Category Archives: Free Writing

Bread and Water and Love

Paniagua was so named from an early Spanish settler’s misspelled contraction of pan y agua, meaning literally “bread and water”. Places were onced named for their distinguishing characteristics unlike today, and if one’s eyes were to be laid upon the solitary quality of this westerly land one would see as why a virgin to this land would so optimistically pronounce it to be the land where wheat and water could be brought up out of the ground. A small town sprung up where, years after the lonely Spaniard, Americans planted seed and began making a little money.

Dessie Hardin stood aside a crooked tin mailbox. It’s white paint faintly visible for all the years of the wind’s toying, the sun’s blinding whiteness and the quick shutting of its often vacant space by disapointed inquierers. Its lid hung sadly by one bolt like a rust colored tongue, searching for its sustenance, for its purpose. Even autumn provided enough heat to birth mirages from the ground, and Dessie was without shade. She wiped the sweat from her forehead with the back of her small hand. She had never waited for the post-man before. Eleven sent and all the while she was losing hope. Any suspicion crossed her mind. Perhaps someone was taking her letters out before the post-man got to them. Maybe the post-man just ignores this garbage mailbox in this garbage town. Always too much postage arranged neatly across fat envelopes. Eleven sent and all the while she was losing hope. Damn she whispered into the clear air. Only the hungry mailbox heard.

A daughter of the land, Dessie has that café con leche skin of her Mexican mother and straight auburn hair plucked from her father’s Irish ancestry. She had, since her birth, never known what it was to be with two loving parent’s. Her father was a drunk. Lost, it was whispered, just two towns over. If the rumors had been true, Dessie never showed the desire to find him out, but she rarely showed much interest in anything. The singularity of thought which plagues those who reserve their emotional investments carefully often borders on obsession, and Dessie had been sharpened throughout her life to be reserved and thoughtful to the point of coldness to those closest to her. Eleven sent and she’d received none in return.

Robert left in March. It seemed to her that as soon as they finally began dating, it wasn’t long before he lost his mind and did something to throw it all away. He’d undone the best thing that had ever happened to either of them, and it was his loss which bothered Dessie even more than her own. Didn’t he know what she would have done for him? Eggs Benedict and coffee before his vascular brown hands went to work breaking horses. Beautiful children with light green eyes and Mexican skin. He’d never been an idiot, but the loss that pained Dessie pushed aside her love for him and replaced it with a metallic bitterness. She saw clearly what had happened and was already preparing for the life she’d live now.

“I want to go to college” she’d told her mother.

“You need to get a scholarship, cause I sure as shit ain’t payin’ for’it”

Dessie poured boiling water out of a pot onto a glass casserole dish caked with dark, burnt remnants of something not very appetizing to begin with.

“Well,” she thought. “My grades were well enough, and if I start waiting next week, I can pay a semester at San Luis Poly.”

She remembered what he’d told her in March. He told her what a damaged place the world was. As if she hadn’t noticed. He spoke with a deep, level tone.

“I can’t just stay around and rot, seeing the same evil people day in and day out. I’ve gotta go out and learn how to be a man, I need to find what God’s put out there for me. It’s like there’s a hand dead center on my back and its pushing me forward to who-knows-what. All I know is that I have to go. I love you, though, you know.”

“I know” she said, and looked down at his boots covered with the red-clay earth of Paniagua.

Just A Song at Twilight by Alex Drinkwater

Just A Song at Twilight (.doc)

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Just a Song at Twilight

 

 

by

 

 

Alex Drinkwater, Jr.

The red eyes of his Best Friend glowed at him from one corner as Felix entered the dark room. He looked back toward the door for a second and reached for the light switch. Even in the glare of 100-watt bulbs, the place seemed empty in spite of its ample furnishings. He staggered into the middle of the room, as if he were drunk, though he was sober. A drink, that was the ticket. He needed a drink.

