Barbara Marx Hubbard

I have been blessed to know Barbara Marx Hubbard for nearly a decade now. Barbara has been mentor, teacher and friend to me over the years, and I feel so grateful that this brilliant, caring woman has been willing to play such a pivotal role in my spiritual evolution. I first met Barbara after I participated in a program called, “Gateway to Conscious Evolution,” a guided group-study program that offered the participants an empowered pathway to self-realization based on a blend of modern scientific understandings and ancient philosophical/spiritual realizations that Barbara had been gathering and weaving for many years. The Gateway program helped propel me through my own inner fears, self-limiting behaviors and life-negating beliefs by inspiring me to do the deep inner work that had been calling out to me—but that I’d been avoiding—for many years. I credit my spiritual awakening and journey into self-actualization in no small part to the tools and foundational support I received from Barbara’s teachings.

Of all the spiritual philosopher/teachers I’ve met, Barbara is perhaps the most gracious, open and exuberant of the bunch. Driven by her unending passion for life and deeply attuned to her personal mission, she continues to be a dynamic force for change well into her 80s. She coined the phrase “conscious evolution” several decades ago as a way of describing the quantum shift that appears to be occurring in human consciousness today, and has been promoting the concept of conscious evolution ever since.

The evolutionary shift of which Barbara speaks—from a narrow, ego-based and self-conscious perspective to an expanded, essence-based and whole-conscious perspective on life—may prove to be the key to our species’ ability to thrive into the future. The steady and growing emergence of this perspective within humanity offers us a radical new way of looking at the world, and helps us contextualize ourselves within the cosmos in a more loving and life-affirming way. That we appear to have a conscious ability to either embrace or reject this enhanced perspective points to our capacity, as self-aware and sentient life forms, to choose to experience ourselves as fully interconnected and engaged in a harmonious flow of life, or to remain entrenched in the belief that we are somehow separate from life and all else around us, thus possess a life we can “lose.”

Having explored the belief that we are separate from life—and from God—for many thousands of years, and having tested the theory that life is something we possess rather than the inherent truth of who and what we are, we’ve gained great wisdom. It’s time now for us to acknowledge the understandings we’ve gained through our intrepid exploration of self-aware consciousness, and to step boldly into a brand new human experiment. The question we now need to answer? What sort of world might we build if we embrace the realization that we are each integral living aspects of a vast, eternal, infinitely creative, intelligent, compassionate and purposeful living system? What sort of experience might we have if we choose to honor the fact that we are of God, in God and forever and always God…no matter what?

God, in this enhanced vision, refers to the whole of the universe, the life force, the implicate order, the zero point field, the Tao, the Great Spirit, Allah, or whatever other name we might wish to attribute to the infinite energy field out of which all things arise, and to which they all eventually return. It points to the fact that we are more than material star-stuff—we are in fact God-stuff, having a temporary human experience. To move through the world carrying this vision of ourselves as opposed to our earlier worldview that we were somehow cast off by God as flawed, problematic and disobedient “bad actors” changes everything. It’s like waking up to the realization that when a baby bird gets shoved out of its nest it’s not because the fledgling is considered unworthy by its parents, but because the fledgling has been deemed by its parents to be ready and able to advance on its own and become the best version of itself that it can become. What beauty lies in that perspective, and what freedom we gain to create and explore without shame, or guilt, or fear! What joy we feel when we relinquish our former self-limiting, hostile beliefs about who and what we are, and instead grant ourselves permission to test our capacities and push further into the universe with curiosity and wonder, confident that we will find some way to relate with whatever strange beings or worlds we may discover because we grasp that whatever we encounter will be made from the exact same God-stuff as we ourselves are made.

This reverent perspective and deep sense of connectedness changes everything. It encourages us to walk through the world with grace and ease. It also invites us to trust in the higher process of cosmic unfolding; to meet life with openness; to be courageous if we encounter something unknown; to be compassionate if we notice that others are suffering; to be kind in all of our daily interactions; to be patient while we learn more about our world and as others learn more about us, and to extend peace as our default mode of connecting with other aspects of this unified living flow.

What might our world look like once a majority of human beings view the world through the lens of interconnectedness rather than continued separation? Who can yet say? But what seems likely is that whatever eventually emerges will be something other than human in the classic definition, because the human condition that defines us today cannot support this expanded level of awareness about who we are and the universe we are within. Just as early hominids became homo sapiens sapiens, so too will homo sapiens sapiens eventually become homo universalis—similar to us today, yet evolved in a way that the difference will be obvious with the benefit of hindsight. Barbara’s mission in life has been to point the way toward this Great Turning, this cosmic birth of a new species, by encouraging each of us to birth this shift within ourselves.

