Brent Marchant's Blog, page 117

Returning the Favor

I'm thrilled (and blessed) at the response from so many of you regarding the recent announcement of my National Indie Excellence Award. Thank you so very much! I truly appreciate it.

And now, to say thank you, I'd like to return the favor by making available free sampler copies of BOTH of my books, Get the Picture?!: Conscious Creation Goes to the Movies and Consciously Created Cinema: The Movie Lover's Guide to the Law of Attraction. Each sampler contains the first three chapters, the front matter (introduction, table of contents, etc.) and the index of featured artists. Write me at info@brentmarchant.com with an email address where I can send you your free copies.

In the meantime, feel free to follow me on the pages devoted to my books on Facebook, Pinterest, MeWe and Google+, join the Facebook discussion on Law of Attraction/Conscious Creation Goes to the Movies, or catch up on my latest writings on the Blog Page of The Good Radio Network, Smart Women's Empowerment and New Consciousness Review. Thanks again, and happy reading!

Photo by Trevor Laster.

‘Genius’ probes creative collaboration

“Genius” (2016). Cast: Colin Firth, Jude Law, Nicole Kidman, Laura Linney, Dominic West, Guy Pearce, Vanessa Kirby. Director: Michael Grandage. Screenplay: John Logan. Book: A. Scott Berg, Max Perkins: Editor of Genius. Web site. Trailer.

As all successful writers know, their works seldom reach their destined greatness without the diligent efforts of their editors, those behind-the-scenes professionals who shape these titles into polished finished products. However, editors often toil in anonymity, their contributions rarely, if ever, receiving the recognition and credit they deserve. Nevertheless, such creative collaborations are essential for truly inspired results, a process detailed in the new biopic, “Genius.”

The film chronicles the career of Maxwell Perkins (Colin Firth), noted literary editor at Charles Scribner’s Sons, who brought to market the works of such authors as Ernest Hemingway (Dominic West) and F. Scott Fitzgerald (Guy Pearce) during the 1920s and ʼ30s. However, the picture primarily follows his frequently frenzied working relationship with his most gifted (and most high-maintenance) protégé, Thomas Wolfe (Jude Law), whose unconventional writing – and equally eccentric life – made him an American original, as well as a best seller.

As inspired as Wolfe’s work was, though, this prolific scribe needed an editor to rein him in, and that’s where Perkins came in, helping the author transform and package his raw material into books that the public devoured, such as Look Homeward, Angel and Of Time and the River. The film illustrates how they worked together to achieve this result, a process that often had wider ramifications, spilling over from their literary lives into their everyday existence. Perkins taught the unruly Wolfe discipline, while Wolfe showed his button-down mentor how to let loose and live.

This collaboration yielded truly outstanding outcomes, but it also came at a cost, most notably in the protagonists’ sometimes-stormy relationships with their significant others (Nicole Kidman, Laura Linney) and, eventually, with one another. Perkins and Wolfe thus struggled to learn what it means to strike a proper balance, both in one’s work and personal lives and how the two relate to one another.

Editor Maxwell Perkins (Colin Firth, left) and author Thomas Wolfe (Jude Law, right) collaborate to produce works of greatness in the new biopic, “Genius.” Photo by Marc Brenner, courtesy of Roadside Attractions.

As any artist knows, to achieve success, the creative process calls upon us to tap into our inspiration, and, when we do so, we frequently experience feelings of exuberance, if not euphoria. But accessing this vast pool of raw material can also be overwhelming. In our desire to bring this information into being, we may feel compelled to do so all at once, in totality, for everyone, a practice that can easily overpower others and cause the output to become cryptic or muddled.

This is where the role of the collaborator comes into play, whether it’s for a writing project or any other art form, no matter how sophisticated or mundane. Having a colleague who can fill the “editor” role can help us mold our creativity in a way that makes it readily comprehensible to others. And, by doing so, we’re thus able to engage in the practice of co-creation, a jointly expressed form of the conscious creation process, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents.

The work of Perkins and Wolfe clearly embodies this notion. Wolfe, who had absolutely no trouble accessing his muse, frequently produced reams of material when composing his manuscripts. The rough draft of Of Time and the River, for example, was 5,000 pages alone. Perkins, meanwhile, understood that he could not bring a book of that length to the market if Scribner’s and the author expected to sell any copies. He thus needed to work with Wolfe to pare down the book to create a product that would appeal to reading audiences – and that would make money for his employer.