The refrigerator contained beer and wine, and very little else. He reached for a bottle of strong German brew. No, two bottles. They just filled a one-liter mug he had brought back from a trip to Germany. The first gulp was a big one, a much-needed one. He looked around, the telephone on the wall catching

his eye. Should he call her? No, it would do no good. The result would be the same.

“Shit.”

Felix made his way to the leather chair in front of his Best

Friend. He practically fell into it, spilling a large amount of beer. The tears slid down his cheeks, mingling with the suds in his lap.

She walked into her house, her new boyfriend right behind her. She put her purse down on the table in the hallway and smiled at him. The smile did little to cover her melancholy mood. “Well, here we are. Can I take your coat?”

The balding but handsome southerner handed her his jacket,

smiling back. “Sure, babe. Any other clothes you want me to take off?”

“Take it easy, Garry. We just got here.” She hung his jacket in the closet. “Sit down. I’ll open the wine.”

“Okay.” He sat in her living room, the smile of conquest already on his face. And why not? Hell, he had worked for this, taking her away from That Jerk.

Meg joined him on the couch, placing two glasses of White Zinfandel in front of them. She flipped back her long, blonde hair in the manner Felix had always found so endearing. “Well,

here we are,” she repeated. Her voice betrayed her nervousness.

Garry tried to slip an arm around her. She got up.

“What’s the matter, Meg?” He took her hand as she stood

next to him.

Her lips quivered for a second before she spoke. “I don’t

know. I — I guess I’m still a little shook up.”

“Shook up over what? Over Felix? Come on, that guy never

gave you anything but grief. So now he’s the one that’s crying, the hell with him.”

“I know.” She lowered her head. After a moment she looked up. “How about some music?”

“Okay, sure. Whatever you like.”

She walked over to the rack of stereo equipment in the corner, opened the glass doors, and selected an album of Broadway show music. The CD Felix had given her was placed in the CD player He had helped her buy, and she went back to the couch to listen to it with Someone Else. This was not lost on her, even as Someone Else held her hand . . .

Felix sat in silence, staring at his Best Friend, but

thinking of Her. The empty mug lay on its side on the floor, a few cigarette butts smoldered in the ashtray, a picture of Meg lay next to the mug. The lights of his Best friend glowed along

the wall in front of him, beckoning, waiting. He looked at it, an oak rack literally full of the finest audio equipment. It was all analogue, from the beautiful Oracle turntable to the big Audio Research tube preamp and huge tube power amplifiers. First class, right down to the expensive interconnects and speaker wires. And those speakers. Four Infinity monsters, woofers in two square towers, the rest of the drivers in two oak units, curved and graceful, powered by those big glass-tubes, soaking up watts like water, and sounding like Valhalla’s orchestra. Tens of thousands it had cost him but, after all, the source of his beloved music was his Best Friend. Now it was his only friend. He stood up and stared back at the glow of the amplifiers which were always on, always ready. In times of sorrow, there was always the music.


Garry put down his glass of wine and pulled Meg close to

him. He kissed her lips. She did not resist. “Meg, forget that guy. It’s you and me now,” he said in his soft Georgia accent.

She looked down at her feet, now shoeless. “I know. I just can’t get the whole episode out of my mind. He was so — so adamant. He screamed at me, he blamed everything on me. Me! I tried to convince him for years that I was right for him, and he just laughed at me.” She looked at him. “Garry, how much could

I take? I put up with it for years!”

He touched her lips with his finger. “Shhhh. Take it easy. That’s all over now. He got what he deserved, what he asked for.” He kissed her again, and his hand brushed one of her breasts . . .

What to play? What was appropriate in these circumstances? Felix’s eyes darted back and forth over the enormous collection of records, from Bach to Wagner. Wagner, that was it! He pulled out the six-record set of Sir Georg Solti’s version of Gotterdammerung — the Twilight of the Gods.

The Someone Else could control himself no longer. He took

her hand. “Meg, don’t you think it’s time we went to bed?”

She shuttered slightly as she heard the words, and closed her eyes. She knew she was ready physically for her new lover — it was her mind that balked. “I — I guess so.”

