past few months, so finding a screening of it may be a challenge, especially for those in smaller markets. Consequently, many viewers may have to wait for the DVD release. But it’s worth seeing once available, no matter what the format, as it’s an excellent picture on all fronts and could wind up as a dark horse come awards season.

The courage to create is a powerful force that’s powerfully depicted in this masterfully crafted film. Anyone seeking inspiration in this vein, regardless of whether they perform on the ballet stage or the stage of life, should rush to see it. You won’t be disappointed.

(“Mao’s Last Dancer”—2009 (production), 2010 (release); Chi Cao, Bruce Greenwood, Kyle MacLachlan, Joan Chen, Shuang Bao Wang, Wen Bin Huang, Chengwu Guo, Amanda Schull, Ferdinand Hoang, Camilla Vergotis, Su Zhang, Gang Jiao, Xiu Qing Yue, Steven Heathcote, Madeleine Eastoe, Penne Hackforth-Jones, Aden Young, Suzie Steen, Chris Kirby, Jack Thompson; Bruce Beresford, director; Jan Sardi, screenplay; Cunxin Li, book, Mao's Last Dancer; www.maoslastdancermovie.com/)

Comments? Email me at brentmarchant@momentpoint.com.

Conceding One’s Power

2010-10-12T12:46:00.006-04:00

“Never Let Me Go”

One of the primary aims of practicing conscious creation principles is to be able to use them to feel one’s sense of personal power. Fewer things are more fulfilling than the satisfaction that comes from successfully putting that power to use, through one’s thoughts, beliefs and intents, to manifest the reality one wishes to experience. By contrast, fewer things more readily evoke disappointment and despair than the act of giving away that power, a point made all too apparent in the haunting new drama, “Never Let Me Go.”

Life seems blissfully idyllic at Britain’s Hailsham boarding school. The happy-faced, apple-cheeked youngsters live what appear to be perfectly satisfying lives, even if those lives are obediently spent entirely within the confines of the school grounds out of fear of what lies beyond in the outside world (a behavior response carefully cultivated, presumably by the staff, through rumors of gruesome fates that befell former students who dared ignore the rules). But such obedience, and the unquestioning dependency on the school staff that results therefrom, is crucial for these children, for they’re all being prepared for a very special purpose—one that they’re not told about, however, until their education is nearly complete.

The story primarily follows the lives of three Hailsham students, Kathy (Isobel Meikle-Small), Tommy (Charlie Rowe) and Ruth (Ella Purnell), a seemingly inseparable trio of friends. They grapple with the evolution of their relationships with one another, as well as with the usual coming-of-age issues that teens typically go through. Yet, because of their oppressively micromanaged existence, their lack of worldly experience and their often docile personalities, they generally lack the maturity or coping skills for dealing with such issues, many times choosing to defer their handling of them, even as they grow into young adulthood. And these everyday challenges become ever more difficult to reconcile once their elder selves learn about the nature of the special purpose for which they’ve been groomed. Integrating a new set of complex, potentially overwhelming circumstances into the lives of those ill prepared for handling even the most basic aspects of daily life is the ordeal that the grown-up versions of Kathy (Carey Mulligan), Tommy (Andrew Garfield) and Ruth (Keira Knightley) must address as they embark upon their unsettling destiny.

If this summary sounds a bit cryptic, you’re right. That’s because telling more would give away too much of the plot. The special purpose that Hailsham’s students are prepared for is actually revealed quite early on in the film, but disclosing that here would, in my opinion, constitute a spoiler, and I’m not one to give away such critical aspects of movie story lines. Let it suffice to say, however, that the special purpose is one that most of us would probably not want to face.

So if the Hailsham students’ destiny is so seemingly abhorrent, why would they create a reality of that nature for themselves in the first place? In part, on a purely theoretical basis, one could chalk it up to the premise that all probabilities are equally viable of manifestation through the conscious creation process. But that assessment, as valid as it is, arguably might seem a little too cold, clinical or glib in this context, especially among those looking for a more meaningful answer. Which brings me to the other reason why Kathy, Tommy, Ruth and their peers may have created the existence they’ve chosen to experience—to serve as a cautionary tale on what can happen when we concede our personal power.

Giving away our ability to materialize the reality we wish to experience, by embracing beliefs in which we abrogate our personal power, turns us into sheep. It thrusts us into a life of victimhood, making us easy pickings for those who would seek to take advantage of us. We lose our response-ability to cope with the conditions that manifest around us, and we end up leading a life that’s most likely anything but satisfying. In many ways, it’s the antithesis of what the conscious creation process strives for.

Is that a life worth living? I suppose it might be if one has never experienced such an existence and feels compelled to go through it just for the sake of having it. But, if one has already had such an experience, why repeat it? The Hailsham students’ odyssey provides us with a stern warning about something we may wish to avoid—and that we might effectively be able to do, provided we hold on to our power to begin with.

“Never Let Me Go” definitely won’t appeal to everyone. It’s one of the saddest movies I’ve ever seen, and it’s probably not the kind of picture you’d want to watch unless you're in the right mood for it. With that said, however, it’s a well-crafted film on most fronts, with stellar performances by the actors who portray the three principals as both youngsters and adults and by Charlotte Rampling as Hailsham’s steely head mistress, Miss Emily. The pacing drags a bit in the middle, with writing that meanders somewhat, but the payoff viewers get from the story as it progresses toward its completion is well worth enduring whatever slowness may get in the way beforehand. Beautiful cinematography and an emotive musical score by Rachel Portman effectively enhance the story as it unfolds on screen.

Viewers might easily come away unnerved from this picture, but, if that’s the case, then the movie has done its job. It effectively shows the results of disempowerment and of the abandonment of our inherent ability to act as conscious creators. It also illustrates the pain involved in attempting to deal with our innate sense of humanity in a context where that quality is all but absent. But then such circumstances often occur when we concede our power—a lesson that I’d like to hope we can all dispense with as quickly as possible.

(“Never Let Me Go”—2010; Carey Mulligan, Andrew Garfield, Keira Knightley, Charlotte Rampling, Isobel Meikle-Small, Charlie Rowe, Ella Purnell, Sally Hawkins, Hannah Sharp, Andrea Riseborough, Domhnall Gleeson; Mark Romanek, director; Alex Garland, screenplay; Kazuo Ishiguro, book; www.foxsearchlight.com/never-let-me-go)

Comments? Email me at brentmarchant@momentpoint.com.

A Great Radio Show about Movies

2010-10-11T10:32:00.002-04:00

I recently had the privilege of being a guest on the 7th Wave Radio Network show Spirit of Film: Conversations with host Randall Libero. I was thoroughly impressed with Randall as a host. His interview style, his questions and his rapport were all top-notch. I was also taken with his insights about my work, particularly the thoughtful, praiseworthy treatment he gave to the material in Get the Picture, both during the show and in his pre-show blog (available at www.spiritoffilm.net; see the entry for September 29). Admittedly, I may be a bit partial on this, but I was most grateful for what he had to say.

But then I discovered that's how Randall is with all of his guests.

I listened to a number of Randall's archived broadcasts after my show appearance and found that he takes the same approach to all of his interviews, bringing out the best in all of his guests, allowing them to discuss their films and related projects in a clear, concise and entertaining manner. And the array of guests he features provides listeners with a wide range of engaging material.

So if you enjoy conversations about spiritual cinema as much as I do, make his show a habit. The show airs live at 2 pm Eastern on Wednesdays at www.7thWaveNetwork.com. Click on the schedule tab, and then click on the show listing from the drop-down menu. You can also read Randall's blog page at www.spiritoffilm.net, which includes links to archived broadcasts, such as mine from September 29.

Comments? Email me at brentmarchant@momentpoint.com.

Do You Have Abundance in Your Life?

2010-10-11T10:08:00.004-04:00

Do you get excited about what you are able to do each day? Do you make choices in your day based on your passions and living them fully? Or are you overwhelmed and wondering why you can’t seem to get excited about anything?

I’m always interested in looking for a more joy-filled, flowing and heart-centered way to take charge of what I do in my life, principles align with conscious creation/law of attraction practices. That’s why I was intrigued by Katana Abbott and Marilyn Schwader’s new teleseminar on Thursday, October 14, called “Awakening Your Purpose, Passion, and Prosperity”.

Katana built a million-dollar business as a Certified Financial Planner and now helps women in transition create and grow wealth by following their purpose and passion. Marilyn is Shamanic Practitioner who blends working with the knowledge of energy and the tool of writing to inspire her clients to create and market their transformational ideas. Katana and Marilyn have combined their talents to help shine a light on building financial freedom on a foundation of spirit-based principles.

Check it out for yourself. These women bring a new perspective to spiritual wealth-building. To sign up for the free teleseminar, register at:

http://www.cartville.com/app/?af=1252424

Having been a guest on Katana's radio show, Smart Women's Talk Radio, I can tell you she approaches all the subjects she addresses in great depth, and I'm sure this teleseminar will be no exception. Hope you can join us!

Comments? Email me at brentsbulletinboard@gmail.com.

Technical Glitches -- Aargh!

2010-10-06T13:50:00.002-04:00

My apologies to those of you who were expecting to hear my podcast interview on Biz Juice with host Elizabeth Lengyel on Wednesday October 6. Due to technical difficulties beyond our control, we were unable to record the broadcast. However, we have rescheduled the interview, and the show will be available for on-demand listening beginning next Monday afternoon, October 11, at www.BlogTalkRadio.com/Biz-Juice. Sorry for any inconvenience.

Comments? Email me at brentmarchant@momentpoint.com.

Print or Broadcast? It's Your Choice!

2010-10-05T03:19:00.002-04:00

Print or broadcast -- which do you prefer? This week, you can take your pick when it comes to my latest offerings!

Print fans -- Looking for some alternate viewing suggestions? If so, check out "10 Little-known Gems," my latest post on VividLife magazine (www.vividlife.me).

Broadcast fans -- Want to hear some inspiring movie chat? Then tune in to Biz Juice, a podcast on which I'll discuss the subject with host Elizabeth Lengyel. The show will be available for listening beginning this Wednesday afternoon, October 6, at www.BlogTalkRadio.com/Biz-Juice.

Comments? Email me at brentmarchant@momentpoint.com.

Ow'll Pass on This One...

2010-09-29T09:27:00.004-04:00

"Legend of the Guardians: The Owls of Ga'Hoole"

Teaching children about the basics of conscious creation principles—and about even more fundamental concepts like right and wrong—is often effectively accomplished through the movies … provided that the films in question are appropriate for the target audience. Sadly, such is not the case with a new 3-D animated fantasy being plugged to younger viewers, “Legend of the Guardians: The Owls of Ga’Hoole.” Though it’s stunningly beautiful to look at, the picture is also startlingly violent, a caution that parents should seriously consider when evaluating it as a viewing option for youngsters.

The film chronicles the odyssey of a pair of young, impressionable owls, Soren (voiced by Jim Sturgess) and Kludd (voiced by Ryan Kwanten). While practicing their flying techniques one day, Soren and Kludd are kidnapped by a group of evil owls who seek to convert their captives into unwitting agents of their dark wickedness. But their paths soon diverge: Soren manages to escape and eventually finds his way to a legendary group of altruistic owls known as the Guardians, while Kludd remains a prisoner of the malevolent ones, having been brainwashed into doing their evil bidding. This setup thus provides the makings of a classic good vs. evil tale, with a Cain and Able subplot thrown in to carry the story.

