Prior to experiencing 'paranormal initiation' and in 1997 becoming a nonfiction metaphysical author, my writing career began with an entry-level position in the Los Angeles San Fernando Valley adult magazine publishing industry (article) during my final months as a USC cinema major. Then, after more than seven years working at a Hollywood Hills home-based talent Agency (article) and a stint at a Sunset Boulevard public relations firm, I became a movie studio publicity writer at Paramount Pictures (article) long-known as the only major studio with a long history of geographically being situated in the municipality called Hollywood within the city named with the Spanish words for 'the angels.'
There were aspects of working within a corporate movie studio hierarchy—where key commodities of individual relevance were one's creative skills or celebrity status—that I now recognize as preparing me for what was to follow among the stages of my life experiences. Previous blog articles about this phase in my life include "Ten Film Clips from Paramount Movies" and "Metaphysical Subjects and Paramount Movies (1990s)". There were also interactions witnessed between top-ranking studio executives that left me shocked at the degree of animosity directed at one another. This may have been motivated by the stress of handling the responsibilities deriving from holding a position where a chief's longevity is determined primarily by profit margin. The years when I was involved with Paramount were commercially impressive ones in the history of the studio.
After I completed drafts of press kit production information and news releases, speeches, articles, and other items, these would be circulated to filmmakers for revisions and suggestions. I often would have to interview filmmakers or cast members who weren't adequately covered in materials turned in by unit publicists or available through viewing videotaped interviews or reading interview transcripts. Although I never kept any precise records beyond what quotes were used in press kits and other publicity materials, some of the in-person or telephone interviews that I remember conducting include filmmakers Richard Donner, Scott Frank, Peter Hyams, Neil Jordan, Howard W. Koch, Mary Lambert, Art Linson, Randal Kleiser, Frank Marshall, Lorne Michaels, Ridley Scott, Joel Schumacher, Robert Towne, Robert Townsend, David Zucker; dozens of contributing technicians, designers and composers; and actors including Harvey Keitel, Keanu Reeves, Christopher Walken and multiple cast members of "Clueless," "Pet Sematary," "Scrooged" and two "Friday the 13th" movies. At that time, I was still a novice in comparison to my degree of writing and editing experience today. I recall there were a few occasions when grammar would be changed by filmmakers that
may not have been compatible with the style guide that I used (The Chicago Manual of Style) yet I didn't have any inclination to intercede. Upon gaining experience, I became more demanding about grammatical consistency yet upon being relegated to work as a home-based vendor to the studio after a company downsizing, my participation in the process became more limited and I devoted my time to writing an unpublished manuscript chronicling the history of talking poltergeist cases (1, 2, 3) among other 'on spec' projects.
This Testament photo shows myself at far right on a Paramount soundstage. Several of these coworkers participated in the interviews conducted for the book, including my twin brother Mike. Two of the other men in this photo are also named Michael. (Testament photos and captions).
In retrospect, my work as a movie publicity writer was a conscious form of creativity or thinking analogous to 'subjective channeling' (article). I became a Paramount Pictures employee after writing the press kit production information for several movies—beginning with "The Untouchables" and including "Fatal Attraction"—while working as a public relations firm assistant at a prominent Sunset Boulevard firm. The first assignment was the result of helping
my brother who was a publicity director at the studio after other writers had turned in drafts that weren't acceptable to department executives. One of the reasons I was well-prepared to speedily accomplish the task for this particular movie is because a book I owned was I Hear America Talking (1976) that includes essential background information about storyline elements in the movie. I also was highly familiar with the movies of Brian DePalma and once received a letter from him after an agent had submitted one of my screenplays to him.
Dan Gallagher is a happily married New York City attorney. Alex Forrest is an unmarried publishing executive who seduces him when his wife and daughter are out of town. For Dan, their liaison is a diversion. But for Alex, the end of the affair is the beginning of a nightmare for all of them. An impulsive sexual encounter provokes a pathological obsession in "Fatal Attraction."
In 1942, during the third year of World War II, the United States secretly set out to build the world's first atomic bombs. General Leslie R. Groves was the man assigned to get the job done. He selected brilliant physicist J. Robert Oppenheimer to oversee the Manhattan Project's top secret $2 billion experiment. Under the direction of Groves and Oppenheimer, a diverse international group of the finest minds known to science assembled in a remote New Mexico laboratory to build the weapons, which became known as 'Fat Man' and 'Little Boy.' For each man, the mission began as a race against time. It would become their obsession.