For such a collaboration to work, both parties had to trust one another – and to believe in the dependability of that trust. If either of them allowed fear, doubt or mistrust to creep into the mix, all bets would be off. However, by forming beliefs where they placed faith in one another, where each knew that they were working for their mutual benefit, Perkins and Wolfe were able to succeed in their co-creative alliance, with results that spoke for themselves.

Aline Bernstein (Nicole Kidman), author Thomas Wolfe’s muse and romantic interest, faces a challenging relationship with the aspiring author in the new biopic, “Genius.” Photo by Marc Brenner, courtesy of Roadside Attractions.

Of course, to attain such a result, Perkins and Wolfe needed to make sure they knew how to form suitable beliefs in the first place. Thankfully, through their thoughts and deeds, they apparently knew how to do this. And, when they didn’t, they knew enough to form suitable beliefs where they could place their faith in the abilities of their fellow collaborator or where they could learn from the experience for themselves.

As any conscious creator knows, our beliefs form from the input provided by our intellect and intuition. Ideally, this process functions best when we balance the two influences. However, many of us tend to give more credence to one than to the other (generally favoring the intellect), which can unduly affect the resulting beliefs. And, in many ways, this was the case with these two collaborators.

In many respects, the principals each embody the influences that go into belief formation. Wolfe, with his unfettered ability to tap into his creative wellspring, symbolizes the intuition, an influence driven by feelings, impressions and gut instincts. Perkins, by contrast, with his no-nonsense approach to making copy palatable and marketable, represents the intellect, an attribute governed by logic, reason and rationale. But, to come up with workable beliefs to make their publishing projects succeed, Wolfe and Perkins need to be able to draw upon both influences. And, if either of them is unable to make either part of this puzzle work on their own, then they need to find a way to fill in the gap, something that they can achieve through their beliefs in the abilities of one another. Such “stopgap beliefs” may not be direct reflections of the goals being sought, but they get the desired results nevertheless, which, in the end, is just as important when it comes to seeing an objective fulfilled.

Anyone who wants to become more proficient at striking the right balance between these influences, avoiding the need for resorting to stopgap beliefs, should look to develop the skill of discernment. This may not be easy, especially if we tend to default in our reliance on either our intellect or intuition. But, if we can overcome that predisposition, tempering our intuitive impulses with our intellect (and vice versa when needed), we come closer to reaching a healthy equilibrium with these influences.

Perkins and Wolfe strive toward this, even though neither is especially practiced at it. Wolfe’s freewheeling lifestyle shows Perkins how he can more readily tap into his impulsive, intuitive side. At the same time, Perkins’s sense of logic and personal discipline sets an example for his protégé to follow for embracing a more intellectual outlook. Neither may be particularly proficient at their respective lessons, but these opportunities give them a place to start, part of their metaphysical learning curve.

Anyone seeking to launch a creative undertaking can learn a lot from the experience of these two collaborators. As noted previously, the example they set needn’t be limited to writing projects, either. The principles are just as applicable to recording an album or arranging a kids’ birthday party, materializing outcomes that everyone to enjoy based on the creative input of everyone involved in their planning.

Louise Perkins (Laura Linney), wife of literary editor Maxwell Perkins, urges her husband to strike a balance between his work and home life in the new biopic, “Genius.” Photo by Marc Brenner, courtesy of Roadside Attractions.

Based on the book Max Perkins: Editor of Genius by A. Scott Berg, “Genius” may not sound like compelling filmmaking, but it will definitely resonate with anyone who has been involved in a collaborative effort, a form of intimacy the inexperienced may not be able to fully appreciate. The picture features many fine attributes (most notably its acting, cinematography and period piece production values), although its script doesn’t always feel fully fleshed out, despite moments of brilliance and obviously good intentions. Still the film’s examinations of the creative process, the art of cooperation and the passion to express oneself are commendable and worth viewing, even if not couched within the most ideal vehicle.

Having been an editor myself, I can relate to the underappreciated contributions of these professionals. It’s highly unusual to see their work recognized in such a high-profile way – and high time that it is. In the end, taking our work to the next level means being willing to let others (like editors) help us reach that goal. “Genius” helps to show us how – and the rewards we can reap by doing so.

Copyright © 2016, by Brent Marchant. All rights reserved.

