Stephen Simon has produced many great films including, Somewhere in Time (Christopher Reeve, Jane Seymour, Christopher Plummer); and Academy Award® Winning What Dreams May Come (Robin Williams, Cuba Gooding, Jr.,); Director of Indigo (Neale Donald Walsch); and the founder of “Spiritual Cinema Circle”. Stephen is also producer of the Emmy-nominated television movie Homeless to Harvard: The Liz Murray Story. He was, at the time of our interview, editing his latest film Indigo, which has since been released (Jan 2005) to rave reviews and sell-out openings.

Stephen Simon is also author of The Force is With You: Mystical Movie Messages that Inspire Our Lives, published by Walsch Books, an imprint of Hampton Roads. So now let’s go straight to this amazing interview, as Stephen will blow you away with his insights into the wonderful world of entertainment. My wish is that YOU, my friend, will have an open mind and hear in your heart his wisdom so that YOU can have a much better and happier life in this wonderful and magical world!

Michele: “Stephen THANK YOU so much for doing this interview with me today. I have read so much about you from your websites including www.movingmessagesmedia.com - and some of the things when reading them were really profound and gave me Aha moments. I know that music, movies, and TV are the strongest mediums to change consciousness, nearly instantly in some cases, because it’s affecting most of our senses and it’s going straight into our subconscious mind, and 5/6 of our thinking is in the subconscious mind. We think in pictures, so seeing a movie really does affect they way we think and then of course how we feel. What I love so very much about what you’re doing, Stephen, with Spiritual Cinema Circle, is you’re not judging, you are simply bringing uplifting movies to the world and allowing others to think for themselves. I love the fact that you say, ‘Spiritual Cinema is not about teaching life’s lessons; it’s about empowering people so they start feeling again.’ Then we get to interpret it in our own way. That, to me, is how lyrics with music are. As soon as I read that I thought that you were my ‘brother”, a true member of my particular tribe. J Please, Stephen, share with us how you woke up, or were you always spiritually aware?”

Stephen: “Thank you Michele I am happy to meet you. I came to spirituality really young in life because my dad died when I was a small boy, only four. Within a year of his death, I was very conscious of a presence around me. I actually used to tell my mother and stepfather that there was a man in my wall at night. It didn’t frighten me; actually, it comforted me but I wasn’t conscious that it was my father’s spirit until many, many years later. My Dad's name was Sylvan Simon and he was a director, a writer, a producer, and a studio executive. He made movies in the ‘40s’ with people like Red Skeleton and Abbott and Costello and, even though I do not remember him well, I am told that he was an extraordinary guy. There were times during the making of our film Indigo, that I knew he was with me. One day, I couldn't conjure up just the right shot and I just walked away from the camera and said, ‘Dad, I need a shot here.’ And it just came to me instantaneously, like my Dad was just there with me saying, ‘this is how you to do it, son’ and I think it's now one of the best shots in the film. Indigo has a very specific homage to 2001: A Space Odyssey because it was that film that consciously energized me to be in this industry. In 1968, I was 22, and I walked into the Hollywood Cinerama Dome and saw 2001: A Space Odyssey. When I experienced the last 15 minutes of that movie, it just transfixed me and I knew that kind of metaphysical exploration was what I wanted to do in film but I went through a lot of different things to get there, including being a ‘recovering lawyer.’”

M: I love that, hey, you’re a funny guy!

S: Well, some may think so. (Laughs) In 1975, I read a book called ‘Bid Time Return’ which is this wonderful, wonderful love story. It was just before my 30th birthday and I begged my way into a job with an extraordinary producer named Ray Stark. The first thing I did when I got the job as Ray's assistant was to call the author of that book and make a lunch date with him. About 3 years later, that book became “Somewhere In Time.” (Starring Jane Seymour and Christopher Reeve) and that’s what set me off on my individual producing career. Spirituality in movies has always been the passion in my life. It’s always been what I wanted to do. That’s why “Somewhere In Time” was my first film. That’s even why I made ‘Bill and Ted’s Excellent Adventure’ which is a kind of a silly side of that. I was given the galleys for ‘What Dreams May Come’ when we were prepping ‘Somewhere In Time’ by the author of both books--Richard Matheson. Richard gave me the book in galleys and that began the 20-year journey to get the film made. The film is similar to the book, but there are a couple of major differences. In the book, ‘What Dreams May Come’, the children are still alive when Annie takes her own life. It was always a huge issue about how to create sympathy for a woman who takes her own life and leaves her children, so I probably have 110-115 rejection letters in a file. There’s a story in my book about how we finally solved that ---or actually, the universe stepped in and solved it. Anyway, I finally got ‘What Dreams May Come’ made in 1997 and it was more movie than I ever thought it would be. It did about $100 million in business worldwide and won the 1999 Academy Award for Best Visual Effects. I was so proud of it, so happy with it - and then, like ‘Somewhere in Time’, it was pretty much savaged by the critics. I don’t want to be too tough on the critics because they’re dealing in a different world. The world that they live in and work in and the people that they’re talking to, what they are doing is valid…in that world. What Hollywood is doing is valid in its world. We don’t need to make them wrong to make us right. The biggest problem that people have is this “either/or” business; and when you are on a spiritual path, you recognize that the power is in knowing that there isn’t ‘either/or’, that there is ‘this and this’.”

M: “I agree 100%, to become judgmental will only perpetuate judgment and will stop us all thinking for ourselves. I feel having non-attachment is the most powerful tool we can learn as then we will not be pulled constantly up and then down by others opinions.”

S: “Yes, as even when O.J. Simpson became this extraordinarily notorious person because everyone was completely convinced that he killed his wife. People had a really hard time with that because how could this really charming guy also be a cold-blooded killer? He has to be one of the two, right? Well, no he doesn’t. He can be both. My idea of this kind of Spiritual Cinema has been around for a very long time. No one has consciously - and that’s the big issue - consciously put spirituality and movies together and called it Spiritual Cinema. This is a genre and it’s been around since “It’s A Wonderful Life” and movies before that in the 30’s and 40’s. That’s what I did in my book The Force Is With You: Mystical Movie Messages That Inspire Our Lives, and what I’ve done with our Institute of Spiritual Entertainment and with my speaking engagements and seminars over the years: bring more into the public consciousness that it is a particular genre of film. There are video stores all over the country and a pilot store right here in Ashland that put together a Spiritual Cinema section with over 400 movies. The owners of the store told me that these movies were sitting in various different categories and many were not renting; however, as soon as they put them in a Spiritual Cinema section and people started seeing it as a genre, they now fly off the shelves and they can’t keep them in the store. There is this deep hunger, a need and passion, a real thirst from people for meaning in their life. And these movies profoundly help people find their OWN meaning to life.”