A thriller from the director of "Die Hard" based on the bestselling novel by Tom Clancy, "The Hunt for Red October" is set before Glasnost and Perestroika during a time in which the United States Navy and the Soviet fleet are involved in a deadly chain of events. Sean Connery stars as Marko Alexandrovich Ramius, the captain of the Soviet Typhoon submarine Red October. Alec Baldwin plays Jack Ryan, a CIA analyst who is summoned when Ramius begins to carry out a mysterious plan. As the nuclear submarine makes an unauthorized approach on America's eastern seaboard, the navies of the United States and the USSR both hunt for the most deadly submarine ever built in a race that will test all their strength, courage and ingenuity.
Patrick Swayze, Demi Moore, and Whoopi Goldberg star in the suspense-thriller "Ghost," a startling love story.
Sam Wheat and Molly Jensen are in love and have never been happier than they are now, living in their new Tribeca loft. Tragedy strikes when Sam is killed by an assailant on a New York street. Molly is left to grieve for Sam but, unbeknownst to her, he remains on earth as a ghost. Desperate to contact Molly, who is unable to see or hear him, Sam discovers that he is only able to communicate with a psychic named Oda Mae Brown, a charlatan astonished to discover that her powers are authentic. Sam's need to reach Molly becomes urgent when he learns her life is in danger.
On a shaded bus bench in Savannah, Georgia sits a most unlikely storyteller. Forrest Gump has seen it and done it all, but he may not have completely understood any of it. Forrest is not the brightest of fellows. But it's like his mama always told him: "Stupid is as stupid does." And what Forrest Gump has done is follow the tide of history through the latter 20th century, from the football field to the battlefield, from the company of presidents to the clutches of the media, into the arms of his one true love.
The "Star Trek" generations converge in "Star Trek Generations." A mysterious astronomical phenomenon bridging different time frames brings face-to-face the two famous captains of the Enterprise, Jean-Luc Picard (Patrick Stewart) and James T. Kirk (William Shatner), in the 24th Century.
In the late 13th century, William Wallace (Mel Gibson) returns to Scotland after living away from his homeland for many years. The king of Scotland has died without an heir and the king of England, a ruthless pagan known as Edward the Longshanks, has seized the throne. Wallace becomes the leader of a ramshackle yet courageous army determined to vanquish the greater English forces. Wallace's courage and passion unite his people in "Braveheart." [2023 comment: This movie was a highly idealized version of historical events, to say the least.]
When I'd worked on the production notes for "Fatal Attraction," I saw an early test screening of the movie with the original planned ending that seemed anticlimactic to viewers at test screenings and was asked to make suggestions. I found among my files a draft of my response to this request (with typo).
News headlines today document yet more reasons for sheeple to wake up and demand military indoctrinated government officials practice spiritually aware diplomacy worldwide instead of finding new ways to steal from the public for egotistical war funding. DEFUND THE JOINT CHIEFS!If nuclear war occurs, the main reason will be military indoctrinated American govt officials who lack metaphysical understanding while egotistically controlling foreign provocations/the bureaucracy/economic system/news media to maximize military funding. http://metaphysicalarticles.orgWhat government officials don't comprehend about choosing provocations with other countries and proxy war with Russia due to military indoctrination while lacking metaphysical and spiritual understanding has been explained by 'channeled entities.' Example: https://metaphysicalarticles.org/2015/06/intricacies.html)Every organism is an aspect of our shared omnipresent Higher Self/Selves (in Oneness) and subject to the Laws of this (so-called) 'The Only One.' Index of articles that might be beyond the reasoning ability of programmed mystification UFOlogy mentalities: https://www.metaphysicalarticles.org/2020/05/ufology-cases-for-metaphysical.html
In one previous blog article I wrote about the sudden transformation of my vocational career —
Then in the summer of 1995 began the paranormal initiation that transformed me into someone who wanted to help expand the spiritual consciousness of people instead of engaging in the film publicist's occupation of encouraging people to escape into fantasy. My life changed completely very quickly. My expanded consciousness resulted from what can only be described as an unseen Force manifesting in ways that would've been beyond my own ability to think possible prior to the transformative sequence of events.
There are more than 7.7 [7.9 in 2023] billion other people currently existing on Earth yet the events chronicled in my autobiographical case study and the articles at this blog show reveal there are individuals who chronicle events in their lives that have no known documented precedent. When evidence cannot be denied [and any form of evidence can be denied as a choice made by an individual [example article] understanding becomes possible. First and foremost, I've considered myself a journalist about my own experiences as well as other research findings I've presented. Some further articles about myself are planned as this may help readers to comprehend aspects of their own lives that they may not have considered before.