As Soren prepares to do battle against his foes, he goes through a series of warrior training lessons with the Guardians, many of which are reminiscent of the Jedi fighter teachings of the “Star Wars” series. Some of these lessons are fundamental conscious creation/law of attraction teachings, such as learning how to face fears and how to draw on one’s internal creative powers to envision desired results (though “May the Force be with you!” is arguably much more inspiring than “Listen to your gizzard!”). Such aspects of the story certainly have merit, but, given that they’re few and far between and couched in such a violent context, their impact, unfortunately, tends to become largely obscured.

With such philosophical aspects downplayed, the animation is thus given free reign to dominate the film. But, as breathtaking is the visuals truly are, they’re frequently very graphic in nature. Such imagery may be suitable for older viewers, but young ones might easily become frightened by what’s on the screen.

Given the nature of this picture, I can’t help but wonder what its creators and distributors had in mind for it. Director Zack Snyder, best known for violent, adult-oriented fantasies like “300” and “Watchmen,” doesn’t seem to have toned down his tendencies enough here to create an appropriate vehicle for a young audience. That’s because the nature of the violence depicted here is not the comical kind that one sees in things like Warner Bros. cartoons; it’s much more serious and, in my estimation, unsuitable for kids.

I have a hard time believing that older viewers will find much to like, either, no matter how much they might value high-quality animation. Why? The story, in all honesty, is boring. Unless you’re a diehard ornithologist, you’ll probably find that talking owls just don’t hold your interest for very long, no matter how well they’re drawn. And when you couple this downfall with a needlessly convoluted and often-trite narrative (something that will simultaneously try the patience of older viewers and confuse the little ones), viewers aren’t left with much to savor.

Despite these shortcomings, the picture does have a few things going for it. As I’ve already noted, the film is gorgeously animated, even if some of the backdrops are a bit derivative in nature (landscapes reminiscent of “Avatar” and “The Lord of the Rings” series appear on screen frequently). Its original soundtrack is a winner, too, a strong contender for recognition come awards season. And the voiceovers are, for the most part, all quite capable, too. But these elements, as good as they are, can’t save this production from its inappropriateness and mediocrity.

It’s unfortunate that “Legends of the Guardians” fails to live up to its marketing—or its potential. Kids deserve good, entertaining, appropriate fare, but, when it comes to this offering, frankly, it’s hard to give a hoot.

(“Legends of the Guardians: The Owls of Ga’Hoole”—2010; Jim Sturgess, Ryan Kwanten, Helen Mirren, Sam Neill, Geoffrey Rush, Hugo Weaving, Anthony LaPaglia, Emily Barclay, Adrienne DeFaria, Bill Hunter, Miriam Margolyes, David Wenham; Zack Snyder, director; John Orloff and Emil Stern, screenplay; Kathryn Lasky, source books; http://legendoftheguardians.warnerbros.com/#/home)

Comments? Email me at brentmarchant@momentpoint.com.

Catch the Wave!

2010-09-24T07:34:00.003-04:00

Catch the wave this Wednesday, September 29, at 2 pm Eastern, when I'll surf my way onto the 7th Wave Radio Network show Spirit of Film: Conversations with host Randall Libero. To tune in to the 60-minute interview, visit www.7thWaveNetwork.com and click on the show tab.

Comments? Email me at brentmarchant@momentpoint.com.

Honouring Our Inner Voice

2010-09-07T16:14:00.000-04:00

How often do we listen to that little inner voice that pops into our heads? And how often do we pay a price when we don't? Check out some food for thought on the subject in "Honouring Our Inner Voice," my latest post on FengSHe (www.FengSHe.org). Click on the tab marked "Spirit, Helpful People, Travel" in the content category list.

Comments? Email me at brentmarchant@momentpoint.com.

Travelogue Spirituality

2010-09-04T17:20:00.002-04:00

"Eat Pray Love"

Is is possible to find oneself by travelling the globe? Find out in "Travelogue Spirituality," my review of the new film "Eat Pray Love" in VividLife magazine, available at www.VividLife.me.

Comments? Email me at brentmarchant@momentpoint.com.

Catch the Planetary Spirit

2010-08-23T03:41:00.002-04:00

I'll be back on the radio again this Tuesday, August 24, at 1 pm Eastern, when I'll be a guest on Planetary Spirit with host Jeff Ferrannini. To tune in live, visit http://etin.emerson.edu and click on the Windows Media Player link, or go to www.planetary-spirit.com, click on the ETIN link and then click on the Windows Media Player link. Or, to hear the show after the broadcast, visit the archives on www.planetary-spirit.com.

Comments? Email me at brentmarchant@momentpoint.com.

Reconciling One's Life

2010-08-18T10:23:00.002-04:00

"Get Low"

As the end of life approaches, the time comes to get one's heart, mind and beliefs in order, a notion that's the focus of the new comedy-drama, "Get Low," the subject of my latest film review, "Reconciling One's Life," in VividLife magazine (www.VividLife.me).

Comments? Email me at brentmarchant@momentpoint.com.

On the Air This Thursday

2010-08-17T11:39:00.001-04:00

Want to hear some inspired chat about movies with spirit? If so, then tune in this Thursday, August 19, at 2 pm Eastern, when I'll be a guest on the Padaran internet radio show with host Rev. Daya Devi-Doolin. I'll discuss my writings on the subject, including those in Get the Picture and in my online columns for VividLife magazine (www.VividLife.me) and FengSHe (www.FengSHe.org). To tune in, visit www.blogtalkradio.com/padaran and let the spirit move you.

Comments? Email me at brentmarchant@momentpoint.com.

Catalysts for Change

2010-08-16T12:51:00.003-04:00

“The Kids Are All Right”

When we find ourselves leading lives that are less than satisfactory, it’s time for a change. That’s a prospect some may find unnerving, but the ability to make adjustments when things aren’t acceptable is one our basic conscious creation birthrights. All we need do is shift our beliefs. But what if we block out our awareness of the discomfort? Under such circumstances, we may not be aware of the need for change, the beliefs that are causing the problems or how to effectively rewrite them. When that happens, it’s time for a catalyst to get the change process rolling. Initially, we might not be aware of the catalyst’s presence or the beliefs that drew it to us, but once it makes itself at home, its impact is ultimately undeniable. Such is the case in the new comedy-drama, “The Kids Are All Right.”

Nic (Annette Bening) and Jules (Julianne Moore) have been partnered for years. They’ve built a life together, including becoming the parents of two children by artificial insemination, Joni (Mia Wasikowska) and Laser (Josh Hutcherson). Life generally seems good, though it has become very settled. What’s more, a few tensions simmer beneath the surface of their apparent domestic bliss, their issues threatening to come to a boil, especially now that the kids are teenagers. With Nic and Jules fast approaching their own version of the empty nest stage, the question that looms large is, will they be ready for it?

Since Nic and Jules seem largely unwilling to address the issues they must face or, in turn, to make any necessary changes, the kids unwittingly step up to the plate to manifest a much-needed catalyst to help the process along. They decide that they’d like to meet their sperm donor, a prospect made possible by Joni turning 18 and attaining legal adult status. And so before long, Joni and Laser schedule a meeting with Paul (Mark Ruffalo), the man who helped make their life possible.

After some initial trepidation, Paul and the kids hit it off well. In fact, it quickly becomes apparent that all three of them would like to continue their involvement with one another. But their interaction is more than just a passing diversion or idle curiosity; the kids like Paul, and vice versa, a development that shakes things up at home. And once Paul meets Nic and Jules, things get shook up even further—and in highly unexpected ways.

Of course, the impact of all this affects not only Nic, Jules and the kids; it also has a profound influence on Paul. As a confirmed bachelor and free spirit, Paul has lived his life on his own terms. But, with the onset of middle age, the prospect of being a father and having a family holds much more appeal than it once did, especially now that he’s had a taste of it for himself, even if only vicariously. So now he must ask himself, “What am I going to do about it? Am I willing to implement the changes I need to make to bring all of this about?” The catalyst thus gets turned back on itself.

As noted above, change can be a scary prospect for many of us. Upsetting the established order takes us out of our comfort zone and places us squarely in uncharted territory. But, ultimately, which prospect is preferable, staying stuck in less-than-satisfying circumstances or moving on to something more desirable? That’s where the power of change comes into play, and, as one of the more powerful items available to us in our conscious creation toolbox, it’s one that we shouldn’t hesitate to draw upon when the need arises. Sometimes we may find that the changes we need to make are major; in other instances, the alterations may be minor, requiring only modest tweaking. But we’ll never know, of course, unless we allow ourselves the opportunity to assess what’s at hand and what might be.

This is a prospect that I examine at length in Chapter 5 of Get the Picture through a variety of movies that address the subject head on. And I’m pleased to say that “The Kids Are All Right” is clearly cut from the same cloth. The film is likable in virtually every respect, providing viewers with considerable food for thought, as well as a thoroughly entertaining story.

Thanks to conscious creation, we always have a limitless range of options open to us to achieve satisfaction in the realities we materialize. Films like this help to show us the alternatives, both overtly and by implication, thereby reinforcing the inherent importance of this notion. All we need do is be willing to explore the possibilities.

(“The Kids Are All Right”—2010; Annette Bening, Julianne Moore, Mark Ruffalo, Mia Wasikowska, Josh Hutcherson, Yaya DaCosta, Kunal Sharma, Eddie Hassell, Zosia Mamet, Joaquín Garrido; Lisa Cholodenko, director; Lisa Cholodenko and Stuart Blumberg, screenplay; www.focusfeatures.com/film/the_kids_are_all_right)

Comments? Email me at brentmarchant@momentpoint.com.

FengSHe Goes Live!

2010-08-09T11:31:00.001-04:00

I'm pleased to announce that FengSHe (www.FengSHe.org) is now
live! Click on the link to reach the site. And to find my first piece,
click on the "Creativity" tab on the site's home page.

Comments? Email me at brentmarchant@momentpoint.com.

Inner Speak Soul Adventures

2010-08-08T05:27:00.002-04:00

Check out my radio interview this Tuesday, August 10, at 8 pm Eastern, when I'll be a guest on Inner Speak Soul Adventures with host Jean Adrienne, available at www.voiceamerica.com. I'll talk about conscious creation/law of attraction themes in the movies, past and present.

Comments? Email me at brentmarchant@momentpoint.com.

Check Out The Manifest-Station!

2010-08-05T11:56:00.002-04:00

I'm pleased to announce that a selection of my articles and blogs has now been posted in the Articles Library of the metaphysical database web site The Manifest-Station (www.theManifest-Station.com). My submissions appear alongside those posted by a host of other authors on a wide range of new age, spiritual, personal growth and sustainable living topics.

To access these entries, click on the "Free" tab on the site's home page and then scroll down to the "Articles" listing on the pull-down menu. That will take you to the Articles home page, which shows the most recent entries and allows you to search the library in a variety of ways (by topic, author, etc.).

And the Articles are just one of many resources available through the site. So check it out, and enjoy everything The Manifest-Station has to offer. Be sure to pass the word along to anyone you know who may be interested, too!

Comments? Email me at brentmarchant@momentpoint.com.

A Missed Opportunity

2010-08-04T05:38:00.002-04:00

"Inception"

Much hype has been lavished on the new sci-fi thriller "Inception," but is the praise justified? Read my take on the film in "A Missed Opportunity," my latest online film review in VividLife magazine, available at www.vividlife.me.

Comments? Email me at brentmarchant@momentpoint.com.

10 More Little-known Gems

2010-08-03T10:49:00.002-04:00

The summer movie season, as many of you are probably well aware, can be a cinematic wasteland when it comes to substantive viewing options. The predominance of big-budget special effects extravaganzas and silly comedies leaves few choices for those in search of more thought-provoking fare. So, to that end, in May last year, I wrote a blog about alternate viewing selections for the summer season, titled “10 Little-known Gems.”