He tried to look concerned, though his body grew impatient. “Now wait — if you’re not sure . . . “

Opening her eyes, she turned to him and squeezed his hand. “No, I’m sure. I’ve wanted to for some time, really. It’s just that, well, as long as I was seeing him . . . “

He stood suddenly, pulling her up with him. “Forget him. You’re mine now.”

The angry chords of Siegfried’s Funeral Music growled out of

the big Infinities, woofers throbbing, walls shuddering. Felix finished another mug of beer just as the music started. “Damn!”

he shouted. “Damn!”

Brunnhilde, holy bride!

Wake up! Open your eyes!

Who has enwrapped you in sleep again?

Felix closed his eyes, listening to Siegfried singing even as he died. The vassals came and carried him on his shield.

“Oh, Meg . . . “

Garry pawed her even as they walked toward the bedroom.

“Hey, take it easy,” she said, pulling away somewhat, “we’re almost there.”

“I’m sorry, babe. It’s just that I’ve waited so long for this moment, you know?”

“I know. Just one thing, Garry. Don’t call me `Babe,’ okay? My name is Meg.”

Almost sheepishly, he said “Sorry.” He kissed her again.

After a few moments, she broke away.

“Let me go brush my teeth, okay? Make yourself comfortable.” She walked into the bathroom as he sat on the bed, staring after her. She closed the door and faced the mirror. Her green eyes looked back at her. “Meg, what are you doing?” she asked herself, softly.

Felix slumped in the big chair, his head in his hands as the

music faded away. The tonearm cruised into the last groove effortlessly, silently, and lifted up as the massive

platter stopped its rotation. It waited for its master . . .

He remembered their last conversation on the telephone.

“Meg, please. I love you,” he had said, only the day before.

“Stop it.”

“I do! I do love you, that’s all there is to it!”

“How can you say that?” She had almost screamed into the receiver. “All these years, you treated me like dirt! And now you love me? Why, because I finally found somebody else?”

He’d paused for a moment. “I don’t know. Maybe it took the thought of actually losing you to wake me up. All I know is I don’t want to lose you, especially to — to him!”

“What’s wrong with him? He treats me like something

special, not like you treated me. He cares! Do you even know

what that means?”

He paused again. “Meg?”

“What?”

“Have you slept with him?” His voice almost cracked as he said the words.

She sighed audibly. “Is that what you’re worried about? After all the times you cheated on me? Suddenly you worry about who I sleep with?”

“That’s all in the past, dammit! Meg, if you screw that damned redneck I’ll . . . ” His voice tailed off.

“You’ll what?”

“I’ll die.” It was a whisper.

There was a long silence, and then she spoke. “Felix, don’t be silly. Grow up. No, to answer your question, it hasn’t happened yet. But he wants to, and so do I.”

He closed his eyes. His tears flowed down his face.

She heard his sob. “Felix?”

“Wh — what?”

“Will you stop? I’m hanging up.”

“No, please . . . “

Click.

He opened his eyes. First he stared at the turntable. Then at the telephone. Maybe, just maybe. What did he have to lose?

“What the hell, why not?”

He dialed. It rang.

Meg walked toward the bed, naked. Garry waited in anticipation, rapidly discarding his own clothes as she approached. “Oh Meg, honey!” They embraced. The phone rang.

“What the hell, don’t answer it.”

“No, it may be my mother.” She pulled away.

“Meg — shit.” He sat back on the bed.

She picked it up. “Hello?”

A sad voice on the other end. “Meg? It’s me.”

“Felix?” The surprise was written on her face.

Garry stood up. “Don’t tell me it’s that asshole. Damn!”

Meg held up her hand. “Felix, what do you want?”

“Meg, who’s there?” Anguish, despair. He knew she was not alone.

“Give me that.” Garry snatched the phone from her hand.

“Look, Bud, why don’t you just face facts? She’s mine now, and I’m about to make love to her. Now leave us alone.”

Click.

Felix stared at the receiver for a long moment and let it drop. As the instrument swung on its cord, he made his way back to his Best Friend, oblivious to the incessant beeping coming

from the uncradled phone.

