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Amazon.com review of Jane Robert’s “The Nature of Personal Reality”:

I’m not exactly a newbee to archived Jane Roberts and the Seth materials as I’ve probably read some of her earliest books at least 25 years ago. I now have 5 of her books in my own collection, and would have sworn that this was one already on the shelf except what I had was 2 volumes of “Unknown Reality”. THIS one is the Nature of PERSONAL Reality.

There are some differences and new info, but sometimes the material sounds like a review of something previously read. I gave it 5 stars primarily because it emphasizes the key point over and over: We create our own reality. What you have is what you called into being for yourself. If you want a different reality-then embody (think and feel) like you want that different reality to be. If you want your health restored, then believe yourself to be perfect and fully functioning, and send those vibes and energies into your manifesting desires. Create the image in your mind of what this new and better version of you and your life would be, and then replay that image and scenario over and over and over……every day.

Its a hypnosis technique of envisioning the future that you create in your mind, then walking into it, and FEELing what it feels like to BE THERE in that ideal future. How happy it makes you. How wonderful everyone in your life is there, and how great your life now feels as you walk into that ideal future YOU living there. Do this daily and you eventually walk into that happier, healthier you, …in theory.

The saddest thing for me is that reading the book, which is composed of her husband’s hand-written transcripts of her actual Seth sessions primarily occurring during the 1970’s, is to witness Jane’s health deterioration from pushing herself too hard, smoking, and not sure how much beer was required to initiate Seth’s ease of oration but frequent requests for “another one” were noted. Not meaning to be judgmental, but in the 70’s that behavior wasn’t that unusual, but now, it seems a little questionable.

On some level what Seth says makes perfect sense, and on the other it’s like “Really?….I’m just not thinking and emoting joy and happiness and health? That’s my entire problem?” And yet, I believe that this IS our problem. The thoughts and emotions we hold daily are those that replay for us the next day and the next. It has made me more aware of how powerful and affecting our thoughts on everything are to our personal welfare and our social/cultural environment.

If you haven’t read any of the Seth materials, this might not be the book to start with, but I will gladly add it to the others on my own shelf without regrets for the purchase. I don’t always buy into channeled materials, but parts of this and the many other books that I have from her, ring true.

(Here’s the full speech.)

Life is a verb, I always say, and you have to actually act. But by acting you change everything in your future.

Donald Hoffman:

American Cinematographer:

To lay the groundwork for his close collaboration with Dibb, Pados spent as much time as possible with the director during prep. “Being a cinematographer is a bit like being a chameleon,” he muses. “You always have to adapt to your environment and become like your director by getting in his head and feeling what he wants, which is why spending time with him is important.

“For The Duchess, I had about six weeks with Saul before filming began, but I would have liked even more time, especially because it was a big and complicated production,” Pados continues. “We storyboarded a lot of things; we knew we wouldn’t necessarily be pinned down by our drawings and that there would be a lot of improvisation, but that approach allowed us to discover the really important moments. Sometimes we would just figure out one key shot for a scene, a bit of movement that would capture exactly what Saul wanted to express.”

Alan Rickman:

He parlayed his art studies into a successful Soho graphics-design business. Rickman reclines on the gray dressing room sofa and pictures the pillar-box on Berwick Street outside his design firm in Soho where he mailed his application to the Royal Academy of Dramatic Arts (RADA). “My life changed the moment I posted that letter,” he says. There’s a voice inside you that tells you what you should do. I’d been doing some amateur theater. Our design group was very successful, but I could also see that it was just going to repeat itself. And then that voice came up and said, ‘It’s now or never to change.'”

Rickman did two years at RADA, earning his way as a dresser for Sir Ralph Richardson and Nigel Hawthorne and winning RADA’s highest performing award, the Bancroft Medal. But Rickman’s real reward was psychological. “Most of our lives, we function with a big divide between here and here,” he says, drawing an imaginary line between his head and torso. “When I went to RADA, my body was saying, “About time.” It was being used, and I was aware that I was where I was supposed to be, doing what I was supposed to do, and just in time. In acting, you can’t hang about too long.”