Given the less-than-stellar movie offerings this summer, the same issue, sadly, has arisen once more. The rapid disappearance from theaters of magical releases like “Ondine”* and the disappointing results from much-anticipated pictures like “Inception”* have left even the most tolerant movie fans craving productions worth watching. So, to that end once again, I have compiled a list of 10 more little-known gems worth watching as alternate summertime fare. These pictures are excellent explorations of various conscious creation/law of attraction themes, providing entertainment and enlightenment at the same time.

So, with that said, I hereby offer, in no particular order, the following list of films as alternatives to their current big screen counterparts:

“The Visitor”: Ever feel like a stranger in your own skin, unable to tap into “the real you”? Figuring out how to reach that elusive inner self is the task of a lonely widower who journeys into the depths of his soul while on a business trip to New York. An encounter with a Middle Eastern musician, an event far afield from the protagonist’s typical routine, sends him down a path of self-discovery and personal reinvention. A riveting performance by Richard Jenkins in the lead role. (2007 (production), 2008 (release); Richard Jenkins, Haaz Sleiman, Danai Gurira, Hiam Abbass; Thomas McCarthy, director; Thomas McCarthy, screenplay; one Oscar nomination; www.thevisitorfilm.com)

“Shrink”: A preeminent Hollywood psychiatrist is on the verge of losing it all, having slipped into a deep depression driven by a personal tragedy. Perpetually adrift in the stupor of a self-medication program, he slides through life until he’s posed with the challenge—and the opportunity—to heal others and, by extension, to heal himself, a process through which he sees his inner world reflected back to him through his outer reality, particularly through the patients he treats. A dark comedy with intriguing psychological and metaphysical overtones. (2009; Kevin Spacey, Mark Webber, Keke Palmer, Saffron Burrows, Jack Huston, Pell James, Dallas Roberts, Jesse Plemons, Robert Loggia, Joel Gretsch, Laura Ramsey, Robin Williams, Gore Vidal; Jonas Pate, director; Thomas Moffett, screenplay; www.shrinkthemovie.net; see my complete review of this film in a January 2010 blog on this web page)

“The Nines”: The lives of a troubled actor, a frazzled reality TV show writer and a successful video game designer intertwine in intriguing ways, revealing sublime truths about their—and our—very nature. Give this one a little time to unfold; you’ll be richly rewarded. (2007; Ryan Reynolds, Melissa McCarthy, Hope Davis, Elle Fanning; John August, director; John August, screenplay; www.lookforthenines.com)

“Rashômon”: This cinematic classic may not be unknown in the annals of film history, but it may be unfamiliar to younger viewers. This black-and-white masterpiece tells the same story from multiple perspectives, with each recounting revealing the beliefs of each player in the unfolding drama. But which version is “right”? See for yourself. (1950; Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijirô Ueda, Fumiko Honma, Daisuke Katô; Akiro Kurosawa, director; Akiro Kurosawa and Shinobu Hashimoto, screenplay; Ryûnosuke Akutagawa, story; one Oscar nomination, one honorary Oscar; www.janusfilms.com/rashomon/)

“Central Station”: A recently orphaned young boy’s cross-country odyssey in search of his long-lost siblings takes him and his reluctant chaperone from the big city to the wilds of the Brazilian frontier. The journey gives the youngster’s hesitant companion—an aging retired school teacher—an opportunity to examine who she is and what she wants out of life, giving her pause to take stock of the beliefs behind the reality she’s created for herself. A real heart-tugger without ever becoming overly sentimental or schmaltzy. (1998; Fernanda Montenegro, Marília Pêra, Vinícius de Oliveira, Soia Lira, Othon Bastos, Otávio Augusto, Stela Freitas, Matheus Nachtergaele, Caio Junqueira; Walter Salles, director; Marcos Bernstein and João Emanuel Carneiro, screenplay; Walter Salles, story; two Oscar nominations, one Golden Globe win on two nominations; www.sonypictures.com/classics/central station/)

“Neverwas”: A psychiatrist haunted by the suicide of the father he barely knew takes a job at a mental hospital where his dad, the author of a popular children’s book, was once institutionalized. While searching for clues about his father’s past, he meets a patient who knew his dad and who unwittingly helps the young doctor heal himself by bringing his father’s famous creation to life. An excellent example of life imitating art—and of reality reflecting beliefs—no matter how seemingly unlikely that might be. (2005; Aaron Eckhart, Ian McKellan, Brittany Murphy, Nick Nolte, Jessica Lange, William Hurt, Bill Bellamy, Alan Cumming, Vera Farmiga, Michael Moriarity; Joshua Michael Stern, director; Joshua Michael Stern, screenplay; www.imdb.com/title/tt0418004/)

“World’s Greatest Dad”: Ever form an opinion about someone that you later discover is far different—perhaps even the exact opposite—of what others have of the same person? Such is the metaphysical conundrum posed by this edgy comedy about a high school poetry teacher who struggles to tell the truth about, while simultaneously protect the reputation of, his dead teenage son, an ungrateful brat and self-centered social misfit. In doing so, we see two sides of both father and son emerge with unexpected results. Don’t let this film’s warm fuzzy title fool you! (2009; Robin Williams, Daryl Sabara, Alexie Gilmore, Henry Simmons, Geoff Pierson, Evan Martin, Jermaine Williams, Lorraine Nicholson, Tony V., Deborah Horne, Toby Huss, Mitzi McCall, Bruce Hornsby; Bobcat Goldthwait, director; Bobcat Goldthwait, screenplay; www.worldsgreatestdadfilm.com; see my complete review of this film in a January 2010 blog on this web page)

“Martian Child”: When a recently widowed sci-fi writer adopts a troubled young boy on a trial basis, he gets more than he bargains for, especially when he discovers that his would-be son is convinced he’s a visitor from Mars. It’s a notion that might easily be dismissed as fantasy or an overactive imagination until some genuinely unusual things begin to happen. So is the young man from the red planet or not? Tune in for yourself. (2007; John Cusack, Bobby Coleman, Amanda Peet, Sophie Okonedo, Joan Cusack, Oliver Platt, Richard Schiff; Menno Meyjes, director; Seth Bass and Jonathan Tolins, screenplay; David Gerrold, book; www.martianchild.com)

“Starting Out in the Evening”: One’s ability to create successfully depends on one’s beliefs to do so, for better or worse (or, in some cases, both). For an aging writer who had two early successes but later became convinced that he’d lost his way, the challenge to create anew in the face of a rapidly approaching end gets put to the test through his interaction with a young graduate student. The key question is, will he rise to the occasion? An excellent, superbly acted character study.(2007; Frank Langella, Lauren Ambrose, Lili Taylor, Adrian Lester; Andrew Wagner, director; Fred Parnes and Andrew Wagner, screenplay; Brian Morton, book; www.roadsideattractions.com/Catalog/FilmLibrary.asp?ProjectID=%7BECD239F2-668A-4AEE-858E-E26751721E52%7D&BusinessUnitID=%7B7533CDA9-E7C5-4586-AAA5-14ABF2E3F6B2%7D)

“This Is My Life”: Achieving success in one’s calling need not be a struggle if one has beliefs in place that support such a notion. Of course, integrating that success into the other aspects of one’s life can be a challenge as an aspiring comedienne and single mother of two finds out in this heartwarming comedy. A real charmer from start to finish. (1992; Julie Kavner, Samantha Mathis, Gaby Hoffmann, Carrie Fisher, Dan Aykroyd, Kathy Ann Najimy, Bob Nelson, Caroline Aaron, Danny Zorn, Estelle Harris; Nora Ephron, director; Nora Ephron and Delia Ephron, screenplay; Meg Wolitzer, book; VHS format only; www.imdb.com/title/tt0105577/)

(* See my review of these pictures in the Movies section of VividLife magazine, available at www.vividlife.me.)

Comments? Email me at brentmarchant@momentpoint.com.

FengSHe To Launch August 6

2010-07-28T04:50:00.000-04:00

FengSHe.org, the web site that I am about to begin working for as a contributing writer, has announced its official launch date! Beginning Friday August 6, you'll be able to see the site in full operation. To find out more, click the link below:

http://us1.campaign-archive.com/?u=e2d16fc851ebcdff39bd3efa8&id=d106409158&e=f29bef7fef

In the meantime, you can still visit the site's pre-launch web page at www.fengshe.org.

Comments? Email me at brentmarchant@momentpoint.com.

Mirror, Mirror

2010-07-21T11:28:00.003-04:00

"Cyrus"

It's been said that everything going on around us is a reflection of what's going on inside us, that our external reality is a mirror of our inner world. That notion gets put under the microscope in the new comedy "Cyrus," the subject of my latest film review, "Mirror, Mirror," in VividLife magazine, available at www.vividlife.me.

Comments? Email me at brentmarchant@momentpoint.com.

I'm an Upcoming Luminary!

2010-07-14T13:27:00.002-04:00

Please join me on July 18th, 2010 on InspireMeToday.com!

I'll be sharing insights from my experiences in an exclusive 500-word article on the best things I've learned in life - full of beneficial nuggets for you!

While you're visiting InspireMeToday.com, sign up for the free daily inspiration email and free 44 page eBook Secrets to Soaring. I encourage you to use these gifts to help you on your life's journey.

On behalf of the InspireMeToday.com family, thank you for your support. We greatly appreciate you!

Comments? Email me at brentmarchant@momentpoint.com.

On Line and On Air This Week

2010-07-07T12:21:00.003-04:00

"Ondine" and A Fresh Start

It's a busy week here! For starters, check out my latest film review, "A Belief in Magic," a look at the new cinematic fable "Ondine," at www.vividlife.me.

And then on Thursday, July 8, I'll be back on the radio when I appear as a guest on A Fresh Start with host Sallie Felton. The show airs live at 12 noon Eastern, 11 am Central at www.salliefelton.com/A_Fresh_Start_radioShow.html#freshstart.

Also, my apologies to those of you who expected to hear me on Planetary Spirit with host Jeff Ferrannini on Tuesday, July 6. Due to technical difficulties, the show had to be postponed until a future date, but I will keep you posted about the new broadcast time.

Comments? Email me at brentmarchant@momentpoint.com.

It's All About You

2010-06-30T03:49:00.001-04:00

The podcast of my rescheduled internet radio show appearance on It's All About You with host Darien Marshall is now available for listening on demand. To tune in, visit www.blogtalkradio.com/itsallaboutyou. Enjoy!

Comments? Write me at brentmarchant@momentpoint.com.

"Get the Picture" on Amazon UK

2010-06-22T05:27:00.003-04:00

Do you live in the U.K.? And are you an avid reader of metaphysical books or a big fan of the movies? If so, please note that Get the Picture: Conscious Creation Goes to the Movies is available through Amazon UK (www.amazon.co.uk). And if you want to find out more about me and my writing, check out my profile on Amazon UK's web site under its new Author Central feature (a comparable profile can be found on www.amazon.com as well).

Comments? Email me at brentmarchant@momentpoint.com.

Radio Shows Rescheduled

2010-06-18T02:23:00.002-04:00

My apologies to those of you who were expecting to hear my interview on It's All About You on Thursday June 17. Due to a scheduling conflict, my appearance has been rescheduled for Monday June 28 at 12 noon Eastern, 11 am Central. But please be sure to tune in at the show's new time slot at www.blogtalkradio.com/itsallaboutyou. And if you can't catch the show live, check it out afterward as a download from the site's archives.

My apologies also to those of you who were expecting to hear my interview on Biz Juice on Friday June 18. Due to the host's illness, my appearance will be rescheduled for a later date to be determined (I'll keep you posted on the change).

Sorry for any inconvenience with all of this.