I give thanks to Barbara Marx Hubbard for her decades of dedication to this evolutionary transformation of our species, as well as her willingness to shine such a bright and compassionate spotlight on this vital inner process. I honor her for inspiring countless others like me to take a similar journey into themselves that Barbara herself made back when she first discovered her holy life’s mission, so that we too could realize the truth about who we are, and what we are in.

 

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Margaret Atwood: How Technology Shapes Story

 

The way you can move content from here to there does influence what gets written and how it gets written…so how you tell a story, how many pieces you tell the story in … all of these things are old — it’s just that we think of new ways to distribute them.

Animation: Drew Christie

 

 

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Barbara Marx Hubbard’s “The Evolutionary Testament of Co-creation” arrives on November 2nd

012-ComingSoonThe promise will be kept!

Barbara Marx Hubbard’s extraordinary new book offers an evolutionary, future-oriented perspective to the Gospels of Jesus Christ. Barbara reveals that many of the miracles Jesus performed are actually similar to those acts that we currently aspire to achieve today, but so often without consciousness of Christ love.

This book builds on the great themes in the New Testament, such as Jesus’ statement: “You will do the works that I do, and greater works will you do in the fullness of time…” and St. Paul: “Behold I show you a mystery, we shall not all sleep, we shall all be changed…”

These statements are coming true. The Promise is being kept. We are all being changed. We do have the power of what we called gods. We can destroy the world and we also can restore the Earth, evolve ourselves and all of society. This is the last trump, and the trumpet is sounding for our generation.

The Evolutionary Testament of Co-Creation invites us to form Evolutionary Bible Study Groups to join together to consider and deepen the guidance for the meaning of our new Christ like powers to be used for a positive future for all Earth life.

Press Materials, Links, and Downloads

 

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My Favorite Films About Writers

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Rules-headerA blog for fiction writers and impending writers. An editor’s perspective.

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My Favorite Films About Writers and Writing. (An Aside)

Once upon a time, I functioned as a bona fide L.A. film critic, and using those past laurels as validation (as opposed to, say, spear-fishing), I hereby present a highly subjective list of my favorite films that I believe will inspire or motivate (or at least cajole) writers who want to write. Or perhaps who need to write.

However, don’t mistake this list as being Every Movie Made About Writing. I mean even King Kong featured a screenwriter (Adrien Brody in Peter Jackson’s 2005 remake) but I’d hardly confuse that flick as an overt literary metaphor. And if I’ve omitted some worthy flicks in this admittedly idiosyncratic list, I’ve erred on the side of optimistic films rather than those fatalistic efforts… as our every waking moment in front of a rusting Olivetti or flickering PC screen is punishment challenge enough. Thus, a few too-close-to-reality based “bummer” films (e.g.; Girl Interrupted, Leaving Las Vegas) while undeniably writer-centric—and while excellent dramatic interpretations—don’t ignite that spark within me of seriously wanting to write. Thank you, but I’m depressed enough sitting comatose in front of my laptop, words swimming like hungry trout in a deep pond and my cerebral hook lacking the slightest worm of creativity.

I have ranked this list with little suspense—from my most favorite to the rest of the best, and with a few Honorable Mentions, in accordance with God’s midnight whispers and my own personal eccentricities. I have not seen every literary-inspired or author-depicted film ever made, and hopefully I shall find time for those I haven’t yet seen… just as soon as every novel on my own to-write list is finished and published.