‘The Music of Strangers’ makes a joyful noise

“The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble” (2015 production, 2016 release). Cast: Yo-Yo Ma, Kinan Azmeh, Wu Man, Kayhan Kalhor, Cristina Pato, John Williams, Bobby McFerrin. Director: Morgan Neville. Web site. Trailer.

Art is a powerful force. It inspires. It defines us, both individually and collectively. And it can serve as a potent means of promoting understanding, making ourselves known and stating our resolve to others, both friends and foes alike. Those are the qualities that have emerged – and blossomed – from one of music’s most inventive, uplifting creative projects of the past 15 years, the subject of the jubilant new documentary, “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.”

Child prodigy cellist Yo-Yo Ma made a huge splash with his abilities at a tender young age. But, for all his abilities and fame, he felt somewhat unfulfilled. Indeed, as one colleague observed, Yo-Yo was a tremendous musician who nevertheless lacked a voice, and that’s what he needed to find.

As someone who had always taken a wider view of life than just his music, Yo-Yo looked for an undertaking that would somehow allow him to fuse his interests and talents. Having been inspired by lectures promoting cross-cultural musicological topics delivered by famed conductor-composer Leonard Bernstein while attending Harvard in the 1970s, as well as by writings on the same topic by his own father, Yo-Yo decided to tangibly expand on those theoretical ideas in 2000 by forming the Silk Road Ensemble. After conducting a global search to find the best musicians and composers from cultures all over the world, Yo-Yo brought them together for a collaborative musical experiment at Tanglewood, Massachusetts to see what emerged, what one observer termed the artistic equivalent of the Manhattan Project.

Critics abounded at first, scoffing at what they saw as an ill-conceived attempt at musical fusion, a sort of “cultural tourism” as they called it. And, admittedly, initial attempts to get things off the ground were somewhat shaky. But, as the musicians came to know and understand one another and their art, magic began to happen. The musical blends that arose from the combination of Western and indigenous talents, arrangements and instrumentation produced fresh, vibrant new sounds never before heard.

After that first session ended, the next logical question, of course, was “What’s next?” Was this a one-time fluke? Or was it something that should keep going, even if it lacked a definitive sense of direction? Yo-Yo and his collaborators got their answer on the morning of September 11, 2001.

The Silk Road Ensemble, one of the most inventive musical collaborations of recent years, celebrates its unique sound in “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble,” a new documentary about its history and featured performers. Photo courtesy of silkroadproject.org.

In the wake of the terrorist attacks of that fateful day, Yo-Yo and his fellow musicians realized they had to keep going, that their art was a powerful weapon against fear and tyranny, that it was needed now more than ever. The ensemble resolved to use their music to promote cross-cultural understanding at a time when it was likely to be available in increasingly short supply. And 15 years later, after the release of six albums and performances to over 2 million people, Silk Road is still together and going stronger than ever, as evidenced by this new documentary.

In addition to the ensemble’s history, the film includes the personal stories of several of its featured performers, including Syrian clarinetist Kinan Azmeh, Chinese pipa player Wu Man, Iranian kamancheh virtuoso Kayhan Kalhor and Galician bagpipe artist Cristina Pato, as well as Yo-Yo Ma himself. Their diverse stories, sensibilities and aspirations for what they hope to achieve through their art are all moving and inspiring, prime examples of what Silk Road set out to achieve at its founding. Their individual and collective works demonstrate what it means to be a citizen not only of their own respective cultures but of the world itself.

Through the stories of the collective and of the individual musicians, it’s easy to see that Silk Road is more than just a glorified jam session by a group of talented performers. Its existence serves a bigger purpose, which clearly signals that its formation came about as a result of very specific intents. And that lends credence to the notion that the ensemble is most definitely a product of the conscious creation process, the means by which we manifest our reality through the power of our thoughts, beliefs and intents. What a job they did, too!

Silk Road’s very existence epitomizes several key conscious creation principles. For example, the ensemble’s creations clearly embody its artistic and social mission, and they do so quite ostensibly, not just by inference or implication. Its success at achieving its goals unmistakably signifies the power of the beliefs and intents underlying these results, providing a potent example of what’s possible when we’re assured of our convictions and our resolve to see them through.

Further, the ensemble’s albums and performances demonstrate what’s attainable through the power of co-creation. While individual accomplishments are certainly laudable, the jointly manifested outcomes that result from the determined efforts of a group of collaborators putting their talents and minds together are truly impressive and inspiring, as evidenced by what’s on display here. The example set by the Silk Road musicians and composers shows us the kind of greatness that can be achieved when we cooperate to produce dazzling results, a concept readily applicable to any field of endeavor.