Comments? Write me at brentmarchant@momentpoint.com.

As the Paradigm Turns

2010-06-16T04:45:00.002-04:00

"2012: Time for Change"

Is the world on the brink of ending, or are we about to enter a time of renewal filled with tremendous potential? Those are some of the questions addressed in the new documentary "2012: Time for Change," the subject of my latest VividLife film review, "As the Paradigm Turns," available at www.vividlife.me.

Comments? Write me at brentmarchant@momentpoint.com.

Three Radio Interviews This Week!

2010-06-15T10:33:00.003-04:00

They say "three times' the charm," so let's hope that's true this week when I make appearances on a trio of internet radio shows to discuss self-empowering cinema and the upcoming summer movie season. You can catch me on Wednesday June 16 at 12 noon Eastern, 11 am Central, when I'll appear on Positive Living with host Patricia Raskin (www.blogtalkradio.com/positive-living). Then on Thursday June 17 at 3 pm Eastern, 2 pm Central, I'll be a guest on It's All About You with hosts Darien and Darius (www.blogtalkradio.com/itsallaboutyou). And to round out the week, on Friday June 18 at 1 pm Eastern, 12 noon Central, I'll appear on Biz Juice with host Elizabeth Lengyel (www.blogtalkradio.com/biz-juice). All three shows will be archived on their respective web pages for later listening if you can't catch them live. So tune in and enjoy three times the fun!

Comments? Write me at brentmarchant@momentpoint.com.

Join Me for a Free Teleseminar

2010-06-09T11:21:00.000-04:00

What do movies have to do with metaphysics and conscious creation? Join me on Thursday June 10 at 2 p.m. ET for a free teleseminar with Linda Pannell of World Changing Wisdom and a fun and enlightening look at my book, Get the Picture, which reveals how movies illustrate conscious creation principles for changing the world and transforming consciousness. To reserve your space and register for the call, please click the link below:

www.worldchangingwisdom.com/marchant

Please register even if you can't attend the live call. A replay will be available for 24 hours after the live call.

Check Out FengSHe

2010-06-09T02:59:00.001-04:00

I'm delighted to announce that I have been named a contributing writer for a new web site called FengSHe (www.fengshe.org), a web-based resource aimed at promoting balance and well-being in today's challenged world. The site's official launch will occur soon, but its prelaunch page is now up and features a preview of what the site is about. The site's contributors are currently being profiled on this page on a rotating basis prior to the launch, and my work will be featured on Thursday June 10.

My writings will appear monthly once the site is officially up and running. Here's hoping you like the site. And be sure to tell anyone who you think might be interested!

Law of Attraction Success Radio

2010-06-08T02:47:00.003-04:00

Looking how to make best use of the law of attraction in your life? Find out how when I appear as a guest on Law of Attraction Success Radio with host Nat Couropmitree on Tuesday June 8 at 1 pm Eastern, 12 Central. I'll talk about movies as a tool for achieving success with this technique. To tune in, visit www.blogtalkradio.com and search Law of Attraction Success Radio to link to the show's home page.

If you can't tune in for the live broadcast, catch it later as a download! And if you know someone who might be interested in the show, pass on the word!

Comments? Write me at brentmarchant@momentpoint.com.

Explorations of Intent

2010-06-02T07:49:00.001-04:00

"Please Give"

What's behind what we create begins with us and our intents. But what exactly are our intents? And how do we get clear about them? Such heady questions are among those examined by the characters in the new comedy-drama "Please Give," the subject of my review, "Explorations of Intent," which is now posted in the online magazine VividLife (www.vividlife.me).

Comments? Write me at brentmarchant@momentpoint.com.

The Eternal Frontier

2010-05-20T04:53:00.002-04:00

"Infinity: The Ultimate Trip"

Ever wonder what lies beyond the end of this life? Read about the opinions of a number of noted experts on this topic in "The Eternal Frontier," my latest post in the online magazine VividLife (www.vividlife.me), which reviews the new DVD release "Infinity: The Ultimate Trip."

Comments? Write me at brentmarchant@momentpoint.com.

Integrity on Trial

2010-05-06T02:57:00.001-04:00

"City Island"

Living a life of genuine fulfillment can be tricky business, especially for those who have trouble leveling with themselves, as seen in the new comedy "City Island." Read my review of it, "Integrity on Trial," at www.vividlife.me.

Comments? Write me at brentmarchant@momentpoint.com.

Positive Living This Sunday

2010-04-23T01:21:00.001-04:00

Partake of some "Positive Living" this Sunday, April 25, when I'll appear as a guest on WPRO's radio show of the same name. I'll join host Patricia Raskin for a 30-minute interview about my book and my online writings for VividLife magazine. Tune in LIVE on the internet at www.630wpro.com at 1:30 pm Eastern, and enjoy the positive vibes!

Figuring Out What Matters

2010-04-22T11:57:00.002-04:00

"Greenberg"

Life presents us with many challenges to sort out, but what if we're fundamentally incapable of doing so. That's the lot of the title character in the new drama, "Greenberg," the subject of my latest film review "Figuring Out What Matters" in the online magazine VividLife (www.vividlife.me).

Comments? Write me at brentmarchant@momentpoint.com.

Hear Me on "Inside Personal Growth"

2010-04-14T13:53:00.003-04:00

I'm pleased to announce that the podcast of a new internet radio interview I recently did is now posted! Check out the conversation on Inside Personal Growth with host Greg Voisen. You can hear the interview by tuning in at: www.insidepersonalgrowth.com/2010/04/podcasts/podcast-170-get-the-picture-with-brent-marchant/.

A Down Payment on the Future

2010-04-14T07:21:00.002-04:00

One of the cornerstone principles in understanding how conscious creation works is an awareness of the inherent connectedness of all aspects of the realities we each manifest. Each element of existence connects from one to the other, creating an intricate, interwoven web where everything can potentially be affected--either positively or negatively--when even only one of those elements is somehow altered, rearranged or manipulated. This connectedness principle provided the focus of Chapter 8 of Get the Picture, and one of the films profiled in it, "Pay It Forward," shows how our beliefs and subsequent actions/creations can have wide-reaching consequences far beyond ourselves.

In the opening paragraph of my synopsis of the film, I wrote the following: "Small gestures carry tremendous power. Just as [conscious creation author/philosopher] Jane Roberts and [her noncorporeal channelled entity] Seth noted that there's enough energy in an emotion to send a rocket to the moon, there's a comparable degree of might in an act of kindness, a helping hand, even a simple compliment or word of encouragement. Now imagine what's possible if we all engaged in intentional acts of mutual support. The ripple effect of such interactions would stretch across the world, strengthening the bonds among us and reminding us that we're one globally connected human family."

Such is the essence of the "pay it forward" concept explored in the movie, in which a classroom experiment turns into a worldwide social movement. The basic idea behind this principle is that everyone helps three other people 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. The plan is called "pay it forward" because it runs counter to the more traditional convention of "pay it back," thereby creating an altruistic movement that amasses the creation of good rather than focusing on the replenishment of lack.

The concept works beautifully in the film, both in big and small ways. But is this idea just a nice theory, or can it really work in everyday life? According to the results of some new research, it indeed does work. What's more, the findings show that it only takes a handful of participants to make it succeed.

According to a news release from Eurekalert.org, an online news service of the American Association for the Advancement of Science, researchers from the University of California, San Diego, and Harvard University have documented the impact of the pay it forward principle. James Fowler, an associate professor in the UC San Diego Department of Political Science, and Nicholas Christakis, a professor of sociology at Harvard, proved through laboratory research that cooperative behavior is contagious and spreads easily from person to person. According to the news release, "when people benefit from kindness they 'pay it forward' by helping others who were not originally involved, and this creates a cascade of cooperation that influences dozens more in a social network." What's more, according to Fowler, after engaging in such acts, the effect persists, adding "you don't go back to being your 'old selfish self.'"

It would seem the creators of this film--as well as the researchers who have now demonstrated the validity of its central theme--are on to something. The underlying beliefs of this phenomenon appear to be even stronger than previously imagined, and now there's proof to back that up. In light of that, then, perhaps it might be worth looking at ways for getting this film into wider circulation, especially among those who are still impressionable enough to have the film's message leave an impact on the beliefs that they're forming for themselves as the basis of the realities they wish to create. Educators, in particular, may want to take note of this. And who knows--maybe we can even get some politicians to watch it, too.

I've written about "Pay It Forward" in this blog before, not so much because it's an especially outstanding film but because it has such a significant message. And now that there's evidence to illustrate that its message has real legitimacy, it's that much more important that the word get out about what it's trying to say. For better or worse, we've succeeded in co-creating a reality in which we have a multitude of challenges to overcome, which means we can use all the help we can get to resolve them. That's particularly pertinent for help that specifically originates from within us. This film shows us one way in which we can do that, and, if nothing else, that's a good place to start.

You can read the complete release on Fowler and Christakis's research at www.eurekalert.org/pub_releases/2010-03/uoc--if030510.php. You can also read more about the researchers' work in their recently published book, Connected: The Surprising Power of Our Social Networks and How They Shape Our Lives (www.connectedthebook.com).

Comments? Email me at brentmarchant@momentpoint.com.

A Fable for Our Time

2010-04-08T02:46:00.001-04:00

"Alice in Wonderland"

Some classic tales have relevance even now, as is the case with the latest version of the classic "Alice in Wonderland." Read my take on it in "A Fable for Our Time," my current post in the online magazine VividLife, available at www.vividlife.me.

Send your comments to me at brentmarchant@momentpoint.com.

Real Life Changes Radio

2010-03-29T07:07:00.002-04:00

I'll be a guest on Real Life Changes with VividLife Radio host Rose-Anne Turunen on Wednesday March 31. The show airs live at 2 PM Eastern and will be available for on-demand listening thereafter, at http://www.vividliferadio.com. Check it out! And while you're at it, be sure to visit the VividLife web site at http://www.vividlife.me, where you can see my writings about current movies with conscious creation/law of attraction themes. Enjoy!

2010-03-24T03:36:00.002-04:00

"Get the Picture" Reviewed Online

I'm pleased to announced that Get the Picture has been reviewed online by columnist Mary Barton. See it at http://www.examiner.com/examiner/x-40980-Kent-Metaphysics-Examiner~y2010m3d23-Get-The-Picture-Conscious-Creation-Goes-to-the-Movies-Book-Review

Going with One's Gut

2010-03-20T11:22:00.001-04:00

"The Ghost Writer"

Ever have a strong intuitive flash that you knew you were supposed to listen to but didn't? If so, you'll appreciate the lesson of Roman Polanski's new film, "The Ghost Writer," the subject of "Going with One's Gut," the title of my latest online film review for VividLife magazine (http://www.vividlife.me/ultimate/category/arts/movies-arts-2/). Enjoy!

A Great Way To Get Great Gifts

2010-03-12T06:26:00.003-05:00

Shayne Traviss and Rose-Anne Turunen, my colleagues at VividLife magazine (www.vividlife.me), have come up with a great way to get some great gifts. This includes a 100-page e-book of articles by many of VividLife's featured contributors (like me!). Read their message below to find out how:

Dear Friend,

Something truly extraordinary is happening today.

Close to 40 of the world’s top mentors, authors, entrepreneurs and leaders have teamed up to offer you over $2,000 in “gifts of empowerment” . . . for less than $20! That’s right!