“Garry, why did you do that?”

“Meg, he had it coming. Please forget him and come to me.”

She stared at him for a second, and then walked over to him. She walked on those long, beautiful legs that Felix had enjoyed


for so long. Now she was about to wrap them around Someone Else.

Carefully, Felix lifted the record off the turntable and placed it in its sleeve. He took out record number six, the last scene of the last act of the opera Twilight of the Gods. He

placed it on the turntable. He left the tonearm poised over the record’s edge for a moment and went into the bedroom. From his closet, Felix retrieved something in a leather case. Something

he had always thought was beautiful, but She had thought was ugly. He brought it out, took it out of the case, regarded it for a moment, and leaned it against his chair. He started the music.

Garry kissed Meg all over her smooth body. How unlike Felix he was! He looked different, smelled different, felt

different. She wanted him, now. It was time. Time to begin anew! Why should she feel guilty? What did she owe Him? She looked into the eyes of her new friend. “Garry, I . . . I want you in me.”

Felix sat and stared at the lights as the tonearm descended, and closed his eyes as Brunnhilde began her soliloquy. Sadly, mournfully, the horns and woodwinds began the Immolation scene.


Pile up on high mighty logs

there on the bank of the Rhine

He thought of all the years, all the loving, all the arguments. He thought of her naked. With Someone Else . . .

high and bright let the flames rise

that shall consume the noble body

of the greatest of heroes.

Meg slid down beneath him, spreading her legs, her eyes

open wide. He leaned over her, his arms outstretched, his body poised, ready . . .

Felix stared at the ceiling as Brunnhilde mourned the Hero,

Siegfried. What was left for him? What could he be without Her?

All things, all now I know:

all is clear to my eyes.

The wings of thy ravens I hear rustling . . .

He took out the ring and contemplated it. The ring he

bought for Her, the ring She had refused. “You’re a day late,

and a dollar short,” she had said.

Accursed Ring! Dread Ring!

I grasp the gold and give it away.

He threw the ring against the wall. The diamond broke loose from its mounting and rolled onto the carpet, its glitter lost in the shadows. Felix slumped in the chair, his eyes wet, his body almost limb, his mind numb.

Seven years! Seven years it had been since anyone had entered her but Him. “Ohhhh,” she moaned as Garry plunged into her, finally.

Felix raised the carbine and chambered a round. Brunnhilde took the firebrand and instructed the vassals to light the pyre.

For it is the twilight of the gods.

See — I throw the firebrand into

Valhalla’s glorious citadel!

“Oh, my God, oh Garry.” She cried out as the shuddering

orgasm took over her body. He stiffened and climaxed almost at the same time . . .

To clasp him to me, to be held fast in his arms,

to be united with him, by the power of love!

The crack of the carbine was almost smothered as the music thundered from the big Infinities, signaling the end of Valhalla as the Rhine overflowed its banks and the flames leapt to engulf

Wotan’s once mighty castle.

Siegfried! Siegfried! See!

Your wife greets you joyfully!

In her bed, Meg sighed as Garry lay, spent, on top of her.

In his chair, Felix lay in silence as the blood poured from his mouth, trickling down his arm and onto Meg’s photograph. The long, last chord of Gotterdammerung faded away.

The tonearm rose. The platter stopped its rotation. It waited for its master.

THE END

Note

All quotations from Gotterdammerung (Twilight of the Gods) by Richard Wagner translated from the original German libretto.

Writing While You Sleep: Harnessing Your Subconscious

Nearly every writer I know (myself included) prefers the aftermath of writing–having written–to the actual act of writing itself. And every writer I know would pay dearly to find a way to make the tyranny of facing the blank screen more bearable. Well, there is a way, and it’s as simple as falling asleep.

Yes, falling asleep. When someone is trying to make a decision, we tell them to “sleep on it” for a reason–because the subconscious works on ideas and orders them for you while you are asleep. But not only can you help your brain to do this while slumbering, you can harness your subconscious during waking hours, too.