Concerning the period when I worked as a talent agent, I've always done my best to be considerate when recalling this early period of my career. There were incidents experienced or witnessed that would be considered scandalously abusive behavior nowadays yet at
the time were accepted to be common aspects of male sexual seduction and the conduct could reach absurd levels of debauchery with celebrity behavior. Obviously, manifold 'casting couch' imbroglios of past decades are 'all but forgotten' even during the present epoch of 'Me Too' and 'Cancel Culture' litigiousness. I remember once when Ruth, myself and two other female agency co-workers whom I considered close friends went to watch a client perform at a local valley restaurant, one co-worker began talking about her "gift." I was startled to realize that what she was indicating was her capabilities related to engaging in sexual intercourse with men. The impression was fostered that she'd been so taken advantage of by men that this was her way of coping with memories of her experiences. Soon thereafter, the other co-worker and Ruth decided that the client we'd watched perform that night wasn't worthwhile and dropped her from agency representation. This was unfathomable to me and one more indication that I needed to find another job.
To assist with typing and special projects, Ruth usually preferred actresses that had worked in stage roles with Mickey and whom he liked. I remember once, Barbara from New York complained about dating men because of their sexual advances. Once when she came to work uncharacteristically angry, she explained how a man had promised her in advance that he wouldn't expect anything to happen after taking her out for the evening. Nonetheless, on the way home he suddenly said "I know I can satisfy you" and Barbara was still livid about the predicament the next morning. At least with Barbara, I didn't need to worry about what might happen between her and Mickey.
There were some intriguing synchronicities to my career with some of the creative people who became my friends or whom I encountered as acquaintances. One example is that the assistant with the gift eventually became the girlfriend of a famous actor, who gave her a gift as well — a brand new luxury car. And I personally interacted with the same actor when he played a major role in a Paramount movie. Another example involves a client who often visited me at the office, comedy actress Dody Goodman whom I'd once watched in the late night TV show "Mary Hartman, Mary Hartman." She was too nervous to attend the cast screening of the comedy in which she co-starred "Private Resort" and sent me in her place to report about to her about the movie. I didn't mention that a few scenes of gratuitous nudity had made the otherwise okay comedy into something a little tawdry. I'd invited a casting director to watch the movie with me and afterward, we encountered the two young male stars of the movie, one of whom was Johnny Depp. It wasn't a stand-out role yet the way the casting director was so excited to see Johnny again aroused my curiosity. Later when I was working at Paramount, the actor's movie "What's Eating Gilbert Grape" and "Nick of Time" were among my assignments (although the latter was during my 'working from my home office period' when my contributions to publicity campaigns were more limited).
I'm now fascinated to consider the tremendous number of actors whom I saw in TV shows and movies during early years in my life and whose path in life crossed mine during my entertainment industry career. For example, at Paramount I worked on press materials for the trilogy of "The Naked Gun" movies starring Leslie Nielsen. One of the movies starring Nielsen that I saw as a child was "Forbidden Planet," among a multiplicity of fictional works with storylines serving figurative warnings about aspects of challenges that are manifestly facing humanity in 2023.
The publicity executives at Paramount kept me so busy with writing and editing assignments that I ended up working late on assignments on the night preceding my expedition to Oklahoma. As mentioned in a previous article — The week of the trip, I dropped by the Paramount publicity department as customary to turn in invoices and pick up copies of completed press kit materials for my file. I turned in drafts for press kit production information for “Vampire In Brooklyn,” “Jade” and “Nick of Time,” so I was planning to be able to give my full attention to preparing for my interview with the family. . . . Following the visit to the studio, I unexpectedly received a call from a director of publicity to write drafts of news releases for two films being announced: “Thinner” and “Night Falls on Manhattan.” I found myself staying up late on Wednesday to complete the assignments, which would be the last I'd ever accept from the studio staff.
What is Hollywood? I mentioned in a previous article — The figurative terrain of Hollywood inspires themes of the interplay of reality and fantasy, conditions of human mentality and ego, and perceptions about how an individual achieves social relevance. Something observed during my years at Paramount was how bad publicity before a movie is released could influence journalists and movie reviewers' perceptions about it upon release. I remember this was the case with the movies "Crazy People" (due to a change of director) and "Funny About Love" (a subplot and famous actress had been edited out).