From Dr. Christiane Northrup to Robin Sharma, the dailyom.com to Hay House Publishing, (along with 35 other amazing leaders), including VividLife, we have all come together to support Crystal Andrus’ must-read book, “Simply . . . EMPOWERED! Discover How to CREATE & SUSTAIN Success in Every Area of Your Life!”
http://www.crystalandrus.com/promos/

Debbie Ford, the #1 New York Times best-selling author of The Dark Side of the Light Chasers wrote: “Crystal Andrus has overcome a personal story that would leave many feeling victimized and small. She has not only risen to become a dynamic, passionate, and empowered woman, she has carefully crafted a how-to manual for the rest of us to follow! If you are ready to become the hero of your own life, this book will get you there! Simply . . . EMPOWERED! is one of this year’s must-reads!”

Susan Nolen-Hoeksema, Ph.D., director of graduate studies, psychology professor, Yale University; and the New York Times best-selling author of Women Who Think Too Much and Eating, Drinking, Overthinking wrote: “In her passionate, inspiring book, Crystal Andrus encourages readers to take responsibility for the quality of their lives, then gives them tools to do just that.”

Simply...EMPOWERED! can and will give you the tools to overcome any hardship—to transmute your pain into progress, your anger into courage, and your sorrow into strength! You can CREATE and SUSTAIN success, after all.

And to help support you in your journey to empowerment we’ve all come together today to offer this extraordinary “package” to you! Remember, not only will you get Crystal’s life-changing book, you will get over $2000 worth of gifts of empowerment, including Crystal’s “4-Week BODY BOOTCAMP” virtual coaching program absolutely FREE!
To access your gifts, as well as to purchase Simply...EMPOWERED! click here now:
http://www.crystalandrus.com/promos/

We look forward to assisting your in your personal journey and care deeply about your results!

Warmly,
Shayne & Rose-Anne

P.S. To get your “gifts of empowerment” CLICK HERE: http://www.crystalandrus.com/promos

Enjoy, everyone!

Finding a Way Home

2010-03-04T02:44:00.001-05:00

"Amreeka"

Getting comfortable in one's surroundings -- or even in one's own skin -- is, in reality, a journey of finding one's way home. That's the focus of my latest online movie review, "Finding a Way Home," a look at the comedy-drama "Amreeka," now available on DVD. Check ot out at VividLife magazine, www.vividlife.me. Enjoy!

Triple Feature!

2010-02-27T15:36:00.002-05:00

I'm delighted to announce that I'll be making appearances on a trio of radio shows this week where I'll be discussing movies with meaning and previewing the upcoming Academy Awards(R).

On Monday March 1 at 12 noon Eastern/11 am Central, I'll be a guest on Health Notes, a one-hour talk show with host Kinshasha Kambui on radio station KFAI in Minneapolis/St.Paul, available for listening on the internet at www.kfai.org/healthnotes.

Then on Tuesday March 2 at 11 am Eastern/10 am Central, I'll appear on Smart Women Talk Radio, a one-hour internet radio program with host Katana Abbott, available at www.contacttalkradio.com/hosts/katanaabbott.html.

And finally, on Thursday March 4 at 9 pm Eastern/8 pm Central, I'll round out the week with an appearance on The Sheila Show for a half-hour interview with host Sheila Gale on KNRY in Monterey, CA, available for listening on the internet at www.knry.com.

On all three shows, I'll discuss my picks for the Oscars(R), as well as my book Get the Picture: Conscious Creation Goes to the Movies (Moment Point Press, www.momentpoint.com) and my online movie reviews for VividLife magazine (www.vividlife.me). Here's hoping you can tune in!

Full Power Living

2010-02-23T01:29:00.000-05:00

Live your life empowered and to the fullest through the lens of metaphysical cinema! I'll be talking about that on Thursday February 25, when I appear on the internet radio show Full Power Living with Ilene Dillon. Tune in at 12 noon Eastern, 9 am Pacific, at: http://emotionalpro.com/full-power-living-internet-radio-program. Hope you can join us!

2010-02-09T13:17:00.000-05:00

Please also visit me at http://www.vividlife.me/, where I'm a Featured Contributor for Arts & Entertainment.

I’d Like To Thank the Academy

2010-02-09T12:15:00.003-05:00

The announcement of the Oscar®1 nominations last week was quite intriguing. While the list of nominees largely followed expectations, there were some very pleasant surprises as well. And, for the most part, the Academy of Motion Picture Arts and Sciences got things right, considering the overall weak field of contenders it had to work with. So it’s with that in mind that I’d like to offer my take on some of this year’s more noteworthy nominations for films with conscious creation/law of attraction themes, many of which I’ve previously written about, either here and/or in VividLife magazine (www.vividlife.me).2, 3, 4, 5

Some of the biggest (and most pleasant) surprises came in the best picture category. Prior to the announcement, I wondered how the Academy would be able come up with 10 nominees for this expanded category; in fact, throughout much of the awards season, I would have been hard-pressed to come up with even five candidates truly worthy of best picture honors, at least among the front-runners. I could only hope that some of the lesser-known aspirants would receive their due to give this category the credibility it needed to justify its expansion and, thankfully, several of them did. So kudos to the Academy for its efforts in this regard, with five of its picks being among my faves for 2009.

Two of the five, James Cameron’s “Avatar” and Kathryn Bigelow’s “The Hurt Locker,” were expected, capturing well-deserved nominations in a variety of categories and making both heavy favorites to take home the grand prize and the award for best director. The other three, “The Blind Side,” “District 9” and “A Serious Man,” were all outside bets or long shots, but it’s their very nomination on this category that impresses me. I was especially delighted with the nods given to “A Serious Man,” because it was my personal favorite for 2009 (and has been largely overlooked for awards consideration), and to “District 9,” since sci-fi films are seldom taken seriously enough to receive best picture recognition. Both of these films also received much-deserved writing nominations, with “A Serious Man” for best original screenplay and “District 9” for best adaptation.

There weren’t many surprises in the four acting categories, but I was very pleased with a number of the expected nominations. All of my favorites gave performances befitting their roles, effectively exploring the conscious creation/law of attraction themes addressed by their characters. For best lead actor, this would include Jeff Bridges in “Crazy Heart,” Colin Firth in “A Single Man” and Jeremy Renner in “The Hurt Locker.” And for best lead actress, richly deserved accolades go out to Meryl Streep in “Julie and Julia,” Helen Mirren in “The Last Station” and Sandra Bullock in “The Blind Side.” I’d be happy with any of these nominees winning in their respective categories. My preference for actor would be Firth, though I’m confident Bridges will finally get the award that has eluded him for so long. As for best actress, my preference would be Streep, though she’s in a horse race with Bullock, who may finally take home her first statue.

In the supporting actress category, one performance clearly stands out, and that’s the powerful portrayal turned in by Mo’Nique in “Precious.”6 She’s simply outstanding as a woman trapped by the web of her beliefs and the impact they have on the reality she creates around her. Mo’Nique has a virtual lock on this category and deservedly so. In the supporting actor category, I was glad to see veteran performer Christopher Plummer receive a nomination for his excellent portrayal of author Leo Tolstoy in “The Last Station.” I would not be surprised to see him turn up as an upset/dark horse winner either, given that his lifetime of very capable work has never before been recognized by the Academy even with a nomination, let alone an award. He’s up against a prohibitive favorite, but such seemingly insurmountable leads don’t always hold up, as veteran actor Alan Arkin can attest to in connection with his surprise win in this category several years ago.

Other nominations that I applaud are:

* An adapted screenplay nomination for the biting satire “In the Loop,”7 a wickedly funny story about what happens when beliefs get out of hand and begin to snowball.

* Four well-earned nominations for “Star Trek” (mostly in technical categories), a longstanding movie franchise that has almost always been overlooked but that was hard to ignore this time out given the latest installment’s overall excellence (not to mention its potent metaphysical themes).

* A well-deserved best song nomination for T Bone Burnett and Ryan Bingham for The Weary Kind from “Crazy Heart.” Not only was this a fine piece reflecting the themes of this film, but I also hope that its likely win will help to rejuvenate what has become one of Oscar’s sorriest categories, one that’s been riddled with eminently forgettable nominees for years.

To be sure, there were some disappointments, too, such as the boatload of nominations bestowed on the highly overrated “Up in the Air” and the misguided supporting actress nod given to Maggie Gyllenhaal for her dreadful performance in “Crazy Heart” (she should have been nominated for her much better portrayal in the largely forgotten comedy “Away We Go”). But such gaffes, thankfully, were in the minority.

All in all, the Academy put its best foot forward given the less-than-stellar crop of candidates. Nevertheless, I sincerely hope that the pool of contenders improves in future years with films and performances truly worthy of the label “Oscar winner.”

The awards will be presented on Sunday March 7.

1 Oscar® is a registered trademark of the Academy of Motion Picture Arts and Sciences.
2 See my reviews of “Avatar,” “The Blind Side,” “District 9,” “Crazy Heart,” “A Single Man” and “Julie and Julia” in the Arts section archives of VividLife magazine (www.vividlife.me).
3 See my reviews of “The Hurt Locker” and “A Serious Man” in previous entries of this blog and in the Arts section archives of VividLife magazine (www.vividlife.me).
4 See my review of “The Last Station” in an upcoming edition of VividLife magazine (www.vividlife.me).
5 See my review of “Star Trek” in a previous entry of this blog.
6 I have not written about this film previously.
7 I have not written about this film previously.

Radio Interview

2010-02-02T17:44:00.004-05:00

On February 15 at 3 PM Eastern, please join me as I talk with host Marcia Johnson on Planting Seeds For Peace radio show at www.blogtalkradio.com/plantingseedsforpeace.

The Perception Paradox

2010-01-27T13:16:00.000-05:00

"World's Greatest Dad"

Ever form an opinion about someone that you later come to find out is far different—perhaps even the exact opposite—of what others have of the same person? Seems paradoxical, doesn’t it? But what’s even more puzzling is, what if both impressions are accurate? Such is the metaphysical conundrum posed in the dark comedy, “World’s Greatest Dad.”

This little-known (and much-overlooked) gem from 2009 played in very limited release at indie movie houses and film festivals, but it’s now available on DVD. It’s definitely worth a look for many reasons, both for its entertainment value and its conscious creation themes. But don’t let the title mislead you; it’s not a warm fuzzy family flick. Rather, it’s one of those wickedly cynical comedies where you frequently find yourself laughing at things you probably think you shouldn’t be chuckling about. Of course, such questionable humor is what makes so much of this film so effective.

Poetry teacher and would-be author Lance Clayton (Robin Williams) desperately needs a life makeover. As a writer who’s never published any of his works and a private school instructor whose dwindling class enrollment endangers its future (and his tenure), Lance is depressed about the bleak prospects he faces. But if that weren’t enough, he’s also a single father, dutifully attempting to raise (or, more precisely, “manage”) his teenage son Kyle (Daryl Sabara), an unappreciative, insolent, foul-mouthed brat who has a smart answer for everything. He attends the same school where Lance teaches, routinely making life difficult for his old man when not busy offending his classmates or irritating dad’s colleagues. Lance clearly needs for things to change if he’s ever to find any enjoyment—or peace of mind—in life.

Sadly, though, things go from bad to worse one evening when Lance discovers his son dead at home, the victim of a tragic accidental death (but one with potentially embarrassing connotations if the truth were ever to get out). Lance is devastated, of course, but even in the midst of his sorrow, he remains composed enough to “clean up” the death scene, a final gesture designed to give Kyle some dignity and to protect his son’s reputation (as well as his own). Lance makes Kyle’s death look like a suicide, attending to all the associated details, right down to writing an eloquent suicide note. He composes an articulate message (he’s a writer after all), using prose that allows Kyle to come across as an expressive but tortured, misunderstood soul. Even under such terribly trying circumstances, Lance is, without a doubt, an unquestionably devoted dad.