“Each of us possesses a brilliantly creative subconscious mind,” says screenwriter Cynthia Whitcomb. “Most of the time we don’t give it credit for its creativity.”

The trick is to feed your subconscious mind the direction it craves. I learned this when I was faced with writing two big projects at once. My natural inclination was to wring my hands and moan and groan about my inability to write two things at the same time. While deeply absorbed in one project, nagging voices about the other one would pop up. You should be working on the memoir, the voice would say. How are you going to get it done on time when you are focusing on the novel?

Out of desperation, I learned a way to subvert the negative voice. My subconscious is working on it, I would reply. While I initially started saying this only to shut up the cacophony of voices, to my surprise, my subconscious really did follow my direction, and when I switched to working on my novel, all sorts of ideas were at the ready.

So I decided it would be to my benefit to learn how to coddle my “second brain.” The most important thing is to get in the habit of telling your subconscious what you need. Be specific. For example, how can I show Carrie’s unhappiness with Bart in chapter eight? Every time you think about your project, repeat the problem: I’m working on Carrie’s unhappiness. Now you’ve imprinted your subconscious with your writing need. How to encourage it to provide an answer? There are several ways:

  1. Sleep on it. Write down your problem and review it before you climb into bed. Or, read a few pages of your manuscript and tell your subconscious, Tomorrow I want to finish this scene.
  2. Take power naps. Follow the above procedure during the day, and give yourself ten or fifteen minutes to close your eyes and doze. Often I lean my head back against my chair for a snooze and have to keep sitting up to write as the ideas flow.
  3. Exercise. Review your problem before taking a walk or starting your daily yoga session. Sometimes just getting up from your computer and changing location is enough to jog the brain.
  4. Engage in repetitive activity. Sew, knit, weed, plant flowers, dust, vacuum. Something about the repetition allows ideas to come up in the spaces between.
  5. Drive. Nothing like a mini-road trip to free the brain.
  6. Concentrate on something else. How many times have you sat down to pay bills only to have the best idea for your screenplay yet? (Which means, of course, you get to delay paying the bills for a while while you run to your computer.)

With all of these activities it is vital for you to carry pen and paper with you. No, you won’t remember the idea you had while rounding the curve on the tenth lap of the track. You’ll forget the brilliant snippet of dialogue you invented while gardening if you don’t write it down. Carrying pen and paper is a signal you’re ready. When you start stoking the subconscious it will respond, and if you are not ready and receptive, believe me, it will shut back down. Like a muscle, the more you use your subconscious, the stronger it gets.

Finally, returning to the topic of sleep, let us not forget about dreams, which are a powerful source of story ideas, symbolism and imagery. The best way to remember dreams echoes the technique for stoking your subconscious–get in the habit of writing them down as soon as you awake. Since you are carrying paper and pen with you everywhere, this won’t be a problem, right?

Respect and revere your “second brain” with these simple steps and you’ll be amazed at how hard it will work for you. Before you know it, you’ll even be writing in your sleep.

The Man Who Saved Christmas

Christmas – only days away; plastic snowmen and glowing reindeer adorn the lawns of neighborhoods all across America. All is calm, all is bright, and yet there is something tragically wrong about this Christmas night.With swift passage through Congress, the Anti-Intolerance legislation was signed into law prohibiting the public display of religious symbols. The traditional centerpiece enjoyed by millions every Christmas, the Nativity Scene, is now gone.

This is one of those perennial issues that often stir emotions to the brink. But taking a lighter approach to the argument, wouldn’t it be fun if, somehow, through some bizarre chain of events, the person who most fervently opposes open displays of religion, became the mouthpiece from which a fictitious law like the Anti-Intolerance bill, was overturned?

This story brings to life a witty rendition of the political struggles fought every December over something as humble and yet powerful as the display of the Nativity Scene.

