The more you learn about certain actors the more you realize that they are actually less talented than you may have thought.
Think about, for example, the difference between stage and movie/TV acting. On stage you either get it right or you do not. It is happening live as you perform before an audience. In movie/TV acting you could have dozens of takes of the same scene (receiving direction after each take) the best one of which is picked and then we are supposed to think that the actor is oh, so talented, look how natural they appear on the screen.
But regardless of stage, movie/TV, etc. one thing that very many actors have in common is that, in a manner of speaking, they are not “acting” but are having spirits act through them—quite literally.
The history of acting, especially in Hollywood, is a history of occult practices which result in acting performances.
Today’s example features Nicolas Cage who has developed his very own acting method. His method is actually not unlike many other people’s and also ranges from conceptualization, preparation and finally acting out.
There is a difference between the sort of acting whereby you pretend to be someone else and the sort of acting whereby you become someone else.
In an “Exclusive Nicolas Cage Webchat,” Empire Online reports, “The Ghost Rider himself answers your questions…”
With regards to his method, which he calls Nouveau Shamanic (new shaman), Nicolas Cage notes:
…I was invited to go to Ireland to have a Q&A with a group of thespians about this concept, but the truth is, like Brian Bates said, everybody who’s an actor is already there; they just don’t know it yet.
This style, if you will, or programme, is really teaching how not to act, and how to utilise your dreams, power objects, even taking weekends to experiment with imagination and finding ways of infusing your performances with those experiences so that it’s no longer acting but truth.
Acting implies lying in some way – Olivier said as much in his autobiography, and I don’t want to lie. Thankfully Sean Penn said that Nicolas Cage is no longer an actor, and that’s what I want. I want to find a way to make it more truthful. This style is stimulating your imagination to be more truthful in the words and the movements.
Acting is a thing of the past and the new/nouveau method, which is the old method, is to conjure spirits via occult means (and the only spirits that respond to occult means are demonic) which is where “everybody who’s an actor” already is anyhow even if “they just don’t know it yet.”
So his method is shamanic and a shaman is “A member of certain tribal societies who acts as a medium between the visible world and an invisible spirit world and who practices magic or sorcery for purposes of healing, divination, and control over natural events.” Accordingly the spirits communicate to the shaman via the aforementioned “dreams.” And “power objects” are infused with the spirits of, well, the spirits. Nicolas Cage tells of one of his power objects:
I went to the Bermuda Triangle of forests, known as the Hoia-Baciu Forest, and I went for a drive through the forest and saw a man who was just walking amongst the trees, and I asked him a question, I rolled down the window and said, “Do you live here?” He said yes. I said, “Is this forest haunted?”
He didn’t answer for about a minute, he just looked at me and said, “Yes”. I said, “By what?” and he said, “Have you seen the floating people with no legs?” I said, “Not yet, but I hope to real soon.”
Then I asked him if it was OK for me to take a fallen branch, so I grabbed a branch that was about six feet in length and four inches wide, and I took it home to my little cottage in England and I chipped away at it and varnished it and made a nice staff out of it. I’m probably the only person in Glastonbury with a Hoia-Baciu staff.
Here are some actual examples of how Nicolas Cage allows himself to be demonized in order to, keep in mind, not “act” but rather express “truth” which has been revealed to him by demons. Following is his answer to the question, “What were the biggest challenges physically or psychologically to perform both parts of John Blaze and Ghost Rider?” FYI: John Blaze is a human who occasionally becomes possessed by the spirit of vengeance who is known as Ghost Rider:
It was the first time that I played Ghost Rider. Blaze was easy; I knew he was a man who had been living with a curse for eight years of having his head light on fire, and the tone that would take. I compared him to a cop, or a paramedic who develops a dark sense of humour to cope with the horrors he has seen. But Blaze has also caused the horrors, so he’s hiding out because he doesn’t want to hurt anyone else.