M: “We are coming out of the information age into the spiritual age now. The golden age is coming up. People are waking up all over the world to it. What I’ve seen all over the world during my seminars and teachings is that when people wake up, whatever is near to them at the time they tend to gravitate towards it to find meaning from their new found consciousness. For example, if they are Catholics or Muslim etc, then sometimes at they first become totally into their child-given religion and after a while they tend to start really thinking for themselves and finding out what spirituality is in their lives. Often they find this through many other avenues including books, music, and of course MOVIES!!”

S: “Spirituality is not about religion. The thing that I find most interesting in my talks is that - particularly with mainstream media - but also with a lot of people, they make spirituality and religion the same thing. The way I distinguish the two is that religion is an organization that tells us a particular set of rules and regulations and rituals that we MUST follow to the letter in order to experience God, which is usually defined as a male being outside the experience of humanity. And that’s totally valid. Spirituality is an inner-experience in which we experience God/Goddess/All that is, the Divine, Life, Spirit, and the Universe, whatever it may be, in a very unique, internal, and individual way. Spirituality is a very, very wide umbrella in that it encompasses religion. Religion does not necessarily encompass spirituality. You can be a very religious person and be spiritual. You can be very spiritual and not be religious at all.”

M: “That is a brilliant analogy, Stephen.”

S: “Thank you!! Obviously, the best example of religious cinema would be “The Passion.” The best description of, or as good a description of spiritual cinema would be “Whale Rider.” There is a difference. They are both valid, but they are valid for different audiences. What I don’t want to do is denigrate one in order to exalt the other because that is what’s led us into trouble forever, for centuries. It’s like what the Catholic Church did to the Druids in England. They came in and basically decided that they couldn’t co-exist together, that one had to dominate over the other, but it doesn’t have to be that way. That needs to end!

What I have been doing with spiritual cinema is saying, “Look, it doesn’t have to replace anything. It’s not better than anything else. There’s nothing more intrinsically valuable about a movie like 'Whale Rider' than there is a movie like 'Natural Born Killers.' And that is really difficult for a lot of people. “One is this really violent movie and…But it’s ...??!!….” So what? There’s an audience and people want to see that and they’re going to go see it. We can’t make ourselves better than. Neale Donald Walsch has this wonderful phrase, “Ours is not a better way, it’s just a different way.” That’s what I feel. My work is about having this genre recognized as a genre, as its own separate genre; and then to get more movies made in this genre and to distribute them to people. Because the goal, the vision that I have for what we’re doing has actually begun - with The Spiritual Cinema Circle. We are putting 40-50 movies a year into people’s homes, that they get to own, that are in a genre that they wouldn’t see any place else unless they went to every film festival in the world. Eventually, we will distribute films theatrically and have a cable network that will be the HBO of spiritual entertainment that will have comedies, dramas, talk shows, and things like that. Spiritual entertainment is its own thing and people who want it can get it and if they don’t, they don’t have to. It doesn’t replace anything and it isn’t better than anything. I am not a metaphysical missionary. I’m not looking to convert people. I left L.A. because I just didn’t think that I could help birth this new consciousness of movies and entertainment where the old paradigm is.”

M: “Well, Stephen, I for one am so happy that you took that leap to help us all enjoy positive spiritual uplifting cinema as I have done the same thing with my TV show. It’s currently an Internet TV show called www.MPowerTV.com, and I too intend to have it be its own cable network; and I know more and more individuals will be doing this as the entertainment world sees that people truly do want this because our world is waking UP! Stephen, you and I now have had a deep impact on the world already and I would love you to share with us how your amazing film with Robin Williams ‘What Dreams May Come’ has affected our world.”

S: “I had an experience, Michele that changed everything for me, that literally was the catalyst that moved me out. ‘Dreams’ had been out for about a week, two weeks maybe, and we got a phone call from a man who had a terminally ill daughter in Milwaukee who desperately wanted to see the movie and was too ill to get out and go to the theatres. Actually, PolyGram (who financed the film) got the call and they came to me. I went to them and said, ‘Look, we’ve got to get a video cassette to this guy’. Studios are none too thrilled about putting out videos of $80 million movies that were just released. But I said this is why we made this movie, this is what it’s for. We got a video made, we sent to him. The studio actually sent it by courier. I found out later that they gave the courier instructions to stand there, to stay in the house, watch the film with them and take the film and leave. But when the courier actually got there and saw what the situation was, he just said to the father, ‘Listen, here’s my number, watch the movie with your daughter and call me tomorrow and I’ll come back and get it.’

I didn’t know anything about any of this until about two weeks later and I got a phone call from Chuck Weber. He told me that his daughter was 17, her name was Amanda, she had a very rare form of cancer and she had been extremely brave up until the end. Then she got frightened because she had no frame of reference as to where she was going to be. She saw the ads on television for “Dreams” of the painted world scene and said to her dad that she had to go see it, but she was too sick to go. Chuck was a single dad, too, so he and I had a strong connection from that standpoint. He told me, ‘I’ll be honest with you, Stephen. I did not watch the movie. I watched Amanda watch the movie. And when it got to the painted world scene, I saw all the fear and pain go out of my daughter’s eyes.’ And the next day, it was a beautiful fall day in Milwaukee, and he took her out to the park to see the fall colors. I thought she was going to check out in the park. But, she said to me, ‘Dad, when I die tomorrow you’ll know where I am.’ And he told me that she died very, very peacefully the next day. And he said, ‘I don’t know if I’m ever going to have the courage to watch this movie, and I don’t know whether it’s a good movie or not. But, I can tell you that it totally changed the last two days of my daughter’s life and that’s the only success you should ever want.’”

M: “Wow Stephen, that IS truly what it is all about and I can see WHY ‘What Dreams May Come,’ has affected so many people’s lives. I have seen it too many times to count and it will last in the archives of our time. Now Stephen you say that ‘Dreams’ had bad reviews from the critics, here is an important example, as it does not matter what others say about our work. When we feel we needed to do something that we are totally guided to do and we do our very best then that is all we can ask of ourselves. Let the rest of the world sit around in their little comfort zones judging because they are afraid to do something themselves. Perhaps reading this will help someone stop crying over what critics or anyone for that matter has said negatively about them and help them wake up out of that horrible victim role of self pity and drive them again to take action on their dreams. We are in charge of own destiny. We do create our futures. So what you did, Stephen, with ‘Dreams’ will help people for years and years to come and how this man’s daughter was helped to make her transition peacefully is what it is all about.”