By the way, the films presented are fiction or fictional biography, and don’t include documentaries. So, in order of personal preference:
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  1. Barton Fink. 1991. Wr(s): Joel and Ethan Coen. Dir: Joel Coen. • Barton Fink (a wonderfully twitchy-eyed John Turtorro) is a successful playwright, lured to Hollywood where his talents and soul are gradually disassembled by the unscrupulous, clueless powers-that-be. This one’s a hallucinogenic descent into a world gone mad—much like Terry Gilliam’s Brazil and Marc Caro’s The City of Lost Children—too mesmerizing not to watch on multiple occasions. The Coen bro’s aptly capture every writer’s waking nightmare, telling their tale of Faustian inevitability with haunting resonance—and yet retaining a shred of eerie optimism that continues to push the hapless Mr. Fink forward.
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  2. Ruby Sparks. 2012. Wr: Zoe Kazan. Dir(s): Jonathan Dayton, Valerie Faris. • Paul Dano plays Calvin, a literary prodigy who struggles after the astounding success of his first novel. To counter his writer’s block, Calvin invents (or thinks he’s invented) a muse named Ruby Sparks to spur his creative juices. Yet the muse grows impatient and Calvin becomes increasingly tormented—resulting in a brilliant, sensitive and poignant portrayal of a writer who must come to terms with both his creativity and sensitivity. Soon likely to be a cult classic. Additionally fantastic about this flick, Zoe Kazan, who plays Ruby Sparks, wrote the screenplay. Ah, talent!
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  3. Midnight In Paris. 2011. Wr/Dir: Woody Allen. • Just when you think he’s vanished into the celluloid mists of memory, Woody Allen concocts the perfect bedtime fable. Owen Wilson plays Gil, a struggling L.A. writer who is—well, who’s sort of lost in time. Amazing performances by various historical legends, with too many sly, respectful pokes at the cultural illuminari to even count. And since one could make the assumption that Gil’s illusions are merely hallucinations (personally, I don’t—but one could) I feel the flick most wonderfully personifies those many, many, many blissful hours of “thinking about writing,” rather than the brutal act of writing itself. But, yeah, both Wilson and Allen perfectly capture the soul and essence of every writer’s favorite daydream.
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  4. The Wonder Boys. 2000. Wr(s): Michael Chabon (novel); Steve Kloves (scnply). Dir: Curtis Hanson. • Woe be the aging lit prof with a best-selling novel seven years behind him and only half-baked, unfinished ideas ever since. Even worse, cue the bright, peculiar writing student with a natural ability and a bro’ crush on his professor. Michael Douglas and Tobey Maguire cover two generations of literary eccentricity in a bittersweet (mostly sweet) tale about coming to terms with one’s talent. When an almost-finished novel blows away in the breeze, (no back-ups, of course) we feel the pain like few other cinematic punches.
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  5. Shakespeare in Love. 1998. Wr(s): Marc Norman, Tom Stoppard. Dir: John Madden. • Okay, so the guy’s work was obviously inspired by love. (And by ghosts, but that’s another list.) This is one of those rare films that captures an enticing love story, and a seemingly far-fetched, what-if scenario that ultimately plays out as utterly believable—and so aptly depicts the endless agony of writing and rewriting. (Seems, in fact, that Romeo and Juliet was originally conceived as a comedy entitled Romeo and Ethel, the Pirate’s Daughter). Take note of the wonderfully synchronized plot, a splendid piece of innovative writing. A great cast (Gwyneth Paltrow, Joseph Fiennes, Geoffrey Rush) maintains a marvelous balance of frivolousness and sincerity—and somehow, like the play itself, everything works out as it should in the end.
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  6. Anonymous. Wr: John Orloff. Dir: Roland Emmerich. • Conversely (re: Shakespeare in Love, above) 2011’s brilliantly addictive Anonymous depicts William Shakespeare as little more than a drunken hack, used as a convenient front by the highly educated Edward De Vere, who happens to be the Earl of Oxford, an heir to the British throne. The Earl delights to pen both romantic interludes and political propaganda pieces, meant to rouse the rabble. And thus—who really was The Bard? Might he have been the Earl of Oxford? The world’s first conspiracy theory perhaps. The facts, as presented here, are hard to dismiss as complete rubbish, and Rhys Ifans portrayal as the well-meaning Earl will itch your brain—and make for some stimulating contemplation with other illuminari over apple Martinis at The Algonquin (now the Blue Bar) or The Library.
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  7. Stranger Than Fiction. 2007. Wr: Zach Helm. Dir: Mark Forster. • (Also known as the only Will Ferrell film I like.) Ferrell plays Harold Crick, a mild mannered IRS agent. One day he wakes up to discover his life isn’t his own, but rather is being systematically created, one page at a time, by a tortured novelist. Surrealistic? Yeah, sure—but also unique! Worse, he comes to realize that he’s the doomed hero of a soon-to-be-completed modern tragedy. Emma Thomson plays the eccentric writer keystroking Mr. Crick to an early grave. (Basically, this flick’s looking at the writer from the written protagonist’s POV.) But one can’t get into a writer’s mind much more deeply than this. With Maggie Gyllenhaal and Dustin Hoffman.
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  8. The Muse. 1999. Wr(s): Albert Brooks, Monica Johnson. Dir: Albert Brooks. • One may question why I’ve include this witty Hollywood farce (rarely a favorite on any Top 10 “Hollywood-insider” lists) while omitting the far more recognizable, Robert Altman directed/Michael Tolken penned The Player. While the latter veers off into a darker realm of twisted wishful thinking, The Muse remains steadfastly on track, with wonderful performances by neurotic scriptwriter Albert Brooks. Also with Andie McDowel and a brilliantly ditzy Sharon Stone…as the muse. With tongue-in-cheek cameos by Jeff Bridges, James Cameron and Martin Scorsese, among others, The Muse manages to nicely balance pathos and desperation with a knowing chuckle or two. It’s not that I don’t like The Player… just this one rarely strays from the eternal struggle to produce word after word after word.
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  9. American Splendor. 2003. Wr(s): Harey Pikar, Joyce Brabner; Dir(s): Shari Springer Berman, Robert Pulcini. • Should one dare to consider a cult graphic novel writer a writer? Of course, one should. One who writes, writes, est-ce pas? Paul Giamatti gives a stellar performance as the late, great Harvey Pekar, whose everyday struggles to simply survive are already legion in the graphic underworld. American Splendor nicely choreographs an ordinary day in an unordinary life.
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  10. Finding Forrester. 2000. Wr: Mike Rich. Dir: Gus Van Sant. • Marred (imho) only by one-scene-too-many before the credits roll, the film nevertheless nicely captures the emotional conflicts between mentor and acolyte. Student writer Jamal Wallace discovers the famous, painfully reclusive William Forrester (Rob Brown, Sean Connery, respectively) and a wary friendship follows. Despite the somewhat unique—albeit intriguing—perils that the relationship presents, the love of writing remains firmly cemented at the core of this film—and sometimes love hurts.