Cellist Yo-Yo Ma (center) and his eclectic band of collaborators show off their unique fusion of talents in director Morgan Neville’s uplifting new documentary, “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.” Photo courtesy of silkroadproject.org.

The dual purposes served by Silk Road’s existence also show us how our creations can fulfill more than one goal. On the surface, the ensemble’s most obvious reason for being is the music it produces. But, when one looks past the notes, it’s apparent that the group serves another, arguably more important purpose – that of promoting cultural preservation and cross-cultural understanding. Indeed, would these artists have known anything about their collaborators’ music and culture were it not for the ensemble’s existence? Such awareness not only strengthens the inherent human connection we have to one another, but it also enriches the creative process, enabling the composition of music that blends multiple influences in terms of what sounds arise, what meanings they convey and what feelings they evoke. That’s quite a nuanced and layered accomplishment.

Inherent in that, of course, is the very notion of our innate connectedness itself. As several ensemble members note, they may not speak one another’s languages, but they’re all fluent in the universal language of music, something that becomes readily apparent in their collaborations and performances. It binds them and brings them closer to one another than perhaps any other influence. Drawing upon art to illustrate the power of, and to reinforce our awareness of, this intrinsic, pervasive linkage is a compelling way of reminding us that we ultimately have more commonalities than differences – provided, of course, that we allow ourselves to recognize that fact, to bring us together rather than to keep us needlessly apart.

As significant as these underlying collective creative intents are, the beliefs of the individuals involved are just as important. They enable the personal accomplishments these musicians seek to achieve, again both artistically and in a wider social context. Their participation in such a successful, prominent venture gives them the credibility and clout to make it possible for them to pursue their own individual ventures, endeavors ultimately driven by beliefs and intents just as focused and purposeful as those that they bring to their joint efforts.

For instance, Azmeh’s association with Silk Road raised his profile sufficiently enough so that he could carry out one of his own personal missions – bringing music education to the children who live in the Jordanian refugee camps occupied by escapees from his native war-torn Syria. Likewise, Kalhor’s affiliation with the ensemble has enabled him to increase public awareness of the kamancheh, an indigenous instrument in danger of virtually going extinct. Meanwhile, for Pato, participation in this project has allowed her to draw attention to Galician culture and music, richly distinctive institutions barely known outside her native Spain. But, above all, Silk Road’s formation has given Yo-Yo the voice he long sought, a project that fused his musical and humanitarian aspirations, one that has brought meaning to his art – and that has led to the creation of art reflecting that vision.

When all of the foregoing is considered collectively, the multifaceted experience of this remarkable group of musicians provides the rest of us with a remarkable illustration of the underlying metaphysics that have gone into its creation and a tangible example that we can emulate in our individual and collective materialization efforts. That’s quite a lot to come out of what seemingly began as little more than an impromptu gathering of performers getting together just to make a little music.

From ethereal to rousing, the eclectic Silk Road Ensemble presents a variety of moods in its various performances presented in the new documentary, “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble.” Photo courtesy of silkroadproject.org.

“The Music of Strangers” is quite easily the best documentary, if not one the best films overall, that I’ve seen in quite some time. This intimate, transcendent portrait of one of music’s most original and inventive ensembles showcases both the distinctive collaborative art it brings to the world, as well as the greater purpose it serves in fostering global, cross-cultural awareness. In addition to interviews with the featured artists, the film includes clips with friends and fans of the ensemble, such as composer John Williams and musician Bobby McFerrin, as well as a variety of stirring performances by the ensemble from venues all over the world.

Director Morgan Neville, who won an Oscar in 2014 for his excellent documentary “Twenty Feet from Stardom” and who earned additional acclaim for his poignant and wickedly funny 2015 offering “Best of Enemies,” has hit another home run with this release, perhaps his best work date. It’s easy to make a joyful noise about this euphoric cinematic offering, one whose music and inspiring enthusiasm are downright infectious. Those who believe in taking a global perspective about life, regardless of the context, should make it a point to see this one.

When we hit upon something that works, that stirs the soul and rouses the spirit, we naturally want to make it known for all to see and hear. Indeed, that’s truly the time to make a little noise about it. The Silk Road Ensemble seems to have perfected that art, and, thankfully, this cinematic chronicle of their efforts certainly does it justice. Try containing your enthusiasm when you come out of the theater after watching this one. You just might be inspired to want to make a little noise of your own.