Ironically, when the contents of Kyle’s note become public, his one-time detractors begin seeing him in a new light. The “we-never-knew” reactions flow freely, and Kyle is viewed with a newfound sense of sympathy, all thanks to “his” parting words. In fact, the public reaction is so pronounced that Lance is asked if Kyle left behind any other writings chronicling his teenage angst. When faced with this request, Lance sees an opportunity to resuscitate his writing career, and so he jumps at the chance to give his dead son’s audience what they want while simultaneously fulfilling his own need to create. He then sets about writing an alleged antemortem personal journal under Kyle’s name, a treatise that quickly becomes a national sensation.

Lance relishes the attention initially, but as time passes and the phenomenon grows ever larger, he begins to question his actions: In managing Kyle’s legacy, is he doing right by him by manufacturing a trumped-up reputation, or is he being a genuinely protective parent who’s acting out of love? Is he doing a public service by spotlighting the anguish associated with teen suicide, even if the “suicide” prompting such altruism is a total fabrication? But, most importantly, is Lance’s primary motivation in all this protecting his son’s memory, or is he simply cashing in on Kyle’s demise to benefit himself (especially now that publishers are interested in Lance penning his own works, too)? Or are all of these motivations legitimate to some degree or another? Those are some heady questions for Lance—and viewers—to address.

All of this takes us back to the aforementioned perception paradox. If viewing Lance from a single perspective (e.g., one based on simple perception alone), one might see only one dimension of his character, a genuine liability when relying on this criterion as the sole basis for belief formation and assessment. On a more detailed viewing, however, done from multiple perspectives (e.g., one based on perception, intellect and intuition), Lance might well be seen as the multidimensional being that he, like all of us, truly is. The question for us in this situation (and in any others like it for that matter, both on- and off-screen) is, will we take the steps to see Lance for his intrinsic multidimensionality, or will we fall prey to the potentially illusory imprecision of the perception paradox? This film gives us much to ponder in that regard.

So why does Lance display such seemingly disparate dimensions of himself in this film? I believe it’s because they’re all part of who he really is, all facets of his true being and all related to different aspects of the value fulfillment he is attempting to live out through the conscious creation process. And in that sense, he really is the “world’s greatest dad” in all of the ways that designation can be applied in accordance with the themes of this film’s narrative. For example, by attempting to protect his son’s sullied reputation and by imparting cautionary information about the perils of teen suicide, Lance is virtuous in his deeds, allowing him to live up to the supreme paternal honor in its most positive light. At the same time, by seizing upon the unexpected opportunity to help his own career, he could easily be labeled self-serving, justifiably earning him the aforementioned title in its most cynical of iterations. However, by jumping on this opportunity to provide for himself materially, he also makes it possible to support himself while engaging in the altruistic endeavors noted above, a practical approach to capturing the title that carries no especially laudable or derisive implications with it. Of course, juggling all this is a challenge for the protagonist, and he must decide to what degree he can live with any or all of these different aspects of himself (and the fallout that comes with each). Effectively managing our multidimensionality can be tricky business indeed. But then that’s all part of the joy—and the challenge—in creating our own reality.

“World’s Greatest Dad” is a real sleeper of a film. It’s progressively captivating with each passing frame, smartly written and directed by Bobcat Goldthwait. Robin Williams turns in one of the best performances he’s given in years, and he’s backed by an excellent ensemble of supporting players, most notably Darryl Sabara, Alexie Gilmore, Henry Simmons, Evan Martin and Geoff Pierson.

If, like me, you’ve been disappointed by this year’s crop of awards season contenders, consider this film as an option for alternative viewing. The title might not sound beckoning, but don’t let that superficial consideration deter you; the movie’s as multifaceted as its protagonist, and his character allows us to view him from the range of perspectives with which we’d all be wise to view ourselves. And there’s nothing paradoxical about that.

(“World’s Greatest Dad”—2009; Robin Williams, Daryl Sabara, Alexie Gilmore, Henry Simmons, Geoff Pierson, Evan Martin, Jermaine Williams, Lorraine Nicholson, Tony V., Deborah Horne, Toby Huss, Mitzi McCall, Bruce Hornsby; Bobcat Goldthwait, director; Bobcat Goldthwait, screenplay; www.worldsgreatestdadfilm.com)

The "Avatar" Effect

2010-01-14T13:14:00.001-05:00

CNN and other news agencies have been reporting in recent days about a curious reaction that the sci-fi blockbuster “Avatar” is evoking among some of its viewers: It’s causing them to become depressed and even turn suicidal. Their reason? After witnessing the pristine forested world of Pandora depicted in the film, they long to experience its wonders firsthand, not just as a cinematic phenomenon, but their inability to engage with it as such has left them despondent, especially when they compare this celluloid paradise to the everyday world in which they live.

In some ways, this reaction is understandable. The fictional world portrayed in director James Cameron’s high-gloss fantasy is a marvel to behold—lush and beautiful, seductively beckoning all who see it. The film’s 2½-hour runtime, its exceptional special effects (including its optional 3-D format), and its inspiring themes of cooperation, civility and harmony allow viewers to thoroughly immerse themselves in this alternate utopian reality, making their exit from the theater—and their re-engagement with the real world—difficult, to say the least. The letdown can be quite palpable.

Such reactions have even spawned comment board threads on Internet movie fan pages with subjects like “Ways to cope with the depression of the dream of Pandora being intangible,” as on the web site “Avatar Forums.” In fact, with over 1,000 responses to this thread, the site’s web master needed to start a second one on the same topic to accommodate the demand for readers looking to place posts.

I’d have a hard time believing that director Cameron (or anyone associated with this film for that matter) intentionally set out to depress viewers when creating this picture. Quite the contrary. “Avatar” is one of the most uplifting movies to come along in quite some time, offering a hopeful view of existence as it could be. However, this unintended negative reaction may have its own unintended positive effect: If viewers are coming away from this film upset about the state of their world compared to Pandora, then perhaps the way of life depicted on screen may be just inspirational enough to get them to do something about the reality in which they exist. Instead of lamenting that the picture’s magical world cannot be experienced firsthand, perhaps viewers could channel their energy into imagining what it would be like to transform this world to become more like it. Even though it may not be possible to take viewers to Pandora, it just may be possible to bring Pandora to viewers.

This is where the power of conscious creation/law of attraction principles comes into play. If it’s possible to use beliefs to imagine a world like Pandora, then it’s just as possible to use beliefs to create a world like Pandora. Granted, it might not happen overnight (after all, a good many existing beliefs would have to be rewritten on the mass consciousness level), but it would be a goal to strive for, and the more who get behind this effort, the quicker it’s likely to materialize. And getting volunteers on board may not be as difficult as one might think, because a groundswell of support already exists: All those who have posted comments on the fan forums, for example, are a de facto community of supporters who already back the dream of manifesting their own utopia; they’re just stuck in a belief rut that makes them think such a materialization is impossible. If only they’d flip the focus of their beliefs, thinking in terms of what it would take to make the dream a reality rather than dwelling on its alleged impossibility, Pandora might be here before we know it.

If the world of “Avatar” has been such an inspiration that audiences long to experience it directly, then perhaps it’s time to take steps to make that happen. This “‘Avatar’ Effect” may be just what we need to bring about a world full of new hope and promise for the future. All we need do is belief that it’s possible.

P.S. See my complete online review of “Avatar” in VividLife magazine at http://www.vividlife.me/.

Under the Radar

2010-01-07T16:02:00.002-05:00

Every so often a film comes along that somehow slips under the radar and doesn’t get the attention it deserves. Such is the case with the little-known 2009 release “Shrink.”

The picture premiered at the Sundance Film Festival last year and went into very limited release over the summer before slipping into obscurity. Thankfully, the film is now available on DVD, and I hope it begins to attract the attention it deserves, especially as an excellent example of illustrating law of attraction/conscious creation principles at work.

Dr. Henry Carter (Kevin Spacey) is Hollywood’s preeminent psychiatrist to the stars and a best-selling author of feel good self-help books. He’s also on the verge of losing it all, precariously tottering on the edge of his own psychological abyss. Having slipped into a deep depression driven by a personal tragedy, Henry slides through life. He’s perpetually adrift in the stupor of his self-medication program, which consists primarily of imbibing in different forms of designer pot supplied by his trusty dealer, Jesus (Jesse Plemons). He’s living a lost weekend that’s threatening to become permanent.

Somehow, though, Henry manages to make it to work each day, where he half-heartedly listens to the troubles of his self-absorbed clients, including Patrick, a high-powered, highly paranoid talent agent (Dallas Roberts); Shamus, a rising star who’s having trouble coping with the ways of the Hollywood system (Jack Huston); Kate, a beautiful but aging actress who’s quietly watching her career and relationship slip away (Saffron Burrows); and Holden, a high-profile actor struggling to remain faithful to his wife in the face of sexually compulsive tendencies (Robin Williams). Henry also informally counsels his wife’s godson, Jeremy, a creative screenwriter wrangling with issues of frustration, anger management and cash flow troubles (Mark Webber). With clients like that, it’s no wonder Henry wants to stay stoned; in light of all he’s facing, he’s clearly in need of something to give his life and work renewed meaning.

That need gets fulfilled one day, and it arrives in a most unexpected form—a teenage pro bono patient named Jemma (Keke Palmer) recommended by Henry’s father and fellow therapist, Robert (Robert Loggia). At first, Henry is highly reluctant to take on the challenges of a “real” patient, but he quickly relents, especially when he realizes that Jemma’s troubles are far worse than any of the others he deals with everyday, including his own. As time passes, he comes to realize that treating the problems of this young patient are exactly what he needs to re-engage in his vocation—and to sort out the emotions and challenges of his own life.

I was intrigued by this film in many ways, especially in terms of how it shows that our outer realities truly are reflections of our inner states of mind. In Henry’s case, everyone in his world reflects his diverse array of beliefs and feelings, almost as if they were walking archetypes, a menagerie of his innermost emotions made flesh. Through his interaction with them, Henry has an opportunity to see what beliefs they each represent, enabling him to make sense of the web of feelings he’s woven for himself and to seek clarity on how to begin his life anew.
Jemma, for example, is in many ways Henry’s mirror, while Robert symbolizes his conscience/higher self, sternly but lovingly encouraging him to seek resolution to his troubles. But to heed the messages of these two symbolic envoys, he must first get past the fear that Patrick represents, the sense of denial that Jesus persuasively peddles, the lost feeling that Shamus embodies and the compulsion to wallow in unhealthy behavior that Holden typifies. He must also learn to embrace for himself the sense of compassion and self-love that Kate, in spite of her challenges, so graciously personifies. But, perhaps most importantly, like Jeremy, Henry must creatively channel the anger and frustration he feels into a new pursuit so that he can write a new script for his life.

Some have said that law of attraction/conscious creation exercises are much like the process one goes through when engaged in therapy, for both require getting in touch with the beliefs and feelings driving one’s life. This film would seem to confirm that, for Henry needs to figure out what his beliefs are to create a new life for himself as a conscious creator in the same way that his patients need to sort out their feelings to find suitable therapeutic solutions to their problems. And, in both of these instances, it’s essential that open minds are part of the equation, for they’re integral to the development of viable outcomes. As famed scientist Albert Einstein wrote, “we can’t solve problems by using the same kind of thinking we used when we created them,” and the same is true here as well.

“Shrink” has a lot going for it besides its smart script and story line. It features a fine ensemble cast, with excellent performances all around, particularly by Palmer, Spacey, Plemons, Burrows and Roberts. The film’s original score by Ken Andrews and Brian Reitzell has a haunting beauty about it, and the stylish cinematography of Lukas Ettlin and Isaac Phillips is often gorgeous and mesmerizing.