When one considers the thought processes and synchronicities involved with the giving of names to people and places, the omnipresent spiritual Oneness is always involved. Considering 'wood' as a symbol in the name Hollywood while recalling the Divine nature of innate human creativity or 'imagination,' I now wonder if the potential second crucifixion of The Christ Force is indicated—the wooden crucifix is the biblical metaphor—with betrayal now being demonstrated in the actions of multitudinous human iotas of the all-encompassing Source due to misunderstanding, fear, denial and the illusions of perceived social consciousness.
While working as a publicist at Paramount, I was aware of the appeal of movies to the human mentality as an individual seeks a new experience or some unfamiliar novelty of life through a movie. Something that I've reflected about is how movies truly are more hype than reality and seldom fulfill a viewer's expectations upon considerate reflection. During my 'paranormal initiation' in 1995, I realized that my livelihood as movie publicity writer/editor had made me a 'carpenter in the Hollywood dream factory' within the corporate principality of Paramount Pictures. (previous articles about Hollywood include 1, 2, 3, 4) Considering 'Divine Creativity,' I also realized how movies come together derives from a large variety of contributors so the entire process can be influenced by subconscious perceptions in the mentalities of each individual filmmaker and cast member. Individual talents or 'styles' in the cinema (sinema?) can be considered by one who's metaphysically astute as an aspect of human identity that occurs to the collaborating artists and this is also a relevant consideration the Source of inspiration for all art forms associated with 'self-expression.'
It seemed ironic to receive this award from the Publicists Guild after deciding to devote myself to becoming a metaphysical author helping people to expand their understanding of life instead of instead of engaging in the film publicist's occupation of encouraging people to escape into fantasy. Another Paramount souvenir is shown below.
After the case study Testament was published, upon
eventually researching paranormal case study books I discovered 'The
Michael Pattern' and 'The Bell Pattern' that noticeably interlink famous
cases of documented paranormal phenomena, including Nostradamus, John
Dee, the Fox Sisters associated with the Spiritualism Movement, Madame
Blavatsky, Edgar Cayce, Guy and Edna Ballard, Direct Voice medium Leslie
Flint, channelers such as JZ Knight and Mark Probert, and the 'Messages
from Michael' Ouija Board communication case. (articles about these patterns include 1, 2, 3, 4, 5).
After
receiving a B.A. from USC in 1979, I had originally planned to work in
movie development yet my interviews didn't lead to any offer of
employment. Once on my way to an exciting New York City job interview,
the taxi stalled in traffic and consequentially I was late for what
seemed to me as being an ideal opportunity. I'd compiled a list of 25
movie storyline 'Elements' that I shared with the producers who
interviewed me to their considerable enthusiasm. Something that seemed
undeniable is what I would be unable to avoid noticing as a blatant
seldom spoken 'Hollywood rule' among movie industry executives — 'Never hire anyone who may be bright enough and qualified enough to be able to do your job.'
In January 1980 when my employment search resulted
with talent agent Ruth Webb and actor Mickey Rooney becoming a part of
my life, it had seemed like the most random of events when I accepted
what was stated in a daily Hollywood trade paper ad to be a part-time
position working as an actor's (in-agency) assistant.' The job turned
out to be a full-time job from the first day although without basic
benefits such as any retirement plan. Mickey was 59 then and once more
was at a pinnacle of current renown with the hit Broadway show "Sugar
Babies" and he would soon receive an Academy Award nomination for "The
Black Stallion."
Mickey
was always vivacious and tempestuous during his telephone calls and
agency visits, causing me to again and again to consider his
psychological state. I decided Ruth's similar mercurial emotionalism
was due to her having been a stage actress for many years prior to
becoming a talent agent. From my first day at the agency, I was
involved in agency business and became a fully franchised AFTRA, SAG and
Actors' Equity (stage) agent in January 1983. This was after Ruth's previous sub-agent Joan (an admirable and level-headed presence) left abruptly.
I was commuting via car from Pasadena and never relocated because of
not being able to completely accept working at the agency as a
'permanent' position due to Ruth's temperament.
An indication of the absurdity of my situation is that Ruth would often
leave at my desk long notes either in envelopes or stapled shut and I
would never read them at all. Joan had told me she'd never read them so
I decided to see what would happen with my ignoring them and there was
never any repercussion so I realized this was something insane.