S: “That was it. This stays with me (a picture). She is always with us. My daughter Cari has most of her clothes; my daughter Heather has most of her crystals and music. I carry this picture with me all the time, and we have some of her ashes at home as well. In the end, she evidently had a wicked sense of humor. Chuck had her ashes put into this wonderful crystal down in New Mexico, and by her request, it says, ‘Amanda Weber 1981-1998,” and underneath it says, ‘I told you I was sick.’ When all that happened with Chuck and Amanda, I said, ‘That's it. I have to get it out.’ It took me a couple of more years, but I left L.A. in 2001 and moved to Oregon. I just committed myself to not making any more big-budget movies with movie stars. I’m not making any more. I’m not working through the Hollywood system anymore because Hollywood doesn’t understand this. They never will understand it. They don’t understand the audience for it. They don’t understand how to market it. They don’t understand how to make it. Most of these movies get made only because a big star says they’ll make them. We never would have gotten ‘What Dreams May Come’ made without Robin Williams. ‘Sixth Sense’ doesn’t get made without Bruce Willis. ‘City of Angels’ doesn’t get made without Meg Ryan. “Phenomenon” doesn’t get made without John Travolta. I mean, in Hollywood they don’t believe in this.”

M: “Well thank goodness those stars did say yes as all the movies you mentioned are so uplifting and beautiful! However, I see what you’re saying; they would not have been made without the highly paid high profile stars.”

S: “They don’t believe the story or the messages that these movies have. So, I said, I’ve got to go do something completely different, and I moved to southern Oregon. I wrote my book and went out selling it around the country and getting people to be aware that this is a genre. In the last 18 months, it’s caught fire, it’s really caught on. The Spiritual Cinema Circle has become a phenomenally successful business. I’m going to make two more movies in 2005. I’m going to make a film version of the book by Neale's ‘Conversations with God.’ Then do a romantic comedy about Mary Magdalene. It will be a modern day version. I think you can do a lot of things in comedy that you can’t do in drama. ‘Splash’ worked because it was a comedy and not because it was a drama. If you try to do it as a drama, it wouldn’t work. So, my passion is to open people up to this and help filmmakers do more of these movies, and to have filmmakers understand that when you are doing these kinds of movies, it’s very dangerous because a lot of people want to preach and teach people things and movies are about entertainment. It’s an entertainment medium and you have to entertain people first which means you can’t suspend the rules of drama, you have to have conflict because that's an essential and a natural part of drama. You don’t want to have people skipping along holding hands singing camp songs - you have to have a really entertaining, engrossing, empowering story.”

M: “I agree, as sometimes we have to delve fairly deeply to get people to think!”

S: “When filmmakers want to get movies to us at the Circle, the first thing they say to me is, ‘What do you want?’ The first thing we want is something entertaining. It’s got to be entertaining, hold people’s interest; it has to be an interesting thing. And then if you can get the message in, it’s great. One of the greatest pieces of advice I ever got as a father was from a friend of mine who said, ‘Your only job is to make sure your children love themselves. If they love you, it’s gravy.’ In film, our job is to make sure people are entertained. And if there is a message we can get in with that, underneath it, so that people can ask themselves the big questions. That is the gravy. I am asked about spiritual cinema – ‘What is it?’ Movies that ask who we are, why we’re here and hopefully have you feel a little bit better about being a human being when you finish seeing it than when you started. That’s what spiritual cinema is. If we can do that and then people ask themselves the big questions afterwards and we don’t try to give them answers, then we have accomplished the highest potential of the art form.”

M: “I agree because our higher self will always answer the important questions if we will only ask them. They WILL always be answered in some way and one of those ways is through watching a movie or sometimes listening to a song. Some people ask me, Stephen ‘How do I know it’s the truth that the answers I THINK I am getting are really the truth the right answers for me the right guidance?’ Well, simply because the answer will empower you, open your heart, and make you FEEL again. For example, how do we know if someone we are romantically involved with is for us? Well, do you feel better when you are with them? Do you feel uplifted and happy? That’s it. Keep it simple. KISS. Keep it simple and spiritual!

S: “I like that.”

M: “Just like the greatest affirmation song, I feel was ever written, 'I Feel Good' by James Brown. You can ONLY feel good when you hear that song. God bless James Brown! J Anything that brings us to a higher vibration is a good thing. One of the things I want to get back to Stephen, because I think it’s really important for the young filmmakers and actors not necessarily in age, but maybe new to the industry reading this, is about your advice concerning industry critics. As singer and songwriter, I’ve had my share of looking at good and bad reviews, and it’s really, really challenging. I think your interpretation of critics really hits it right on the mark.”

S: “The movie business created critics and now we’ve been hoisted on our own petard over it, and we deserve it because we gave away so much power to the critics. I find it an unfortunate process. If you have to sit through bad movies whether you want to or not, and you have to see 3-6 movies a week, it is going to jade you in your job as a critic. It’s going to make you jaded and cynical. It’s going to desensitize you and it’s probably going to make you a little angry that these people get this money and they go out and make these really horrible movies.

Nobody sets out to make a bad movie and frankly, I don’t think there is such a thing as a bad movie. I think there are simply movies we like and we don’t like. I don’t think there are good and bad movies. I understand where critics are coming from. The problem is that the industry and the people themselves have given away WAY too much power to them. I don’t think the industry should be quoting critics in ads because it’s great if they like your movie, but then if you put out an ad without a lot of critics on it people think, ‘Oh well, it must be a lousy movie’.”

M: “That is so true I hear people always saying, ‘Well, it must be good because so and so gave it thumbs up,’ etc, and base whether they will watch a movie on these critics so-called thumbs up or down.”

S: “That’s too bad. I think people should see what the subject matter is and if they are attracted to it, go see it for themselves. How many times have you heard a movie was wonderful because of a critic and you go and see it and say, “What is wrong with these people?” Then you get these terrible reviews and the movie comes out on video and you watch it on video and say, “Man, if I knew it was that good, I would have gone to see it at the theater!” When “Somewhere In Time” was originally released, it bombed.”