It’s unfortunate that this picture hasn’t received more acclaim than it has, especially given the generally underwhelming quality of most of this year’s awards season fare. It’s highly unlikely to garner any attention in any of the remaining film competitions, but it is an excellent viewing alternative for those, like me, who have been disappointed by most of the offerings receiving this year’s competitive accolades. If nothing else, now that the film has been released on DVD, it at least has a chance to rise up above the radar.

(“Shrink”—2009; Kevin Spacey, Mark Webber, Keke Palmer, Saffron Burrows, Jack Huston, Pell James, Dallas Roberts, Jesse Plemons, Robert Loggia, Joel Gretsch, Laura Ramsey, Robin Williams, Gore Vidal; Jonas Pate, director; Thomas Moffett, screenplay; http://www.shrinkthemovie.net/)

Snap Out of It

2009-12-21T09:14:00.006-05:00

Please join me on January 5, 2009 at 11 am Eastern time as I talk with host Dede Mercer on Snap Out of It . snapoutofitradionetwork.com

The Mountain Meditation

2009-10-27T15:06:00.004-04:00

At the Colorado Seth Conference in September, which carried the theme “Stories,” the organizers included an optional daily activity as part of the program: a story-writing contest. Each day, organizers posted a photo of a mountain view (like the one shown here) and asked conference participants to write a short story (approximately 50 words) about it.

The activity drew some remarkable entries and inspired me to submit my own offerings on several of the days of the contest. Here’s one that I was particularly happy with:

“It looked so far away. The mountain stood there, a physical metaphor for the attainment I sought. ‘How will I ever reach the summit?’ I thought. But the answer came in a flash: ‘Believe it.’ Before I knew it, I was enjoying the view from on high. And it was at that point when I asked myself, ‘Where’s the next mountain?’”

I’d like to think this text is more than just a story, though; I look upon it as a motivational meditation, one that can be used for everything from the inspiration to begin new creative projects to the impetus to get out of bed on those days when staying under the covers seems preferable. I offer it to you to use as you wish.

So where’s your next mountain?

Matters of Perspective

2009-10-21T12:40:00.000-04:00

"A Serious Man" and "The Invention of Lying"

Anyone who actively puts conscious creation/law of attraction principles into practice knows the cardinal rule of this philosophy: We each create our own reality through the beliefs we hold and the intents we put forth. Consequently, each reality is as individual as its creator, even where points of commonality exist, for the nuances (and sometimes even the more substantive elements) will always distinguish our respective materializations. When situations arise among creators where some aspects of their realities concur and where some differ, the differences are generally attributed to beliefs that produce variances in perspective. Examining such variances can be quite revealing, not to mention an engaging exercise, as illustrated by two new films, “A Serious Man” and “The Invention of Lying.”

In “A Serious Man,” the latest offering from the highly inventive Coen Brothers, we meet Larry Gopnik (Michael Stuhlbarg), a hardworking Jewish everyman living in the Minneapolis suburbs in the late 1960s. Larry does all he can to support his family, to do a capable job as a physics professor, and to be a good friend and neighbor. But no matter what he does, it seems life always dumps on him. Whether it’s due to the incessant whining of his ungrateful kids (Aaron Wolff, Jessica McManus), the freeloading of his ne’er-do-well brother (Richard Kind), the subtle bigotry of his next-door neighbor (Peter Breitmayer), or the demands of his shrew of a wife (Sari Lennick), who openly plans to leave our hero for one of the couple’s best friends (Fred Melamed), Larry always ends up the butt of everyone else’s indignities. He gets stuck paying legal bills, funeral costs, and bail bonds for things that would appear to be not of his making. And when he seeks the advice of three rabbis (Simon Helberg, George Wyner, Alan Mandell) for guidance on the meaning of these seemingly unjust acts, he’s met with cluelessness, irrelevance or stony silence.

Larry feels justifiably put upon; others, however, somehow feel he owes them. So who’s right? Ultimately it depends on one’s perspective. But as unfair as these circumstances may appear to Larry, there are compensating factors, too. What’s more, not all those who would perpetrate acts of ill will against him wind up succeeding in their efforts. But even when all is apparently going well, that doesn’t mean the other shoe still can’t drop—and in ways far more devastating than one might imagine. Or perhaps not.

Perspective issues also fuel much of the narrative of the new comedy “The Invention of Lying.” Imagine a reality in which everyone tells the truth all the time. No one lies, because they’re patently incapable of it. Some might look upon a world like this as utopia, but consider what might happen to its inhabitants if they were exposed to nothing but unrelenting brutal honesty. Bluntness and blandness take over, eliminating tact, flattery, and even most creativity, eventually resulting in a reality devoid of character, warmth, compassion, or hope. (Still think it’s paradise?)

So consider the possibilities when sad sack screenwriter Mark Bellison (Ricky Gervais) suddenly invents a new form of expression and turns it lose on the world. His own fortunes take a radical turn for the better, as do those of many in society at large when he uses his new invention to introduce some revolutionary ideas to them. But lying has its consequences, too, as our protagonist quickly finds out—some surprisingly favorable, some unfortunate. In either case, however, much depends on how one views the fallout of such statements, for in some cases one person’s falsehood is another person’s epiphany. Again, it’s all a matter of perspective.

What determines the perspectives that we develop? Several factors come into play. As I wrote in Chapter 2 of Get the Picture, perception figures in largely, for it helps shape the beliefs we form. There’s also our power of choice, the ability that helps us decide which beliefs we’ll embrace. And then there’s our power of change, which allows us to shift our beliefs—and thus our perspectives—as the need arises.

All these considerations are addressed in these films. For example, at the opening of “A Serious Man,” a fable sequence unrelated to the primary narrative sets the tone for the larger story that follows. A husband and wife (Allen Lewis Rickman, Yelena Shmulenson) in an Old World shtetl are visited by a mysterious stranger (Fyvush Finkel). The husband sees the stranger as a Samaritan for having helped him out of a jam on his way home, while the wife believes the stranger to be a dybbuk (a malicious possessory spirit) and unhesitatingly stabs him. Because of his wife’s act, the husband is convinced the family’s life and reputation have been ruined; the wife, on the other hand, believes her actions have protected the family against a walking evil.

Once again, who’s right?

Similarly, in “The Invention of Lying,” Mark pays a visit to a loved one on her deathbed. Having lived a life in a cold existence full of unceasing honesty, she now sees her impending passing as a disappearance into a dark, meaningless void. To console her, Mark employs his new invention to tell her about the beautiful world that awaits her in the afterlife, an unimagined revelation that lifts her spirits immeasurably. Now, since Mark has not been to the afterlife as far as viewers know, and since he offers no conclusive evidence of its existence, one could argue that his words of comfort are just another lie.

But is it? And if so, is it really inappropriate under the circumstances?

In both of these examples, perception and choice considerations help frame the various perspectives that form. And, in the second example, Mark’s words are taken to heart by his loved one and the surrounding hospital workers so much so that they all spontaneously change their views about what happens after death. From these illustrations, it’s thus truly clear how much perspective really matters.

I can’t speak highly enough about “A Serious Man.” It’s by far the best picture I’ve seen thus far this year. It’s striking in every respect, and it’s a movie that I could write about considerably longer given all of the conscious creation considerations that it embodies, many of which I haven’t even touched upon here. Rush to see it.

As for “The Invention of Lying,” it has its good points, but it also has its share of weaknesses (uneven pacing, an overall episodic nature, a script that tries to encompass too many ideas, to name a few). To be sure, it raises some intriguing ideas and has some genuinely endearing moments, but I’d still recommend waiting until it comes out on DVD or cable to see it.

As long as we employ conscious creation principles to manifest our realities, we’ll always have perspective considerations to contend with. Their differences can yield frustration, even antagonism, but they can also help us see the world in a new light. And, in the end, this can help us better understand the nature of existence by showing that alternative views are not only possible but intrinsic to this thing we call life.

(“A Serious Man” —2009; Michael Stuhlbarg, Sari Lennick, Aaron Wolff, Jessica McManus, Richard Kind, Fred Melamed, Peter Breitmayer, Amy Landecker, David Kang, Simon Helberg, George Wyner, Alan Mandell, Adam Arkin, Ari Hoptman, Allen Lewis Rickman, Yelena Shmulenson, Fyvush Finkel, Michael Lerner; Ethan Coen and Joel Coen, directors; Joel Coen and Ethan Coen, screenplay; www.filminfocus.com/focusfeatures/film/a_serious_man)

(“The Invention of Lying—2009; Ricky Gervais, Jennifer Garner, Jonah Hill, Louis C.K., Jeffrey Tambor, Rob Lowe, Tina Fey, Fionnula Flanagan, Philip Seymour Hoffman, Edward Norton, Jason Bateman, Christopher Guest; Ricky Gervais and Matthew Robinson, directors; Ricky Gervais and Matthew Robinson, screenplay; www.the-invention-of-lying.warnerbros.com)

Changing Our Stories

2009-10-02T11:00:00.005-04:00

In the opening line of Get the Picture, I quoted poet Muriel Rukeyser, who wrote that “the universe is made of stories, not of atoms.” It’s a principle that, for all practical purposes, covers every aspect of existence. So if we were to consider how it applies to each of us, it essentially would mean that we are each our own stories. How we write those stories, of course, depends on our abilities as practitioners of conscious creation/law of attraction principles, the particular beliefs we hold providing the narratives of our individual scripts.

This idea, quite fittingly, served as the theme of this year’s Colorado Seth Conference, held last month in Denver, an event at which I had the privilege of speaking. The conference’s “Stories” theme permeated the program, from the presentations to the workshop exercises to the social events. Through such activities, conference participants had an opportunity to explore the theme personally, thereby living out the stories that they each embodied.

A common theme among attendees at this year’s event was how they’re working to change their stories. I repeatedly heard both presenters and audience members explain how they’re looking to investigate new directions in their lives, sometimes in particular areas, sometimes across the board. For some, this process has come easily; for others, however, this undertaking has been more challenging, largely because they have continued to see themselves as the stories they’ve always been, perpetuating existing scripts that may be familiar and comfortable but that no longer work.

Change may not always be easy, but it is nearly always vital for personal growth and development. As readers of Jane Roberts and Seth well know, we’re all in a constant state of becoming, a notion that incorporates change as an inherent element. So if we are to succeed in this endeavor, we must learn how to embrace and make friends with change, for the alternative, unfortunately, is stagnation. In large part this is why I devoted an entire chapter of Get the Picture to the concept of change. The films described in that chapter, such as “The Truman Show,” “All of Me,” “The Purple Rose of Cairo” and “Groundhog Day,” all address the notion directly – and very effectively.

The same can be said of the pictures I discussed in my Colorado Seth Conference presentation, all of which illustrated specific principles related to change. For example, the offbeat comedy “Stranger Than Fiction” examines how conscious self-awareness can open new doors in our lives by making us aware of previously unconsidered probabilities. Similarly, Woody Allen’s much-underrated comedy noir “Shadows and Fog” looks at how stripping away the camouflage of self-deception can bring about the needed clarity that results in significant – and often beneficial – change. And for a total transformation, one need only consider the example set in the road trip/buddy flick “Transamerica,” in which an unexpected journey between unlikely traveling companions leads to a complete metamorphosis.

Change is in the air for many of us these days. But if we truly wish to make the most of this opportunity, we must commit ourselves to the process of changing our stories as needed. Movies, as usual, can provide the inspiration for this, as long as we’re open to the inspiration and enlightenment they provide.

As the authors of the stories of our lives, it’s time to sharpen our pencils to craft plotlines that serve us best. And who knows – with the right combination of elements, we just might end up penning our own best sellers.