Copyright © 2016, by Brent Marchant. All rights reserved.

Something To Hide?

The controversial documentary "Vaxxed: From Coverup to Catastrophe" has stirred strong feelings in its defense and in its condemnation. Read more about it in "VAXXED the Movie -- Does the CDC Have Something to Hide?", which includes my review of the film and an accompanying op-ed piece by Richard Gale and Gary Null of the Progressive Radio Network, available by clicking here.

Check out Reviewers Roundtable this Wednesday!

Join me and fellow reviewers Miriam Knight and Cynthia Sue Larson this Wednesday, June 29, at 2 pm ET, when we’ll get together to discuss some of the latest new book and movie releases on the quarterly Reviewers Roundtable broadcast of New Consciousness Review radio. Tune in by clicking here for some lively chat!

This Week in Movies with Meaning

Reviews of "The Music of Strangers" and "Flowers" and a radio show preview are all in the latest Movies with Meaning post of the Good Radio Network Blog Page, available by clicking here.

The Silk Road Ensemble, one of the most inventive musical collaborations of recent years, celebrates its unique sound in “The Music of Strangers,” a new documentary about its history and featured performers. Photo courtesy of silkroadproject.org.

Ane Goñi (Nagore Aranburu), who once received flower deliveries from an anonymous source to cheer her up, returns the favor to honor the memory of the person she believed sent them in the thoughtful meditation, “Flowers” (“Loreak”). Photo courtesy of Music Box Films.

‘Finding Dory’ charts the search for self

“Finding Dory” (2016). Cast: Ellen DeGeneres, Albert Brooks, Ed O’Neill, Kaitlin Olson, Hayden Rolance, Ty Burrell, Diane Keaton, Eugene Levy, Idris Elba, Dominic West, Sigourney Weaver, Sloane Murray, Lucia Geddes, Bob Peterson, Kate McKinnon, Bill Hader, Torbin Xan Bullock, Andrew Stanton, Bennett Dammann, John Ratzenberger, Willem Dafoe, Brad Garrett, Allison Janney, Austin Pendleton, Stephen Root. Directors: Andrew Stanton and Angus MacLane. Screenplay: Andrew Stanton, Victoria Strouse, Bob Peterson and Angus MacLane. Story: Andrew Stanton. Web site. Trailer.

Finding our family is often an exercise in finding ourselves, especially when we employ inventive means for achieving it. We come to discover things we never knew, including personal skills and talents previously unknown. Such is the odyssey faced by a little blue fish separated from her parents in the charming new animated release, “Finding Dory.”

This sequel to the 2003 smash hit “Finding Nemo” (web site, trailer) finds the once-lost youthful clownfish Nemo (Hayden Rolence) successfully reunited with his dad, Marlin (Albert Brooks), a reunion facilitated by their friend, Dory (Ellen DeGeneres), a regal tang afflicted with short-term memory loss. This happy experience, in turn, inspires Dory to undertake finding her own long-lost parents (Diane Keaton, Eugene Levy). Given Dory’s innate forgetfulness, that goal is a lot easier said than done, but she’s determined to see it through. She thus sets off on a mission of her own with Nemo and Marlin in tow.

Through a series of miraculous recollections from her days as a youngster (Sloane Murray), coupled with an assortment of inspired intuitive acts, Dory and her friends make their way from their home in the Great Barrier Reef to a marine theme park on the California coast, where she believes her parents live. But where exactly are they? That’s the real challenge Dory undertakes. Thankfully, she has help from a number of newfound allies, including a crafty, curmudgeonly octopus (Ed O’Neill), a near-sighted whale shark (Kaitlin Olson), an insecure beluga whale (Ty Burrell) and a pair of wily sea lions (Idris Elba, Dominic West), all of whom want to see Dory succeed in her quest.

Dory’s search for her parents ultimately proves to be more than just a mission to find her family. Her storied odyssey is also a search for herself, an important personal undertaking considering the inherent challenges associated with her short-term memory issues. Through this experience, Dory learns what it means to be Dory, in every respect. She also learns how to look within and follow her heart, allowing herself to listen to her intuition (no matter how seemingly implausible it might be) and not restrict herself to purely rational thought. Such behavior might seem impulsive, perhaps even illogical, but it generally leads her to where she needs to be to fulfill her task.