M: “That is unbelievable as it is such a well loved movie!”

S: “It was a total disaster. It just bombed. It came out and was out for 3 weeks, disappeared, grossed less than $10 million, cost about $4.5 million. It took years for it to finally get on HBO and cable and then people started catching up with it. And finally, now it’s become a phenomenally successful video. There’s a fan club for the movie and there’s a newsletter for the movie that comes out 3-4 times a year, and every year the fan club takes over the entire Grand Hotel, where we shot the film, the last weekend in October and the entire weekend is devoted to ‘Somewhere In Time.’ They show the film, they do walking tours of where we shot things. They do re-enactments of scenes and then on Saturday night people come dressed for dinner in 1912 costumes. The fan club (INSITE - the International Network of Somewhere In Time Enthusiasts!) and the state of Michigan erected a little plaque where we shot the ‘Is It You’ scene where they first meet. On the plaque it says, ‘On this place, on June 28, 1912, Richard Collier met Elise McKenna.’ (Characters from the movie.)”

M: “Here again, Stephen, is another great example that you don’t have to be concerned about what the critics say. It doesn’t mean it’s going to be a flop or that it’s going to be really great.”

S: “I find that most critics now write for themselves and each other. Critics wind up having a hard time with movies that have a very spiritual and uplifting and empowering theme to it, because they call them too sentimental. They think they’re manipulative. Well, any kind of emotion you put on the screen is manipulative. You don’t think violent films are manipulative? Of course they are and love stories are also manipulative. That’s what it does. It manipulates our emotions. I don’t think people should pay attention to that. At the same time, I don’t want to put critics down because if I had to watch 3-4 bad movies every week, I would get pretty angry and negative, too.”

M: “My point is that people that are out there in this industry are creative souls including actors, writers, directors, and musicians etc. Very sensitive folks and it can be a very challenging harsh industry, especially when we first get work out there. I think it’s important for everyone to know this information because I was told some excellent advice when I first released a record. ‘Don’t read your reviews, Michele, because you’ll have to believe the good and the bad.’”

S: “Great advice. That’s why I don’t read them. You have to balance them. You can’t believe the good ones and you can’t believe the bad ones. And you can’t be affected by either. There’s a wonderful phrase that you don’t tell somebody else a joke that you don’t think is funny on the offhand chance that they’re going to laugh. You better think it’s funny yourself. They still may not laugh, but you can’t tell a joke unless you think it’s funny. You have to make movies, as filmmakers, from your own heart and soul and what appeals to you. If it works out that a whole bunch people like it, that’s great. If it winds up that just a few people like it, but they really love it, then that’s great, too. I’ve done that most of my career. ‘Somewhere In Time’ was not a big hit. Now it is. The people who love it, love it. Personally, I think when you’re pushing the envelope and you’re trying to do new things, you want people to either love what you’re doing or hate what you’re doing because then you’re stimulating them to feel. I’d rather have 50 people love something and 50 people hate it, than 100 people say it was okay because in the latter you’ve made no impact whatsoever.”

M: “It’s like the words neat and nice. I don’t like to have that nice or neat word in my vocabulary. Feel something, people!”

S: “When we were younger and people tried to introduce you to someone else, to fix you up with someone, and they said they were nice, wouldn’t you run?

M: “Yes I would, and that is funny! One of the things that means the world to me, as you know, Stephen, is music. I recently started writing positive self-esteem pop songs for children because I’ve always felt that there are a lot of special kids out there that are born to parents who are not aware in the slightest that their children are unusual special gifts. It makes sense, if I look at these souls/kids helping the parents, and that could be one of the many reasons they choose these parents they have, because I do believe we choose our parents. I’ve noticed in my research that a lot of the parents of special children are just not spiritually aware. I mean, everyone is spiritual, but not necessarily spiritually aware and some of these people have these special children and they don’t know how to deal with their energy. Instead of simply putting them on a healthy diet and getting them to exercise, they often take them to doctors who say their kids are hyperactive and end up putting these kids on prescription drugs. PLEASE parents, DO NOT give your children drugs. Feed them well and have them exercise everyday. Yoga would be great, and of course give them some positive input, positive music, and movies for example,J Anyway, back to a few different aspects of this movie you have completed that IS all about these special children called “Indigo”. You came up here to Ashland to focus on spiritual cinema and have this lovely place to live and do your work without the chaos and craziness that L.A. can sometimes be.”

S: “…and the cynicism and materialism and superficiality. I’m a native of Los Angeles. I was born there and I grew up there. L.A. was an absolutely extraordinary place to grow up and a wonderful place to be back in the fifties and sixties. The Eagles have a terrific song on their ‘Hotel California’ album called ‘The Last Resort’ and in it they have this wonderful line: ‘If you call someplace paradise, you’re kissing it goodbye.’ What happened to L.A. is that it was paradise for too many people and it no longer is.

It’s a very, very difficult place to be a spiritual being and to work, particularly in the entertainment industry, in a spiritual way because the values of the business itself are so completely antithetical to them. We have a very large spiritual cinema community in L.A. now, people who get together once a month and are supportive of each other, which I’m really happy about. But, for me personally, I just needed to get out. I needed to go away and make a different type of movie that has nothing to do with movie stars, nothing to do with visual effects, nothing to do with big budgets, and return to what I believe spiritual cinema at its heart is, and that is the 21st Century version of shamanic story telling. It’s the high-tech modern version of sitting around a campfire with a shaman passing down the myths of the culture from one generation to another. That’s what spiritual filmmaking is. It’s a return to story. That’s why 90% of the movies we put out through The Spiritual cinema Circle feature actors that the audience may never have seen before. Every once in a while, there will be a movie with some recognizable people in it, but most of the time it won’t be because we don’t want that to be the focus. We want the focus to be on the story. And that’s what it is. Everyone has to get into a new story.”

M: “There are some major actors who are now interested in doing work for independent movies that they believe in. I think it’s good that we can use them sometimes to help get some of the movies made to a wider audience who as you said are not normally exposed to spiritual life affirming movies.”

S: “Yes, some major actors are definitely willing to do that but our focus needs to be on the actual story aspect of it.”

M: “For you as a producer and director of this amazing movie ‘Indigo’, why choose this story by James Twyman to start with out of all the other scripts you could have done?”