Where’s Frank Capra When You Need Him?

2009-08-24T17:23:00.001-04:00

I’ve always been a fan of legendary film director Frank Capra (1897-1991). Over the course of nearly 40 years, he directed, wrote and produced a number of remarkable pictures, many of which provided profound insights into the nature of the human condition. His works often explored how ordinary people responded to extraordinary circumstances and how they drew upon their inner resources to surmount the challenges before them. So considering the many challenges we’re facing in today’s world – all of which are of our own creating, I might add – the many everyday folks among us could learn much from the inspired wisdom of his films. If viewed from this perspective, Capra’s movies could prove highly beneficial to help us form new beliefs for confronting and overcoming these self-imposed obstacles today and for creating a promising new world for ourselves tomorrow.

Capra’s films portray various conscious creation/law of attraction principles very effectively, even if the director himself didn’t specifically intend for them to do so. In fact, I saw such a strong degree of relevance in this regard that I even wrote about three of his pictures (and mentioned a fourth in passing) when I penned Get the Picture. But the relevance factor of Capra’s films doesn’t end with conscious creation matters; it also extends into matters related to current events, a quality that strongly characterized the films at the time they were made and that continues to this day. On these two counts, then, this makes his works perhaps more relevant than ever.

Consider, for example, the groundswell of support that has emerged for changing the world in positive ways, an effort to make it more like the ideal we know it can be. In a sense, it’s almost like the search for our own version of “paradise.” But how do we do that specifically? If we were to ever go about achieving it, would we be able to let go of those things we need to leave behind? And even if we were able to do so, would we indeed recognize paradise once we’ve created it? Considering how accustomed we’ve grown to a world not in alignment with such ideals, the ability to develop suitable beliefs for manifesting it and for acknowledging its materialization might be a rather daunting task, no matter how strong our desire for achieving it.

All of these issues are addressed quite effectively in Capra’s 1937 film “Lost Horizon,” the adventures of a group of plane crash survivors who unexpectedly arrive in the mythical and idyllic land of Shangri-la. How each of them deals with their new circumstances shows much about their respective beliefs for addressing the aforementioned questions. Their experiences could provide valuable examples for each of us as we attempt to change our world and to create our own version of paradise.

Similarly, consider the recent public policy debate about health care reform, arguably the top social issue of the day. These discussions (a real stretch of the word at times) have elicited a wide array of responses, ranging from strong support to scathing criticism. Yet all of those perspectives, no matter on which side of the fence they reside, are rooted in what most everyone would probably agree is, at its heart, a noteworthy undertaking. The variances in opinion essentially come down to differences in the beliefs of the proponents in these discussions, beliefs that frequently have been shaped by the messages of pundits and media outlets furthering particular agendas on each side of the question. In that sense, it’s been stunning to see the emergence of such fervent, diametrically opposed views with regard to what is essentially a common question about a particular social issue.

As perplexing as the foregoing might seem, however, a comparable scenario unfolds in Capra’s 1941 film “Meet John Doe.” When a down-on-his-luck former baseball player is recruited for a newspaper publicity stunt, he unwittingly becomes the focus of a popular new social movement based on people giving one another mutual love and support. But when the protagonist won’t play ball (pun intended) with those who brought him to national prominence, they use their considerable power to launch a campaign of character assassination to distort his message and scatter his followers. For all concerned, it quickly becomes apparent that simple perception isn’t always everything and that the camouflage of obfuscation must be removed if success and clarity are to result.

See any contemporary parallels in that? The political, business and media-related issues raised in this story, sadly, show us that perhaps things haven’t changed all that much over the past six decades. These themes also run through Capra’s 1939 comedy-drama “Mr. Smith Goes to Washington,” in which a mild-mannered everyman is unexpectedly elevated to the U.S. Senate, an experience that he initially views as a noble, humbling honor but that he quickly comes to see as a veiled ploy by power brokers to manipulate him into suiting their own agendas. The stakes are high for someone not accustomed to such cutthroat practices, and potential disaster lurks in the encroaching shadows. But in this film, as in most Capra pictures, the powers-that-be underestimate the protagonist’s creative resourcefulness, a move that they truly make at their peril.

The can-do spirit of Capra’s characters in the face of imposing circumstances is what makes his films so magical and inspiring. And it’s that sort of unflappable gumption that we could use today to move forward in addressing the many challenges before us. Doing so, however, requires us getting our beliefs in order first if we are to proceed and, ultimately, succeed with such endeavors. But given the nature of Capra’s movies, we can look to them to draw the inspiration we need, both in terms of their conscious creation advice and their contemporary relevance.

We would indeed be blessed if Capra were still alive to make new movies that address today’s challenges using his signature style. But even though he’s no longer with us, and even though no one has effectively stepped up to fill his shoes (if that could even be done), at least we still have his pictures to look to for insight and enlightenment in handling the tasks at hand. Let us hope we heartily embrace that opportunity.

Colorado Bound

2009-07-28T13:09:00.001-04:00

I'm thrilled to announce that I'll be speaking at this year's Colorado Seth Conference in Denver, September 10-14. My presentation is titled “Second ‘Real’: Conscious Creation Goes Back to the Movies,” a follow-up to my 2007 CSC presentation on conscious creation/law of attraction principles in cinema. For more information about this wonderful and fun program, visit http://www.coloradosethconference.com/. Hope to see you there!

Pervasive Persistence

2009-07-17T15:23:00.002-04:00

“The Hurt Locker”

Beliefs can be stubborn things at times, as most conscious creators can probably attest. They settle in, make themselves comfortable, and often switch to auto-pilot, persistently manifesting the familiar elements of our personal realities and faithfully creating—and continually re-creating—the existences to which we’ve grown accustomed. It’s an arrangement we probably take for granted, but it’s also one that can be exceedingly difficult to alter, even if the desire to do so is strong. It can be a hellish state of affairs to find oneself in, particularly when one’s reality is in dire need of change. Such is the lot faced by the characters in the gritty war drama, “The Hurt Locker.”

Every day is a matter of life and death—literally—for members of Bravo Company, an elite military unit on duty in Iraq responsible for defusing car bombs, IEDs, and other opportunistic weapons. So it is a shock—but one that comes with the territory—when the team’s leader, Sgt. Matt Thompson (Guy Pearce), is killed in action. Surviving unit members Sgt. J.T. Sanborn (Anthony Mackie) and Spec. Owen Eldridge (Brian Geraghty) are subsequently assigned a new leader, Staff Sgt. William James (Jeremy Renner), and they welcome their new comrade with open arms. But Sanborn and Eldridge quickly grow uneasy about their new superior when they witness him taking jaw-droppingly careless risks in doing his job, cavalier to the point of recklessness.

With their time in Iraq running short, Sanborn and Eldridge are most concerned about doing whatever it takes to get out of the country alive. For James, however, the mission is something else entirely; he sees it as a just, heroic cause. But, all seemingly well-intentioned nobility aside, the renegade leader fails to understand that his beliefs have also engaged him in a dangerous, quixotic undertaking, driven by undercurrents of vanity and obsession, that puts the lives of himself and his fellow soldiers at risk. So as the unit’s tour of duty winds down, the question that looms increasingly large is, “Will they make it out alive?”

“The Hurt Locker” is an excellent exploration into the persistence and pervasiveness of beliefs. For whatever reason, the characters in this film have materialized, through conscious creation, the war in which they find themselves, whether they’re aware of it or not. And it’s a creation that’s all around them, everywhere they go, whether they’re defusing a grenade hidden in a sack of garbage or investigating the aftereffects of a tanker truck explosion in Baghdad’s Green Zone. But it doesn’t stop there; the same beliefs responsible for manifesting the omnipresent combat conditions carry over into other, more personal aspects of their realities, mimicking the larger conflict on a smaller scale. When Sanborn and Eldridge become leery of James’s actions, for example, a war of wills breaks out amongst them, leading to the same sort of animosity and mistrust of one another that these battlefield comrades have of the enemy they’re fighting. In fact, so pervasive is this belief-driven sense of combativeness that it even spills over into the soldiers’ off-hours when they engage in drunken gut-punching as a leisure time pursuit. One can’t help but wonder where it will all finally end.

But then, knowing how persistent and pervasive beliefs of almost any nature can be, should it come as any surprise that things would play out any differently when it comes to the beliefs responsible for creating warfare and everything that goes with it? As was illustrated in the law of attraction primer “What the #$*! Do We (K)now!?” and discussed in such writings as Bruce Lipton’s The Biology of Belief, beliefs can become so entrenched in one’s consciousness that they consequently become just as imbedded in one’s biology, spawning the development of addictive characteristics. This, in turn, can result in compulsions and behaviors that are next to impossible to shut off, no matter how blatantly unhealthy they might be and no matter how clearly they’re in need of change. Even stateside leave with loved ones, for instance, is not enough to keep one unit member from searching for a way to get his much-needed combat fix.

Now it’s easy to see why habits can be hard to change. And the more intense the source of the addiction, the harder the addiction cycle is to break, all because of beliefs.

“The Hurt Locker” is an intense, gripping picture that’s definitely not for the squeamish, but it’s an excellent example of depicting what happens when our beliefs get out of control (or, more precisely, when we allow them to gain control over us). This is made possible in part by the film’s largely apolitical nature; by focusing on the characters and the job they’re assigned to do, rather than letting the story become bogged down in the politics of the conflict, the movie gives us an insightful look into the minds of the protagonists, the creations their beliefs materialize, and the effects those manifestations have upon them. From the standpoint of effective storytelling mechanics, this was a wise choice, regardless of how one views the politics of the Iraq war.

Admittedly, the picture’s pacing is a bit slow at times, and some plotlines don’t play out to completion as satisfactorily as they probably could have, but overall it is a fine piece of filmmaking in all other respects. Credit director Kathryn Bigelow and the fine ensemble cast of Renner, Mackie, and Geraghty for bringing this story to life. The movie is currently in limited release after having played mostly at film festivals, but even with such restricted exposure, it’s captured six festival awards and earned best actor and best supporting actor nominations for Renner and Mackie, respectively, in this year’s Independent Spirit Awards competition.

The next time you’re tempted to make light of the power, persistence, and pervasiveness of beliefs, think about this picture. You just might find that changing your mind, although always possible, is sometimes not as easy as you think.

(“The Hurt Locker”—2008 production, 2009 release; Jeremy Renner, Anthony Mackie, Brian Geraghty, Guy Pearce, Christian Camargo, Ralph Fiennes, David Morse, Christopher Sayegh, Evangeline Lilly; Kathryn Bigelow, director; Mark Boal, screenplay)

2009-07-16T15:55:00.001-04:00

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.

Hope for a Failed Species

2009-07-06T13:06:00.001-04:00

“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

2009-06-26T17:45:00.000-04:00

“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

2009-05-11T14:16:00.002-04:00

“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

2009-05-05T15:58:00.001-04:00

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)

2009-04-06T10:54:00.002-04:00

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?

2009-04-01T08:46:00.002-04:00

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

2009-03-25T13:22:00.006-04:00

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

2009-03-16T11:17:00.002-04:00

“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

2009-03-12T09:30:00.003-04:00

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!

2009-03-12T09:15:00.001-04:00

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

2009-03-09T09:55:00.004-04:00

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

2009-02-12T10:53:00.002-05:00

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

2009-01-09T12:23:00.003-05:00

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

2008-12-17T15:02:00.004-05:00

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

2008-12-09T09:07:00.002-05:00

"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

2008-11-26T11:05:00.006-05:00

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

2008-10-21T13:32:00.003-04:00

"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

2008-10-13T09:33:00.011-04:00

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

2008-08-25T10:16:00.004-04:00

“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)