This is particularly significant as she learns how to work the conscious creation process, the means by which we manifest the reality we experience through the power of our thoughts, beliefs and intents. Since our beliefs are the driving force in materializing what arises in our existence, it’s crucial that we form them in ways that make what we desire possible. And that’s where our intuition and intellect come into play, as they provide the basis for how those beliefs take shape.

Dory’s experience proves particularly insightful when it comes to making use of our intuition. That’s the element of belief formation most of us readily dismiss as irrational and untrustworthy. But not Dory; she freely embraces it at seemingly every turn, no matter how strange or wrongheaded it may appear to onlookers, unaffected by the constraints of logic that hamstring most of us when we place an overreliance on our intellect. She sees her impulses (i.e., her intuitive-based beliefs) as perfectly natural and unreservedly believes in their intrinsic validity, able to cast aside intellectual considerations that might deter the rest of us.

In light of this, Dory’s short-term memory loss could even be seen as an asset, because it liberates her to follow her impulses when she needs them most. It enables her to live in the moment, unfettered by intellectual concerns (which are often driven by memory and experience) that might prevent her from acting in ways necessary to realize her goals. Indeed, one could argue that the creation of this so-called “disability” is itself an inspired way of learning how to make use of her intuition, because it forces her to look past her intellect alone to concoct the beliefs she needs to fulfill her objectives.

In this way, Dory embodies one of conscious creation’s chief aims, the ability to push past limitations, particularly where beliefs and their outcomes are concerned. This can lead to a variety of additional payoffs, such as the discovery of previously unknown parts of ourselves. Skills, talents and abilities hitherto unseen suddenly make their presence known, enriching us and our lives in ways we may have never imagined.

For example, Dory successfully overcomes her short-term memory loss issues when she calls forth recollections from her youth. Prior to launching her quest to locate her parents, she had convinced herself that she’d never be able to surmount her memory challenges. Yet the incentive of finding her family – and the beliefs that support it – are so potent that she’s able to create the means to facilitate it, including her newfound ability to recall memories once thought to be inaccessible (and that prove essential to the fulfillment of her larger objective).

Taking such a bold envelope-pushing approach to the creation of our reality generally means we’re able to face our fears and live heroically. This sheds further light on the value of listening to our intuition, because drawing upon it frequently takes courage, the resolve to dismiss the conventional wisdom and try the untried.

At the start of Dory’s quest, for example, Marlin looks upon her goal with ample skepticism, believing she’s following a fool’s quest, given her memory issues. However, Dory believes she can succeed at it; she’s so confident, in fact, that she’s able to disregard her friend’s well-intentioned, but ultimately misplaced, admonitions. Nemo echoes Dory’s sentiments about this, too, reminding his father of their own experience when they became separated – and how Marlin never lost faith in his beliefs that he would find his son, no matter how much the odds may have seemed stacked against them. Dory thus sets a shining example for us all to follow – even those of us clouded by doubts in our abilities to attain what we set out to do.

“Finding Dory” is a knock-out sequel to a knock-out original, a genuine rarity in the movie industry these days. This fun, touching, playful romp features lovable familiar characters and endearing new ones, along with impressive, inventive animation and affecting vocalizations from a remarkable all-star cast. Although the picture tends to drag a bit toward the end, and even though it could use a few more genuine belly laughs throughout, Disney-Pixar has nevertheless knocked it out of the aquarium with this one, a real charmer sure to entertain kids and adults alike.

The next time you set off on a task you consider important to your personal well-being but don’t know how to proceed, follow the title character’s example. Indeed, as several of her peers observe in the film, when faced with uncertain circumstances, just ask yourself, “What would Dory do?” The answer may prove to be quite revealing – and in more ways than imagined.

Copyright © 2016, by Brent Marchant. All rights reserved.

This Week in Movies with Meaning

Reviews of "Finding Dory" and "Genius" and a look back at "Lucy" are all in the latest Movies with Meaning post on The Good Radio Network Blog Page, available by clicking here.



Editor Maxwell Perkins (Colin Firth, left) and author Thomas Wolfe (Jude Law, right) collaborate to produce works of greatness in the new biopic, “Genius.” Photo by Marc Brenner, courtesy of Roadside Attractions.