Warrior Of Light: The two drops of oil

Standing above the little town of Tarifa is an old fort built by the Moors. I remember sitting here with my wife, Christina, in 1982, and for the first time looking at a continent from across a narrow stretch of water: Africa. At that time I could not dream that such a lazy moment in the late afternoon would inspire a scene in my best-known book, “The Alchemist”. Nor could I have dreamed that the story that follows, heard in the car, would serve as an excellent example for all of us who are searching for some balance between discipline and compassion.

A merchant sent his son to learn the Secret of Happiness from the wisest of men. The young man wandered through the desert for forty days until he reached a beautiful castle at the top of a mountain. There lived the sage that the young man was looking for.

However, instead of finding a holy man, our hero entered a room and saw a great deal of activity; merchants coming and going, people chatting in the corners, a small orchestra playing sweet melodies, and there was a table laden with the most delectable dishes of that part of the world.

The wise man talked to everybody, and the young man had to wait for two hours until it was time for his audience.

With considerable patience, he listened attentively to the reason for the boy’s visit, but told him that at that moment he did not have the time to explain to him the Secret of Happiness.

He suggested that the young man take a stroll around his palace and come back in two hours’ time.

“However, I want to ask you a favor,” he added, handing the boy a teaspoon, in which he poured two drops of oil. “While you walk, carry this spoon and don’t let the oil spill.”

The young man began to climb up and down the palace staircases, always keeping his eyes fixed on the spoon. At the end of two hours he returned to the presence of the wise man.

“So,” asked the sage, “did you see the Persian tapestries hanging in my dining room? Did you see the garden that the Master of Gardeners took ten years to create? Did you notice the beautiful parchments in my library?”

Embarrassed, the young man confessed that he had seen nothing. His only concern was not to spill the drops of oil that the wise man had entrusted to him.

“So, go back and see the wonders of my world,” said the wise man. “You can’t trust a man if you don’t know his house.”

Now more at ease, the young man took the spoon and strolled again through the palace, this time paying attention to all the works of art that hung from the ceiling and walls. He saw the gardens, the mountains all around the palace, the delicacy of the flowers, the taste with which each work of art was placed in its niche. Returning to the sage, he reported in detail all that he had seen.

“But where are the two drops of oil that I entrusted to you?” asked the sage.

Looking down at the spoon, the young man realized that he had spilled the oil.

“Well, that is the only advice I have to give you,” said the sage of sages. “The Secret of Happiness lies in looking at all the wonders of the world and never forgetting the two drops of oil in the spoon.”

http://paulocoelhoblog.com/warrioroflight

www.warriorofthelight.com

My Ultimate 'Turning Point' For Success

At age 30, I had directed two feature films. One I financed by going into debt and one I was hired to do, that gave me a salary, but no sharing in the profits when it became a hit. The credit for writing and directing “Death Machines” was more important. But now it was two years later and even though I tried, I couldn’t get another feature film going, only some independent TV directing.

I had written a great action script. A script that had all the swashbuckling action stunts in it that I had loved as a kid watching Errol Flynn on TV. A great story with a big cast and lots of martial arts in it.

The script was lying on my sofa as I stood over it. I thought, “I just have to do this even though it would probably not sell, or the distributor would not pay once they took it.” Would I, or should I continue with this?

I had financed and used investors on my first feature, “Drawn Swords”. It was a long “drawn out” production, that caused me endless hassles, large debts, many disappointments, and no income from the minor distribution it had. I had worked six months to pay back most of the debts, but still wasn’t completely out of it. Did I want to go through all that again? Was this another sword fight epic that would get me much deeper into debt and end my dubious film career?

But I loved the story so much and wanted to use all the martial artists that I had met on my previous movie, (and I loved samurai movies, and Chinese sword fight movies), that I had to risk it.

I had seen most of the guys that were in the San Francisco State University film department drop out and get regular jobs, so I was alone with my dream. I had noticed that they all started giving up at exactly age 26. Why that age I wondered? But the answer came quickly. It was 4 years after graduating. They gave it a shot, but then girlfriends, wives, and even parents started to put the pressure on them to quick. After all, age 26 was getting pretty old to continue with an impossible dream. Why had they given up so soon?