S: “My dear friend Neale Donald Walsch, who wrote the ‘Conversations with God’ books and who couldn’t be closer to me in the world if he were my brother, recruited me to move to Ashland. And at the same time, he recruited James Twyman to move to Ashland as well. Jimmy’s work with Emissary of Light and Emissary of Love has been very much with indigo children and other things. Jimmy and I have been friends for many years and were friends before we both moved here. I moved here with my youngest daughter and he moved here and his daughter joined him. His daughter and my daughter are best friends. Neale, Jimmy, and I are all best friends. Jimmy has always wanted to make a movie. So, Jimmy came to me in March 2003 and said, ‘You know, I’d like to make a movie about an indigo kid.’ I said, ‘You can’t make a dramatic movie about Indigo kids - a documentary, yes, but not a dramatic film. You can make a movie that has an Indigo child in it, but you have to make the movie about something else.’ So he said, ‘Will you work with me on the script? You know, just as a friend, will you help me?’ I said, ‘Sure.’ Then we kind of worked on the story together. Jimmy wrote a couple of drafts of the script and I liked the story but we needed some help with it. Finally he said to me, ‘will you help me? Will you produce it?’ I said, ‘Yeah. If we can make it here in Oregon and we can make it for a reasonable amount of money.’ Jimmy wanted to direct it and I said to him, ‘Jimmy, what makes you think you can direct a movie?’ He said, ‘I know I can if you help me put it together.’ I said, ‘Okay, as a friend I will.’”

(Note to readers “Indigo has now been released and is a great success. Please do yourself and your family a gift and go and see it.”)

S: “And then we started developing the story more and it became clear to me that the character we were creating, a man who in his late 50s early 60s, had been totally focused on success and had a completely disintegrated relationship with his family and then something happened and his entire life blew apart and he had to really be put back together again later. I kept reading my friend Neale into the part because one thing about Neale that most people don’t know is that he's a very accomplished dramatic actor. He had been in 50-60 plays before he came to the ‘Conversations with God’ book. So I said to Jimmy, ‘Neale should play the lead in this.’ He said, “Oh yeah, that’s a great idea.’ And then Neale started working on the script with Jimmy. We started putting it all together. We didn’t really have a script yet for this in May 2003 and I said, ‘Jimmy, do you really want to do this?’ He said, ‘Yeah.’ I said, ‘How much money can you raise through your organization to do it?’ He said, ‘$500,000. Can we make a movie for that?’ I said, ‘Yeah, we can. But you’re going to have to jump’ He said, ‘Okay,’ and he committed to doing it.”

M: “I Love that because once we are truly committed to a project, everything begins to flow and that moment of decision is very powerful.”

S: “We started putting it together and it became very clear as we went through the process that Jimmy was not up to the task of directing. He had never even been on a set before. At the same time, it also became extremely clear to him that he was not up to it. There was a day where I said to him, ‘I have to talk to you.’ He said, ‘No, I have to talk to you.’ Finally I let him go first and he said, ‘I’m in over my head here. You need to help me.’ I started to laugh. He said, ‘Will you do this? I know you’ve wanted to direct for a long time. You’re the only one that really understands this.’ I said, ‘Yeah. I’ll do it.’ So, it was only about two weeks before we started shooting. It was an amazing experience to direct and produce this movie at the same time. In fact, there was a moment when I called Jimmy early in the morning and said, ‘Jimmy, as the producer of this movie, I have to have this conversation with you. You’re financing it.’ And we talked until I said - ‘Now, as the director of the movie, I have to have this conversation with you…’ and I completely contradicted everything that I had said as the producer!! He said, ‘What am I supposed to do with that?’ I said, ‘You have to make up your own mind. I gave you the producing angle and the directing angle. Now you’re going to have to figure it out.’”

M: “It must have been wonderful to make.”

S: “We had a magical time making the film. We had 38 speaking roles. Only three other people had been in any kind of film before. None of our major characters had ever been in a film. We got some 650 people to show up for our casting calls from all over the world because they wanted to be a part of it. We got some fabulous professional people like Joao Fernandezs, who is our cinematographer and who worked for 10% of what he usually gets. A lot of people did. We had 25 full time volunteers. Somehow or another we put together a 20-day shoot for $500,000. We never had a glitch. We had the whole movie planned. We did a shot list for the entire movie before we even started. We rehearsed all the actors on the location they were going to shoot on. We did a very specific shot list because of that. It just worked. It was great fun.”

M: “So what is “Indigo” actually about?”

S: “The film is not about an Indigo child. The film is not a documentary. It is a dramatic film about the disintegration of a family and about the choices we make that lead to the disintegration of families. Into the midst of this disintegrated family, 5 years after it completely falls apart, with a bankruptcy, a disappearance, and one of the family members going to jail. Into the midst of that comes the youngest member of the family who is a 10-year-old child who has had these extraordinary psychic and healing powers since she was very young and has been afraid to let anybody know. And for reasons that people learn in the film, she has to go on the run with her grandfather, who is the patriarch of the family, who is the principal reason why the family fell apart in the first place. In the running together, he discovers who this kid really is and she helps him and helps heal the family. That’s what interested me, the idea of this movie having all of that, and having this wonderful child as the catalyst for it than have the story be about something else. And that’s what it is.”

M: “How did you cast the actual Indigo child?”

S: “The little girl that plays the lead, Meghan McCandless, came in and did an audition and had never done anything before. She blew everybody away in the audition. She was head and shoulders above anyone else that went out for the part. When we offered her the part, her mother and father came to me and said, 'We are a very, very Christian family.' Meghan goes to Bible study every Wednesday. She’s in church every Sunday. We have some nervousness about this.’ As soon as they said this, I knew this was the perfect girl to play this movie. That’s what spirituality is about. It’s about everybody under this umbrella. I said, ‘Let’s make a deal. We’re not going to try to convince her of our beliefs because that’s not what spiritual people try to do. We’re not missionaries. But, when she goes home at night, don’t tell her everything she’s doing during the day is all a lie. Let her determine that for herself.’ We had the best time. Her parents and I have become very dear friends and I think my favorite story about ‘Indigo’ is when it was done. They got a lot of questions from their church group about letting their daughter be in this film and things like that. Cameron, Meg’s mom, went to church one of the days after the film was finished and their pastor actually asked her to speak about the experience and she did. Somebody said to her, ‘Well, you don’t believe in this stuff do you?’ She said, ‘You know, some people who I’ve really grown to love and respect believe in this and that’s good enough for me.’ I thought, ‘Oh my goodness. What a wonderful way to express that kind of open hearted, loving acceptance that people don’t have to be wrong for you to be right.’”