‘Princess Shaw’ celebrates creative fulfillment, diversity

“Presenting Princess Shaw” (2016). Cast: Samantha “Princess Shaw” Montgomery, Ophir “Kutiman” Kutiel. Director: Ido Haar. Screenplay: Ido Haar. Web site. Trailer.

What does it mean to follow one’s dreams of creative fulfillment? It can be a challenging and frustrating experience, especially when one’s efforts don’t readily bear fruit. But, when events come together to bring about the realization of those goals, the rewards are tremendously satisfying, especially when the results take pleasantly unexpected forms. Such are the outcomes chronicled in the uplifting new documentary, “Presenting Princess Shaw,” now available in theaters specializing in independent cinema and on video on demand.

Aspiring singer-songwriter Samantha Montgomery (a.k.a. Princess Shaw) spends her days as a health care worker in a senior center and her nights as a would-be performer in New Orleans night spots. However, despite her perseverance, her musical career seems to gain little traction. Even with her own YouTube channel, on which she posts a cappella renditions of her original compositions, she has little success attracting fans or potential backers.

Meanwhile, across the globe in Israel, visionary composer and video artist Ophir Kutiel (a.k.a. Kutiman) scans the Internet (particularly YouTube) in search of material for use in the unique creations he posts to his own YouTube channel. Kutiman compiles inventive video mash-ups by combining samples from the web performances of amateur musicians, mixed with his own original orchestration, to create entirely new distinctive works. He essentially treats these video samples as “notes” for his “compositions,” which not only create new pieces but also an entirely new musical and visual art form. He has developed quite a following for these creations, too, earning him international acclaim and invitations for high-profile public performances, such as a special concert at New York’s Guggenheim Museum.

While scanning the Internet for inspiring new source material, inventive composer and video artist Ophir “Kutiman” Kutiel (foreground) discovers the a cappella music of Samantha “Princess Shaw” Montgomery (on computer screen) in the uplifting new documentary, “Presenting Princess Shaw.” Photo courtesy of Magnolia Pictures.

While searching YouTube for new material, Kutiman discovers Princess Shaw’s videos, and he’s mesmerized. He soon begins sampling her videos and reworking her music with his original arrangements. The result is an overnight sensation, one that astounds viewers around the world – including Princess Shaw herself, who knows nothing of Kutiman or his reworking of her material until she sees it online for herself. This fusion subsequently leads to a new creative collaboration, one that brings together two of the unlikeliest of participants.

Journeying to the creative promised land often seems like an exhilarating adventure. When we start out, the air is full of thrill and expectation. But, once we embark on that trek, we quickly find it often requires considerable effort, likely far more than originally anticipated. And that naturally raises the question, “How do we get noticed?”

That’s where what we have to offer comes into play. To get the attention of potential followers, we frequently need to offer materials that are fresh, new and distinctive, something that decidedly requires us to think outside the box. And, to make that happen, we must be able to envision those unexplored possibilities, an outcome made possible by searching the reserves of our beliefs, the means by which we create the reality we experience through the conscious creation process.

Singer-songwriter Samantha “Princess Shaw” Montgomery (left) and inventive composer-arranger Ophir “Kutiman” Kutiel (right) engage in an unusual musical collaboration in the intriguing new documentary, “Presenting Princess Shaw.” Photo courtesy of Magnolia Pictures.

This is something that applies to both of the principals in this film. Princess Shaw, for example, clearly has the basics down, and her YouTube channel helps to make her presence known. But, to successfully place her work in the public eye, she needs something to set it apart. This requires her to formulate beliefs aimed at manifesting that nebulous “x factor,” the element that will put things over the top for her.

Kutiman, meanwhile, faces a comparable challenge. Even though he may be more practiced at materializing unique creations than his future collaborator, he nevertheless needs to put out beliefs that will lead him to the secret ingredient he needs for his next original sensation.

As events unfold, the participants in this scenario each succeed in their respective tasks. Princess Shaw finds the missing piece to complete her work, and Kutiman identifies the centerpiece of his newest undertaking, all made possible by the manifesting beliefs that they both put forth. They thus take their respective intangible conceptions and materialize them in finished physical form, the practice that essentially underlies any creative venture, including anything from the lofty to the mundane, be it writing a song or cooking dinner for the kids.

Singer-songwriter Samantha “Princess Shaw” Montgomery seeks to make it big in the music business in director Ido Haar’s “Presenting Princess Shaw.” Photo courtesy of Magnolia Pictures.