Ghost Rider was an entirely new experience, and he got me thinking about something I read in a book called The Way Of Wyrd by Brian Bates, and he also wrote a book called The Way Of The Actor. He put forth the concept that all actors, whether they know it or not, stem from thousands of years ago – pre-Christian times – when they were the medicine men or shamans of the village. And these shamans, who by today’s standards would be considered psychotic, were actually going into flights of the imagination and locating answers to problems within the village. They would use masks or rocks or some sort of magical object that had power to it.
It occurred to me, because I was doing a character as far out of our reference point as the spirit of vengeance, I could use these techniques. I would paint my face with black and white make up to look like a Afro-Caribbean icon called Baron Samedi, or an Afro-New Orleans icon who is also called Baron Saturday.
He is a spirit of death but he loves children; he’s very lustful, so he’s a conflict in forces. And I would put black contact lenses in my eyes so that you could see no white and no pupil, so I would look more like a skull or a white shark on attack.
On my costume, my leather jacket, I would sew in ancient, thousands-of-years-old Egyptian relics, and gather bits of tourmaline and onyx and would stuff them in my pockets to gather these energies together and shock my imagination into believing that I was augmented in some way by them, or in contact with ancient ghosts. I would walk on the set looking like this, loaded with all these magical trinkets, and I wouldn’t say a word to my co-stars or crew or directors. I saw the fear in their eyes, and it was like oxygen to a forest fire. I believed I was the Ghost Rider.
Again, he is not acting but having the spirits who possess him to express themselves. Clearly Nouveau Shamaic is nothing but repackaged Vieux satanic.
As for Brian Bates, note that, The Way Of The Wyrd is “a tale of Anglo-Saxon Sorcery and pagen [aka Pagan] Anglo-Saxon England. Based on Historical theories of Old England.” It is a novel based upon actual “Anglo-Saxon spiritual teachings…wisdom traditions…spiritual secrets of an indigenous shaman of ancient England…Anglo-Saxon tribal wisdom” which Bates explains as follows:
…our Anglo-Saxon ancestors believed in a universe where lines of power ran through the earth, spirits inhabited the trees, streams and stones, and where magicians were able to look into the future through the mysterious power of runes. People understood their universe as held together by an interlaced web of golden threads visible only to the wizards…
The Way of Wyrd transforms our experience of personal destiny – who we are, and how we can manifest our personal potential…to strengthen and empower our lives…
The Way of Wyrd, I tell the story of how an Anglo-Saxon young man is initiated into the secrets…
People of Christian, Buddhist, Taoist, Jewish and other religious affiliations requested instruction in Wyrd, as well as those already associated with western earth-based spirituality, such as Wicca, Druidry, shamanism, and so on.
Call it wisdom, spiritual or what you will but it all comes down to a romanticized was to get people demonized.
Nicolas Cage not only seeks out demons to channel through him but note that he specifically appeals to pre-Christian times. Makes one wonder how much fun he would be at a Christmas party. Oh wait, he tell us that too as he answers the question, “Of all the roles you’ve portrayed what was the most taxing mentally and would you ever go to those lengths again?”:
I think that Ghost Rider: Spirit of Vengeance was mentally taxing, if only because I had to go to a Christmas party shortly after I had wrapped photography in Romania at two in the morning as the Ghost Rider. The invitation had a Christmas ornament on it with Ghost Rider’s face on it as a tree. I had a couple of schnapps and went to the party; I had not entirely let go of whatever magic I had been channeling, and all hell broke lose. In fact, I think I kept saying over and over, “Merry Christmas you ********!” I am lucky I’m not in a Romanian prison.
So whatever magic he had been channeling left him drained, mentally taxed and caused all hell to break lose at a Christmas party—nice!
We are supposed to believe that fact is fact, fiction is fiction and actors are just pretending. But the more we learn about Hollywood, screen writers (who write their worldviews even into “fiction”) and the spiritual or rather, spiritist practices of “actors” we learn something that more and more people are, thank YHVH, becoming more and more aware of: movies, TV shows, sporting events, musical concerts and many other forms of entertainment are, in reality, occult rituals in disguise.
I got on my knees and sort of communicated with the spirits. When I came out, I was in charge. I couldn’t have acted that, I couldn’t have written that.
—Denzel Washington
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