M: “I love that!”

S: “That’s what I told Meggy all the time when Meggy would ask about this. I would say, ‘There is no wrong and right. We’re right with our own hearts and you and your folks are right within your own hearts. And we’re all right.’ There isn’t a question about this is this and that is that. So, it was an amazing experience. We came in right on budget and right on schedule. We decided to make the movie in May and it opened at the Santa Fe Film Festival in December. Seven months from the time we decided to make it, prepped it, shot it, then edited it, and opened it. It won the Audience Choice Award over 200 other films in Santa Fe. We are very proud of it. I think it says a lot of things. It doesn’t wimp out in any way. It cost $500,000. So people who are expecting to come see and hear the guy who did ‘What Dreams Come’ has done this film, I mean $500,000 was the catering budget on ‘What Dreams May Come'! So you have to understand that within the realms of what you’re expecting. But, I’m really proud of it. I’m proud of how it turned out.”

M: “Stephen, now let’s talk about budgets with films. Now you have completed what to you is a small budget movie, however, to many, $500,000 is no small amount of money; to some that is a healthy budget.”

S: “Well it is a lot of money. You can make a terrific movie for $500,000.”

M: “You do a lovely intro before the short films on the Spiritual Cinema Circle DVDs.”

S: “Yes, I do the introduction before all the films. It’s important for me to be able to share with people why we’re choosing the movies.”

M: “It does really make you take more note of the movie with your introduction. I love the fact that you talk about the budget and other topics for the Spiritual Circle Cinema because I have an idea from my own experience of what things cost. Some of the budgets were only a few thousand dollars. How do these wonderful people do such amazing movies on such tiny budgets?”

S: “Because the stories are good. It’s all about storytelling. You can be really creative on small budgets. Frankly, I believe the less money you have the more creative you need to be. When you see movies that are made for very little money and they’re really wonderful, it’s because they didn’t have a lot of money.”

M: “Absadoodle! A great example is from a great comedy by Monty Python ‘The Holy Grail.’ They had coconut shells the actors were using to make galloping horse sounds as they ran along pretending they were actually riding. They said it was simply because they could not afford real horses. That was one of the funniest parts of the film not to mention many others. John Cleese said that many of their funniest bits were done simply because of budget restraints.”

S: “With ‘Indigo’ there were things that we needed to do, that we had to do, because of the budgetary situation that I was not used to doing. I think we were really much better off than what I might have done if we had more money. I frankly don’t know if ‘Indigo’ would have been a better movie if we had a $1 million or a $1.5 million. I’m not sure it would have been. I love the creativity of working on a low budget and the camaraderie of it, rather than having to deal with entourages and inflated egos and all the things that go along with mainstream Hollywood filmmaking. The average Hollywood movie in 2003, average studio movie, cost $102 million to produce and market. That’s the average cost.”

M: “That is wild!!”

S: “Yes, it is crazy. There are a lot of reasons for it. The corporate world has taken over Hollywood. The idea is, to throw as much money at things that they can. Creative movie people are basically not running the store anymore. It’s become much more of an integrated business where the marketing people have the veto power over what movies get made. They are looking for things that can be franchises. They are looking for things that can have action figures at McDonald’s or a Burger King. They are looking for all kinds of things other than what used to happen, which was some studio head who loved movies saying, ‘We’re going to make this movie.’ And it used to be that’s what they would say. They were going to make this movie and they would tell their marketing division, ‘This is the movie we’re making. Figure out how to market it.’

Now, it’s ‘This is the movie we’re thinking of making. Do you know how to market it? Because if you don’t, we’re not going to make it.’ That’s a completely different way of going about the creative process. That’s why so many movies wind up looking so alike because they wind up going through this cookie cutter. Can you make a great 60-second trailer and get butts in the seats for the opening weekend? That’s why with most summer movies from 200-2004, have these huge opening weekends because the marketing people know how to get these movies opened wide and then they fall apart very quickly. But with money from DVD and stuff like that and foreign money, they’re either going to break even or make a profit. There’s nothing wrong with that. God bless people who want to do that. I just don’t want, at this stage in my life, to do that. I want to do things that have soul…I don’t care if millions of people see the movies that I make, I really don’t, as long as the people who see them really enjoy them and that we can make a decent profit so we can make more. It would be really nice if they did make a lot more money, but if they don’t, as long as we have a good time making them and people enjoy them when they see them and they make enough of a profit then we can keep making more. That is what I want to do.”

M: “And you ARE doing it. Bravo!! I’ve been teaching people for a long time about how to be a magnet to money and success. I want them to get the real message, the real message is that we’ve got to create; co-creating to me is the purpose in life. Because whenever we are creating, we are thinking. We’ve got to go outside of our own boxes not just typical industry created boxes. We raise our awareness whenever we start asking questions. You can’t create without really asking a question. And when you’re creating a film or anything to do with this medium, it’s important for people to understand that the reason you want profit isn’t about the money, it’s so you can keep co-creating.”

S: “It’s called show business, not show art.”

M: “Now that is something that Rock ALWAYS teaches his actors!”

S: “You have to have that in mind and too many people on the spiritual path have a disconnect when it comes to money. That’s our religious upbringing. That’s what’s been pounded into us by the old time religions. To be a religious person you had to be penniless, abstinent, and celibate. We’ve seen how celibacy works for the Catholic Church over the last however amount of time it is. And if that was a vote that was taken in the afterlife, most of us would have been locked out and pounding on the door saying, “Let us in. That’s not the way we want this to be’.”

M: “Amen to that brother!

S: “And women, too! (Laughs) I think people on a spiritual path today really need to be conscious of the fact that not only is it okay to go out and make money, it is wonderful to make money through your spirituality, or else you can’t live your life that way. That’s why it’s so great to see people like Neale Donald Walsch, Marianne Williamson, and Deepak Chopra. All of these people have made a lot of money doing what they’re doing and God bless them for it. But a lot of spiritual people that you get into conversations with about money get very nervous. It’s easier to talk about sex or politics than it is to talk to spiritual people about money because they feel still, many of them, that there’s something wrong with it. What I’ve said to people is, ‘Look. I intend for these movies to make a profit. I make a profit off my seminars. I make a profit off my telecourses. This is what I do with my life. This is how I make my living. I’m not ashamed of that. I’m proud of that.’ All of us want to make money doing what we love.”