Some runners-up, and personal favorites, although not quite (imho) necessary rocket fuel for inspiring writing—although very good flicks!:
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  • Sunset Boulevard. 1950. Wr(s): Charles Brackett, Billy Wilder, D.M. Marshman Jr. Dir: Billy Wilder. • This one’s perhaps the most dubious omission on the above list. (I thought it would make the cut, but surprisingly didn’t!) Billy Wilder’s psychological film-noir classic isn’t so much concerned about the act of screenwriting as it is about that deliciously unrelenting spiral into madness—both the writer’s and, metaphorically speaking, Hollywood’s as well. Whether the flick holds up as a current masterpiece depends upon one’s ability to pull 21st century values from a story already three-quarters of century old. Personally, I view most young writers today just as crazy as their literary forbearers; the act of writing is no less tormenting as it was way back then. What Hitchcock’s Psycho is to the crime thriller, Sunset Boulevard is to slow-boiling Hollynoir—and, yeah, this one holds enough enough to make writers blink twice. A spine-tingly little cautionary tale—and a primer for anyone looking for examples on how to craft extraordinarily bizarre characters. But I don’t think Sunset Blvd’s gonna make you jump up and race to finish your novel.
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  • Almost Famous. 2000. Wr(s): Cameron Crowe. Dir: Cameron Crowe. • Mr. Crowe’s semi-autobiographical film about a (too) young Rolling Stone spec writer trying to delve deeply into the psyche of his favorite band. This one’s a quintessential film about rock music (think Eagles) in the 70s, that peeks behind the stage lights and power amps; the superb journey of a young writer simply trying to get it right. The film’s at its best when young William (Patrick Fugit) struggles to get his writing off the ground, interviewing the band and occasionally under the cynical tutelage of crusty Lester Banks (Phillip Seymour Hoffman). Nifty soundtrack, of course.
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  • Finding Neverland. 2004. Wr(s): Marc Norman, Tom Stoppard. Dir: Marc Forster. • Johnny Depp depicts playwright J.M. Barrie, whose friendship with a young family—most prominently inquisitive Peter—inspires him to write Peter Pan. Told with a soft, warming glow of reminiscence; the film shines as Barrie’s fertile mind plays out in various sequences of his cinematic daydreams.
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  • Slaughterhouse Five. Kind of a personal cheat—but I love Kurt Vonnegut’s 1972 antiwar homage to WWII. As seen through the eyes of hapless Billy Pilgrim, and directed with aplomb by George Roy Hill—the film is a gentle yet poignant joust with time. Including both war atrocities and alien encounters, knowing it’s based on Vonnigut’s own experiences (to a degree) makes the unfolding plot seem completely rational to me.
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  • Roman de Gare. 2007. Wr(s): Claude Lelouse, Pierre Uytterhoeven. Dir: Claude Lelouse. French/Subtitled. • A wonderfully eccentric ensemble film about a writer in crisis (but also a murder mystery and romantic farce). The catch is: What’s real, what’s fiction… and what’s the difference? French icon Dominique Pinon stars as novelist Pierre Lacois—who sometimes confuses reality with… well, something else entirely. Nice for a rainy afternoon with the subtitled-savvy.
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  • Squid and the Whale (The). 2005. Wr/Dir: Noah Baumbach. • The Berkmans are a family of NYC intellectuals (mom’s a fledgling writer and dad’s a published lit prof—I mean, how normal could they be)? Sons Walt and Frank strive for normalcy but completely fail. On the surface, just another dysfunctional family outing (e.g.; Running with Scissors; The Family Stone; Little Miss Sunshine, This is Where I Leave You…) yet as a writer, I can’t help but feel the subliminal lament of a writer’s unfulfilled destiny infusing every scene. (Maybe one has to be a writer to get it, or maybe I’m just confusing eccentricity as being part of the territory?) In either case, a nice ensemble cast includes Jeff Daniels, Jesse Eisenberg and Laura Linney.
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  • World According to Garp (The). 1982. Wr(s): John Irving (novel), Steve Tesich (scrnply); Dir: George Roy Hill. • My personal all time #1 Favorite Novel did not fully translate (at least in within the confines of this category) into a film about “writing” or about “a writer.” It’s a nice film, with a sweet cast, and yet Robin Williams’ portrayal of T.S. Garp was more about the escapades of the central character than the inner conflictions of the man as a writer. (The book delved far more deeply into Garp’s psyche.) Still, very much worth the ride.