Working such magic can be facilitated by drawing on several key related principles, all of which the collaborators in this film are expert at. For instance, both Princess Shaw and Kutiman have an unshakable faith in their abilities (and, by extension, the beliefs that support them). This galvanizes their resolve and confidence, significantly bolstering their efforts at achieving what they set out to accomplish.

Likewise, both collaborators approach their endeavors by operating with personal integrity. They’re sincere in the tasks they undertake, and this resonates in the beliefs they employ to make it happen. By making use of such genuine intents, they significantly augment their efforts at realizing what they set out to manifest.

Of course, nothing happens without being willing to face our fears and live heroically. Both Princess Shaw and Kutiman understand these principles and don’t hesitate to stridently push forward with their creative ventures by drawing on them. When Princess Shaw realizes that her career is going nowhere in New Orleans, for instance, she decides to travel to Atlanta, the music industry’s newest hot spot, in an attempt to increase her visibility. And she does this despite a number of personal hardships, fully aware that it’s an essential step to furthering her vocation.

In the end, both principals appreciate the fact that their journey together is an act of co-creation. Their joint efforts, as well as the beliefs that support them, are integral to the fulfillment of their finished products. In large part, this is made possible by their creation and recognition of fortuitous synchronicities, those “meaningful coincidences” that appear so perfectly tailor-made to meet their needs that they enable their goals to sail through from concept to materialization quickly and with tremendous ease. It’s truly inspiring to see what such collaboration can yield when we put our minds – and beliefs – to it.

Inventive composer and video artist Ophir “Kutiman” Kutiel tries out new arrangements in his Tel Aviv recording studio in “Presenting Princess Shaw.” Photo courtesy of Magnolia Pictures.

“Presenting Princess Shaw” imparts a resoundingly uplifting message, one that’s sure to inspire viewers. The film candidly captures an artist’s struggle to get by, both creatively and in the challenges of everyday life, not to mention the balance required to make them both work. The protagonist’s heartfelt revelations about her life and her past are indeed moving, providing poignant insight into the source material for much of her music.

What’s more, success issues aside, the film profoundly celebrates what it means to create for its own sake, something aspiring artists often lose sight of in seeking to establish themselves. As the efforts of Princess Shaw, Kutiman and the many YouTube artists featured in the film illustrate, there is much to be said for pursuing our creative ventures, regardless of the outcome. One would hope that rewards follow from such efforts, but, as this picture shows, sometimes creative fulfillment is its own compensation.

However, even though the film is based on a true story, its designation as a “documentary” might seem a bit dubious, given the chronology of events and the participants’ apparent one-sided awareness of one another. In production notes for the film, director Ido Haar acknowledges that, while he knew what Kutiman was doing with Princess Shaw’s music, he didn’t volunteer this information to her during filming prior to the video remix releases, a revelation not made in the movie. Without this acknowledgment, astute viewers might justifiably wonder how the filmmaker just happened to be opportunely present to capture his subject’s candid revelations and the seminal moments in her life and developing career at a time when she was still largely unknown. This is a rather glaring oversight, in my opinion, one that seriously impacts the film’s credibility. Nevertheless, with that caveat in mind, it’s still entirely possible to enjoy the picture and what it has to offer, even if this conspicuous omission makes some of the content seem somewhat suspect.

Climbing the ladder of success often pushes us to our limits – and beyond – in our search for our own creative milieu. Preparing ourselves by being in the right place at the right time, backed by manifesting beliefs that make such circumstances possible, can turn things in our favor when those auspicious moments arrive. We should all be so fortunate, but, thankfully. we have Princess Shaw’s example to draw from.

Copyright © 2016, by Brent Marchant. All rights reserved.

This Week in Movies with Meaning

Reviews of "Presenting Princess Shaw" and "Freeheld" and a magazine article that will change your life are all available in my latest Movies with Meaning post on the Blog Page of The Good Radio Network, available by clicking here.

Singer-songwriter Samantha “Princess Shaw” Montgomery (left) and inventive composer-arranger Ophir “Kutiman” Kutiel (right) engage in an unusual musical collaboration in the intriguing new documentary, “Presenting Princess Shaw.” Photo courtesy of Magnolia Pictures.

Life partners Laurel Hester (Julianne Moore, left) and Stacie Andree (Ellen Page, right) face life-changing – and culture-changing – challenges in the heart-tugging biopic, “Freeheld.” Photo by Phil Caruso, courtesy of Summit Entertainment.