M: “YES, because then we can live independent free lives! I don’t have to ask anyone, like a record company, to make and release a song that I love…Because how am I going to do my next book or next TV show if I’m just relying on what someone else thinks of what I wish to create or to tell me if I’m allowed to be creative or not. That is madness. Nothing new would ever be invented or written if we had to wait on the so-called powers-that-be to create something new. Our soul is here to create. Money is about helping us be independent and then we can truly live life being free. Stephen let’s talk more about small budget movies that are in the Spiritual genre (Which of course can be romantic or comedy) Can someone send it to Spiritual Cinema Circle for consideration?”

S: “YES we really want people to send their movies to us. Go to www.SpiritualCinemaCircle.com and look under the filmmaker questions to see how to submit films to us. We don’t have a submission fee and we love looking at movies. That is how we get our films. What I encourage people to do is get the films into film festivals so people can see them. Ninety percent of our films are from film festivals. One of the biggest problems people have today is making shorter films. Some of the most popular films we got out in the first few months of The Circle have been films that were 25 and 30 minutes long. There’s no distribution outlet for them. You can’t find distribution for that and that’s what we’re really excited to do. We’ve had some features, like “Mother Ghost” which has an amazing cast, an extraordinary cast of people. It’s just wonderful. It just fell through the cracks because no one thought it was a broad enough appeal movie.”

M: “Oh I adored ‘Mother Ghost”. A truly wonderful and inspiring and not to mention VERY well acted and entertaining film that somehow did not make it out in a major way. Thanks to you and Spiritual Cinema we can have an opportunity to see wonderful touching movies such as this.”

S: “So basically, what we’ve said to people is that these are movies that you’d have to go to every film festival in the world to see. Join The Circle and we’ll get those to you. The filmmakers need to go to film festivals. They need to understand that they may not make a lot of money off their first or second movie but, if they get it shown, they can eventually get distribution from it and can make their next film and so on. When I work with screenwriters, I tell them, ‘As really hard as this is to accept, 95% of first scripts never get made because they are usually an autobiography and nobody cares but you. Five percent of the time people are going to care, but 95% nobody will.’ You have to hone your craft. You can’t be just thinking about what’s going to sell. That just doesn’t work. That’s a cynical way of doing things.”

M: “Now, Stephen, I would like to ask you about the “Conversations with God” movie you're going to be filming with Neale. First, what was the synchronicity that happened with you with meeting Neale Donald Walsh?”

S: “Neale came to see an early screening of ‘What Dreams May Come’ and was a huge fan of the film and actually wrote about it, I think, in ‘Conversations with God’ book 2 or 3. I actually don't recall which one it was. And Neale and I just became very dear friends. That was in 1998. The friendship continued over the years and he was the one that encouraged me to write my book (The Force Is With You) and he was the one who encouraged me to leave LA. and recruited me to come to Ashland. He published my book through his imprint at Hampton Roads and Neale has become my dear, dear, dear friend. So that's how really our relationship began and then we did "Indigo” together where I directed and produced, and he starred in it. We are now in the process of planning to do the ‘Conversations with God’ film, which I will also produce and direct, and in which he will star as himself.”

M: “That's amazing. I mean because I've read all his books, and he's just so different with the way he came out with that. I love that his books and one of the reasons is because they got people to think and there was a lot of controversy. Controversy is great because it gets people to think!”

S: “Oh, very much so.”

M: “Which as you say in your book, I mean when we get people to think, that is one of the secrets to help us wake up to who we truly are. A powerful spirit having a physical experience.”

S: “Even more important is helping people reconnect with their feelings, because the thing that I think motivates most of us is our feelings. Neale’s work has been extraordinary around the world, and has resonated with people everywhere. Neale has always said that there's nothing all that new in anything that Neale has written in those books. It's the way it's presented that has resonated with people, because people connect it to their own experience. And that is the gift of Neale’s ‘Conversations with God’ His experiences and his books have been able to resonate in the world because they connect readers to our own internal connection with God, Goddess, life, spirit, the universe, whatever you want to call it. He's made an extraordinary contribution to the world. Many people have asked, ‘how are you going to make that into a film?’ And the answer for me has always been very simple. It is very much Neale’s story. Yes, there will certainly be a large section of the film that will deal with his experience with how he came to the book, how it came out of him, and what that all is about. But it's also the story of a man who was living with a broken neck in a park as a homeless man, collecting cans to live on a dollar a day, who two years later became a world famous best-selling author. That's an extraordinary story of triumphing over adversity, an extraordinary story of letting go and allowing, literally allowing, these messages to come into your life. It's compelling; it's the kind of story that has twists and turns that you never could get away with in fiction. People would say, "I don't believe that", but he lived it so it makes an extraordinary, compelling, powerful story and I'm really honored to work on it with him.”

M: “Well, real life is oftentimes stranger than fiction. That is why I love films that are art imitating life! Hey, if they’re ever going to do "Moses" again, I think he could act in that too. He looks a LOT like pictures we have of Moses.”

S: “He's as old as Moses, so I'm not surprised. I actually think Neale and Moses went to high school together. Neal was a senior and Moses was a freshman.”

M: “Stop, or I will never stop laughing long enough to ask another question, Stephen!! I loved the documentary you did on the making of Indigo. Neale really is an exceptional actor. I really felt him pop out from the screen. Everything he says just goes to your heart.”

S: “Neale is a wonderful actor, and he has a great screen presence, a terrific screen presence. And we had a lot of fun making that movie. That movie was for me, by far, the most enjoyable professional experience of my life because I was working with two dear friends in Jimmy and Neale, a crew of people that were recruited by us, and other people that we were connected with, and volunteers around Ashland. I got to live at home. Two of my daughters worked on the film, and three of Neale’s sons, and Jimmy's daughter. It was just an extraordinary experience. And, as we said in the documentary "Behind the Seen", it was blessed. We had a really difficult 20-day schedule that had to have everything go right for us to make it. And everything did go right.”

M: “I could see that ‘Indigo’ was just magical to make. You could just feel it. I loved the fact that you got so emotional at the end of it, because I mean it was an emotional experience. I love men that can show how they really feel. To me that shows an awake and loving man. AND I adored Meghan in the film! She was pure delight!”

S: “Oh, yes, Meghan. Yes she is a little force of nature ...” (chuckling.)

M: “Yes. It was like this little adult speaking. She was amazing.”