That answer came when I saw a joke sign in a store window that read, “I feel so good now that I’ve given up all hope.” I understood right away. Yes, give up and there won’t be any more struggle or disappointments from money men that promise financing and then don’t deliver after wasting 6 months with them. Funny, I never even knew giving up was an optioin. That’s how movie crazy I was. But If I could just do this one more movie, I would be satisfied if I was finacially forced to give up.

So looking down at that white script on the green sofa, I decided right there and then that I would make the movie entitled, “The Last Adventure”.

Finally I said to myself, “I don’t care. Even if this movie bombs, even if I can’t sell it, I will still have the movie. It will be made. And this was my dream movie. The one that I really want to make. I didn’t know it at the time, but I was more of an “artist” than a film businessman, because completing that particular movie was more important to me for self expression than doing someone else’s project (which there were none) or working my way up in the Hollywood system (which there were no open doors). So I said, “What the hell”, to myself, picked up the script off of the sofa, and began preparing a schedule and budget.

The next week I anounced my project to my friends in the martial arts business and attracted some first investors. I set the start date for six weeks later and went ahead with casting, costumes and securing locations. As there was a large cast, many of them invested in the project. Six weeks later, I had enough money to be out on location filming in Panavision with Technicolor Labs doing the processing.

As I had always included myself in the cast of my 16mm movies and first feature, I wrote a character for myself. I mostly wanted to do as sword fight scene and a couple of stunts that I saw Douglas Fairbanks do. I wasn’t worried about directing myself as I used one of the crew to stand in for me as I staged the scenes, and then took his place for the shot. Besides I was only in a third of the movie because of all the characters. I was a little worried that some might think I was not a serious director by also being in the film. But since I figured it might be my last movie, I decided to play out all my dreams.

Only my cameraman objected to me being in the movie. Two days before filming started he complained, “What do you want to be an actor or director.” Should Bond fight a worker over this? So I decided not to act in it. However, with only two days before the shoot and being so busy, I couldn’t spend the time to find someone to replace my character, so I was stuck with me. But acting and doing my planned stunts in this movie has been the greatest satisfaction for me. Years later, it’s not so much the fact that I directed it that people mention when they see it, it’s the fact that I was in it. So after that, I never listen to anyone who tries to talk me out of my dreams. That’s “fighting without fighting,”

Bond style.

When I drove out to the location, many of the people had arrived and were in costume. I could see the swordwoman with their shinny blue Chinese costumes and the fifty extras all wearing black as I had told them to do. The cameramen were setting up. Make-up was already happening. Actors had flown up from Los Angeles. They were all here 40 miles from San Francisco in my hometown hills that I had used for filming my 16mm action movies when I was in college.

“This is fantastic,” I thought. “What an opportunity to make something really good.” I came to the instant conclusion to not just shoot a few master scenes. I would use the necessary film to get all the coverage I needed to make a cinematic film. And if I went a little over budget, I would make up the difference by selling part of my percentage in the movie. It would be worth it.

Six weeks after that I was finished filming. The post-production money came slowing, but that didn’t matter as editing took little money by doing the work in my own apartment. I finished the editing working by myself for 6 months and loved every minute. I did the final 16 track mix at Fantasy Films in Berkeley that had a state of the art mixing room.

The film was picked up by an independent distributor and broke a house record for attendance at a New York theater. With three feature under my belt I was on my way to three more and then discovered I had a talent for novels and success teaching and expanded into “the comunication business” instead of just the film business.

This finally lead me to direct my movie heroes, Rod Taylor, Robert Culp, Russ Tamblyn, and George Chakiris, Nancy Kwan and others, in my two novels turned into audio-books “Rock Star Rising” and “McKnight’s Memory”, with the latter being turned into a feature now, while currently producing “Jumping Tracks” for Victory Studios.

Looking back I realize that age 26 was too young for my film school friends to give up. Age 30 was too young for me to consider maybe not doing the next movie. And now I know, any age is “too young” to give up on anything.

Don’t let anyone talk you out of your dreams.