And, yes, I know the following films are, however indirectly, partially about writing or writers. And yes, many of these films have admirable, even wonderful, cinematic qualities; themes and characters and overarching messages. I admire many of these films and a few—e.g.; Get Shorty, The Name of the Rose, Sideways—get preferential viewing every time I discover them on late night cable. However, for whatever reason, these miss the motivational or inspirational quality I seek in this blog. Some begin to interpret a writer’s inner demons, but end up in the mystery, murder or mayhem category. Or else a romantic jaunt that, if nothing else, proves that once in a great while, even a fiction writer can find love! So, while many of these films are worth a look, I wouldn’t exactly shop here implicitly for literary inspiration.

Adaptation. A nice, slick, sleight-of-hand flick… but ultimately a surrealistic, psychological thriller about a screen writer.
Atonement. Sorry, but I feel this one’s a gimmick flick—with a supposedly boffo twist that let the air out of this balloon for me.
Becoming Jane. A gentle brush stroke of a movie, more biopic than creative primer (especially if one chooses to view Pride and Prejudice as her own fictional autobiography.)
Bell Jar (The). A poignant journey into depression, this one’s not so much a writer’s anguish as it is anguished writing and, like Girl Interrupted, the story may inspire some writers with a stark verite… but for most of us, I’m not sure I’d call it inspirational. Frankly, a story like this (imho) should inspire survival, not capitulation—writing as a means of personal salvation—so I find it difficult to suggest it as motivational.
Bright Star. I should probably see this one.
Capote. More about the man’s eccentric lifestyle than his creation of work. Worth a look simply for Phillip Seymour Hoffman and Kathleen Keener, but a very good biopic.
Deathtrap. Less about writing than about manipulation. But terrific film-noir.
Deconstructing Harry. OK, let’s face it. Most Woody Allen films are about writers to some degree. But about Woody Allen to a greater degree. Complex and complicated. So take Midnight in Paris and run with it.
Door in a Floor (A). A primer in why writers shouldn’t drink. (Alas, but we sometimes do.)
Fear and Loathing in Las Vegas. More or less a biopic on speed, and whatever else one can concoct by mixing pharmaceuticals found in the bathroom cabinet.
Front (The). Awesome intentions, but more about the McCarthy era, with a light dusting of actually being a writer during that era. But Zero Mostel is priceless.
Get Shorty. A film I find utterly fun, and a nifty Hollywood farce. But not so much about the writing as, well—just about anything else that goes on in Hollywood. Based on Elmore Leonard’s novel… so what’s not to love?
Ghost Writer (The). Not really. It’s political intrigue that uses a writer as both a plot tool and fall guy.
Girl, Interrupted. As mentioned above, this intense psychodrama isn’t necessary a push toward writing, but for those writers who are desperate to bleed an intense personal story (fictive or not) on paper, this film may indeed be inspirational in terms of depth and honesty. An excellent drama, and excellent performances by Winona Ryder and Angelina Jolie. It’s based on Suzanna Kaysen’s memoir of her own experience in a mental hospital in the late 60s.
Hotel New Hampshire (The). Lovely film. With a slight undercurrent of “being a writer” flitting around the edges. A coming of age tale—with beautiful performances by Tobey Maguire and Michael Caine.
Hours (The). Um, sorry—but no.
Infamous. This one’s that other Capote film (Toby Jones matching Phillip Seymour Hoffman’s panache in playing the title role). Sandra Bullock plays Harper Lee. No less poignant than Capote—and equally worth the viewing. If you’re a Capote fan, see them back to back. Seriously.