S: “An amazing young girl. She was just having so much fun. She'd be doing something and then I would say, ‘Ok, honey we've got to shoot’, and she would like ... Boom! BE THERE! All of a sudden, she would become the character, totally dead right on. You know something we didn't show in the documentary, when we came to do the looping for the movie, you know, months after the film is finished. (Looping is when you have dialogue that had sound issues while you recorded it and you have to bring an actor into a studio, put them in front of a microphone, have them watch their performance and then mouth the words exactly as they said before. Then you have to replace the sound that was actually shot with the sound from a studio). There are actors who have been doing that for twenty, thirty years who do not do it well. It is a very challenging kind of a process. We had to do, I think, about eight lines with Meghan, because of sound issues that we had. And she came into the studio, she looked at everything, and she said, ‘Well what is this? What am I doing?’ I put the earphones on her, and I said: ‘Now you're going to hear a beep, beep, beep, and then you're going to hear in your head a line. Then you need to repeat it.’ I showed it to her once. And she said, ‘Ok, I get it’. And I said ‘Do you want to rehearse it?’ And she said, ‘Why? I don't need to rehearse, let's just do it’. The sound engineer and I looked at each other, and Neale was there too and sure enough ... Boom! She hit it perfectly on the first one. I said, ‘Ok, you want to hear the next one?’ ‘No, I remember what I said. Just do it.’ And it took us maybe ten minutes to do her eight lines. She walked out, and I told her that she was amazing. She looked at me like I was nuts. She was like ‘What's so amazing about that?’”

M: “A little Frank Sinatra, a one take wonder.”

S: “Yeah. It was like that.” (Laughter.)

M: “Oh, God Bless her.”

S: “Yes, I think SHE already has!”

M: “What I love is that when I heard the ‘Conversations with God’ audio book they had wonderful actors. I loved that they had a male and a female God. Ed Asner and Ellen Bernstein doing the God voice, but I love that you are going to be using Neale’s voice for his voice and the voice of God, because to me, it is our own voice that we hear when we hear our higher power. And not only that, Neale has an extraordinary quality to his voice. It's just mesmerizing.”

S: “The only way this can work is if, when Neale is conversing with God, we hear it as Neale's own voice, because you know that's how we all experience it. We don't experience somebody else talking to us, at least those of us who are on a spiritual path. We experience it in our own voice, in our own idiom. So that would be the way I think everyone should hear it on film.”

M: “And I think it is also a VERY important message in Neale’s Books. I love that you obviously truly get spirit Stephen and that you know we are one with it. Spirit or God or whatever you choose to call your higher power is not some separate entity. It is within us.”

S: “That's the key to spirituality. That's the key difference between spirituality and religion, both of which are valid, both of which are beautiful belief systems. With those of us on a spiritual path, the key to our growth and our evolution in our divinity is within us, not outside of us. And it's not that we don't believe in God, or the Universe, or a Force and all of that. We do. We do. But we know that it is inextricably connected with the divinity within us. We each have that individual experience and relationship with divinity. So that when we are true to ourselves, we are true to our God. And, as Neale says in ‘Tomorrow's God’ God doesn't expect anything from us, doesn't want anything from us, doesn't need anything from us. Our relationship with God exists because we have a conscious desire to evolve. We have a conscious need to move forward, and to know, and to learn, and to educate, and to do all of the things that we have come to this planet to do. So that is in essence what all of spirituality is about---looking within.”

M: “I feel that this movie is truly going to be a profound experience for people. I love the fact his books are already enormously successful. I remember the way I got to the book ‘Conversations with God.’ I was in Santa Barbara doing a seminar, and I went to a coffee shop afterwards. There was this young guy speaking so passionately to his mates, and he said, "You've got to read this book." He was passionately telling them about how profound it was, and how God is within us. And I went up to him, and I said, ‘Ok, ok, ok, what’s this book?’ And he showed me the book, and I immediately went out and bought it and loved it! It's one of those times; I think it was like when ‘Celestine Prophecy’ by James Redfield came out. It became so popular through a LOT of word of mouth. When something's time has come, it really has. And in your book, Stephen, I feel the same way. When you’re talking about in your book ‘The Force is within,' you write about Shirley McClain, I love that you mentioned her. Because after my car accident, one of the tapes that truly helped me was a Shirley Maclaine tape helping me to open my chakras. She was a voice for us all and a powerhouse of persistence and passion in getting this new idea out. It isn't a new idea to the Universe, but it was to many people who had been brought up with so called ‘religious dogma.’ You know the idea that God is some old man out there on a white cloud type of thing, and you've got to fear him etc.”

S: “YES, Shirley is a major hero, particularly to people in the entertainment business, because she literally and figuratively went "Out On A Limb" (which was the name of her best selling book and movie) in 1983. By doing that work, she set the standard, and blazed a path for all of us now who have the ability to talk about consciousness and spirituality in an environment that did not exist before Shirley did that over twenty years ago. Any of us in the entertainment world owe an enormous debt of gratitude, and respect, and love to Shirley McClain because she was the one who blazed the path.”

M: “Yes indeed. She IS AMAZING GRACE TO ME!!! I have another interesting story of how I read "Out On A Limb” by Shirley. My father, who is totally not into the metaphysics, sent the book to me, which blew me away, and inside it he said, "I haven't read this book, but it spoke to me, and said, this is for my wondersome daughter Michele, because she always goes "Out On A Limb”. So that's how I came to read her amazing book from the last person I thought would ever give me a metaphysical book. So our angels come in all forms.”

S: “Yeah, that's a wonderful experience for everyone who's read it, and everyone who's lived it.”

M: “Stephen THANK YOU so much for this interview. It has been such an honor to meet with you. This interview has so much amazing information for our readers and I HIGHLY RECOMMEND to everyone reading to go to Spiritual Cinema Circle now and join and of course get Stephens amazing Book ‘The Force is With You: Mystical Movie Messages that Inspire Our Lives,’. Bless you Stephen you ROCK!!!!”

S: “You are most welcome, Michele, you are one of us. As I always say to people in our seminars: we are the ones we've been waiting for - let's get on with it.”

For more information about the Spiritual Cinema Circle click on the image at the bottom of our Contents page.  For more information about Stephen Simon's The Force is With You: Mystical Movie Messages that Inspire Our Lives, go to www.movingmessagesmedia.com.

© Michelle Blood, 2005
This interview was excerpted from the book How to be a Magnet To Hollywood Success by Michelle Blood, www.HollywoodSuccessBook.

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