It was astonishing to see the range of movie and television celebrities who were associated with Ruth. There
were numerous agency clients interacting with the agency in person or
via telephone who I'd once watched in movies and TV shows while growing
up, including (for example) Edie Adams, Robert Alda, Jim Bailey, Gene
Barry, Vivian Blaine, Sonny Bono, John Carradine, Michael Cole, Johnny
Crawford, Yvonne De Carlo, Gloria De Haven, James Drury, Barry Gordon,
Nancy Kulp, Dorothy Lamour, Al Lewis, Peter Lupus, Virginia Mayo, Eddie
Mekka, Terry Moore, Jaye P. Morgan, Julie Newmar, Virginia O'Brien,
Martha Raye, Penny Singleton, Alan Sues, Russ Tamblyn, Rudy Vallée,
Mamie Van Doren, Dawn Wells, Johnny Whitaker, and Alan Young. The
people who came by to visit Ruth was often surprising; some I still
remember are Buddy Ebsen, Betty Garrett, Regis Philbin, Barry Robins, and Cesar Romero.
One
of the complications of my relationship with Ruth was the fact that her
common law husband Jamie seemed to continuously influence her to make
some decisions that I considered absurd. He was much younger than her
and while they were emotionally dependent upon one another, I witnessed
that they had an 'open relationship' regarding sexual relationships with
the opposite sex. I remember once when Jamie suddenly demanded me to
sign an affidavit about my relationship with the agency regarding the
nature of my employment that simply wasn't true. I refused and the
matter was dropped yet there were many other complications. I was
shocked when another agency coworker, Lois, clued me in to the fact that
Ruth had technically engineered a way to eavesdrop during all of my
agency business telephone conversations. I learned that there was only
one telephone line to which she didn't have access so this became the
one used for my personal conversations with Mickey's sensible wife Jan
or during any other sensitive conversation.
A previous clue about the phone system had occurred when I'd booked
actress Kathryn Grayson in a local production of the comedy play "Noises
Off." When I told Ruth, she replied "I know" with a big smile. She
considered Kathryn as one of her 'special projects' back then. Another
former MGM star like Mickey, Kathryn was a sweet woman who lived in
Santa Monica with Sally, a fan-turned-companion for the grande dame.
Among
the aging movie stars with whom I became well-acquainted were Yvonne
DeCarlo and John Carradine. Yvonne reminded me of my mother in some
ways and didn't mind looking her age. John was very frail in his 70s yet eager to continue his profession in any way he could. He wasn't able to get up from a
couch unless you helped him. I was happily surprised when he won a
daytime Emmy for a "Young People's Special" entitled "Umbrella Jack and
his manager informed me how delighted he was to be honored in this way.
When he acted in "Peggy Sue Got Married," he couldn't remember his
lines for his role of a Masonic elder so I thought it was wise
of director Francis Ford Coppola to suggest that he read aloud
from a book of rituals. Following my 'paranormal initiation' and
thinking back about my years as agent, the irony wasn't lost on me about
Yvonne and John having costarred in "The Ten Commandments" in 1956, the
year I was born. In 1997, the second news release for my book was headlined "'God Has Channeled Three New Commandments Through Me,' Announces Mark Russell Bell, Transcriber of TESTAMENT."
Although
there are exceptions like Mickey, being a talent agent made me aware of
how difficult it is for most actors to find roles after either becoming
associated with a television series character or growing older. Some
agency clients were having a difficult time economically and desperately
wanted to find opportunities. As Ruth was renowned as a stage agent,
some clients were represented only in this capacity.
During
my first year at the agency, I was shocked when Swoosie Kurtz contacted
Ruth for representation and Ruth turned down the opportunity. Ruth
simply hadn't known about Swoosie's recent success after appearing in
"The World According to Garp" and could only think of her from the
former New York City agency days. While I was Ruth's sub-agent, once
Jamie convinced her that if we represented more clients, agency
commissions would go higher. I had no say in the matter and it
eventually became realized that this was another unreasoned scheme.
While the number of daily agency casting submissions increased, it was
still a rarity when casting directors selected less-established
thespians for interviewing. I doubt there would be any aspiring actors
whatsoever if young people contemplated the scope of competition for
each and every role. Today SAG-AFTRA reportedly represents more that
160,000 people.
Knowing
that Ruth could be listening to my phone conversations at any moment
made my life extremely complicated. I remember feeling especially
nervous once when actor Abe Vigoda telephone me and with a distraught
voice informed me that the producer of the Broadway play he was
co-starring in had alerted him to the fact that upon calling
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