Julie and Julia. Okay, so this is a film about occasional blogging—and, yes, that counts as writing—and about relationships…and about food, of course (the titular Julia is, of course, Julia Child). But I can’t argue that some writers might find the film quite inspirational. So by all means, check it out. With Meryl Streep and Amy Adams; directed by Nora Ephron.
Kill Your Darlings. Ah, a murder mystery masquerading as a morality tale about the ‘Beat Poets’ era (in the late 1950s) with Allen Ginsberg (a surprisingly droll Daniel Radcliffe), Jack Kerouac and William Burroughs poised to invent the literary consciousness of the brooding ’60s. Yet the ambiance turns from period piece (cool enough) into a noir-esque caper of lust and mistrust—deliciously ironic perhaps—but, still, not exactly a primer for motivating novelists in the here and now.
Leaving in Las Vegas. New to writing? No, no, finish your book before you see this one.
Misery. More or less a film about a deranged and psychopathic relationship… with an unwitting writer. Personally, I think most of us would be thrilled to have a reader with so much passion…although probably with far less angst.
Motorcycle Diaries (The). Marxist revolutionary Che as a reluctant, journal-scribbling antihero? A sensitive portrayal and a worthy, well-crafted biopic. See you in Habana!
Name of the Rose (The). Mentioned for a slight—yet extraordinary—plot twist that earns the film a solid nod here. Not exactly about writers, but very much about writing—and particularly about “censorship.” A nifty period piece about the Dark Ages. With Sean Connery, too.
My Left Foot. More a biopic than a writer’s flick. But extraordinary man, Jim Sheridan. Profound drama.
Naked Lunch. Heh. Directed by David Cronenberg. Watch it with the lights out at night. Then we’ll talk.
Player (The). Yeah, but it’s really a spoof about Hollywood. From a writer’s POV. (But I did oh-so-love Tim Robbins in this role.)
Prick Up Your Ears. The moving and tragic biopic of 60’s British playwright Joe Orton, with a wonderful performance by a young Gary Oldman as Orton. However the film veers decidedly into Orton’s gay lifestyle (with failed novelist Kenneth Halliwell) and leaves any sense of art and craft in the distant background. Yet if you’re having trouble choosing your friends as a new novelist, this is a worthy, if horrific, cautionary tale.
Royal Tenenbaums (The). Um, sorry. No.
Shining (The). About a writer, but not really. A writer’s ghost story perhaps. Note: Stanley Kubrick had each—each!—of Nicholson’s faux-manuscript pages individually typed for that classic “All work and no play” shot. Classic Kubrick perfectionism!
Sideways. Not really. A funny poignant buddy film, and Paul Giamatti’s character plays a disgruntled writer, but this is more about a buddy-lovin’ road trip than writing.
Stand By Me. A coming of age story of four young boys—one who becomes a writer.
Starting Out in One Evening. I should probably see that.
Sophie’s Choice. Not so much a film about writing as it is about a writer’s passive passion with the eventual characters of an yet unforeseen novel.
Swimming Pool. Nice flick, but mostly murder mystery. What’s real? What’s illusion? Ah…
Third Person. Not what it seems. A nice approach, but it’s pretty much a psychological drama. A fairly low-key (very low body count!) Liam Neeson stars. Want to climb inside the mind of a writer? This one might work for you.
2046. I hear this one’s pretty astounding, a hypnotic, non-linear film by Chinese director Kar Wai Wong, about a sci-fi writer and his lost loves—present, past and future. I’m looking forward to finding this one somewhere soon.
Wilde. A marvelous, dramatic period piece about the life (and, of course, scandals) of Oscar Wilde. With Stephen Fry and Jude Law.
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