How To MANIFEST Anything You Want In Life FAST! (POWERFUL TECHNIQUE) with Jocelyn Jones

Jocelyn Jones 0:00
So going back to the person who, every day feels that they're unhappy and they're unfulfilled, and they're living this life, but they're not living it as a gift. They're not looking at this extraordinary planet we're living they're not in present time at all. Because they're not. They're numbed by education. And the lack of it really and the lack of imagination or lack of arts the lack of support in them being a human being and their numbed by AI. They're known by television sorry, film and Instagram and Facebook and reels and.

Alex Ferrari 0:49
I've been able to partner with Mindvalley. To present you guys FREE Masterclass is between 60 and 90 minutes, hovering Mind Body Soul Relationships, and Conscious Entrepreneurship, taught by spiritual masters, yogi's spiritual thought leaders and best selling authors, just head over to nextlevelsoul.com/free. I'd like to welcome to the show, Jocelyn Jones. How you doin Jocelyn?

Jocelyn Jones 1:21
I'm well thank you.

Alex Ferrari 1:23
Thank you so much for coming on the show you, you, you've written this amazing new book. Artists awaken the spirit within. And it is a book that approaches the artistic process in a spiritual standpoint, coming from a different angle that I haven't really seen before. And I thought it would be a great conversation for people here, not just to not just artists listening, but people who want to connect with the artists inside of them. And so many of us are like, Oh, I really just want to play the guitar, I really just want to write or I really just want to draw, I really want to paint, I really just want to make a film or whatever it is. And I think a lot of us are afraid of that. So hopefully, you're going to be able to help them with that today.

Jocelyn Jones 2:07
That was my intention in writing the book, just to kind of, you know, lead people to the artists within them. Because, you know, Alex, we're the, our first piece of art, our first masterpiece is our life. And people don't look at their life, you know, as their work of art. But it is if you so choose, you know, you can have an artful life. Meaning you are listening to your heart and going this is what I want. These are the things I'm going to do to get that and really taking guidance from yourself.

Alex Ferrari 2:45
Now, how, how did you begin your journeys, life's journey as an artist and getting to this point where you want to help other artists express themselves?

Jocelyn Jones 2:57
Well, I you know, Alex, I think it started with spirit. There were two things in play. One was I grew up around an extraordinary group of artists, my dad was an actor. So I grew up in the theater. And then my mother remarried a writer who's in the art world. And so there were painters, and choreographers, I mean, in the 70s, if you go up to the top of the food chain in the art world, and you know, I don't like to name drop so, but in the art world, and the dance world and the theater world, they were sitting around the table, and I was young, and I was studying them. And I noticed that when they were working, they were lit from within, they were, you know, their vibration, their happiness, their joy, their articulation in their work was very, very high. And when they were not working, they were caved. So I became very interested in that. That's the you know, one element of it is the artists. The other element was when I was young. I'm not unlike many, many people. I felt very alone, I felt very disconnected. I didn't really have a strong connection with my parents. They weren't too interested in their kids. It was part of that generation of artists was gave birth to go outside and play. But there was never a question you know, there was no interest I couldn't sense any interest in me and so I didn't feel seen and then I went to school and you know, the teachers weren't you know, didn't really see you. And I just noticed nobody's looking at it. Nobody's seeing anybody and I felt kind of sad. And I was down by the river and I was skipping stones you didn't get those my flat stones and you skip them and they go, you get sometimes eight.

Alex Ferrari 4:57
Wow, you're an eight

Jocelyn Jones 4:58
Yeah!

Alex Ferrari 5:00
I've got four I haven't gotten eight.

Jocelyn Jones 5:03
I did a lot of guns. It's the stone, you know. And it's a little bit of magic. Anyway, I was down by the river, and I was playing like that. And I was but you know, maybe seven, I don't know, eight, you know, as walking to school and time was down there. I was talking. And I started asking questions. And were to myself, I was like, you know, why don't they see me. I mean, I came here to help I, I felt I had a mission, I felt it was special. And that's kind of odd to say, but I felt it was special. And I had a mission, I had gifts, and I brought them and nobody wanted them. And nobody saw me and what we're supposed to do. And so it's done there. I said, you know, who can I trust? And now not to be to Disney about it. But I have a certain amount of consorting with the wind, you know, the wind came up on that question. And blue is a weeping willow, whose weeps landed on my shoulder like a friend, very Disney, you know, and I kind of got the US was a reach out to me, us. I don't hear that as a word. It's not like us. It's not a Disney, you know, being wasn't a cricket, there wasn't a cricket. And it wasn't a cricket. There wasn't, it wasn't there. But I had this very, very strong connection to trees. Prior to that, you know, I lean up against them, I'd go to sleep under them, I, I had this very strong connection that I suddenly realized, I am in communication with trees. And you know, we lived on the Palisades, overlooking the Hudson River. And I would go out all day and play in nature. And then I would lay on the rocks, like a lizard and soak up the sun. And I would feel that I could, was in communication with the rock, that rock I could feel its history and how long it had been there. I would rock hop on streams, you know, that have, you know, there's multiple streams there big rocks in them that are, you know, 1000s and 1000s of years old. And like one of my favorite things to do is to go up a streaming run up a stream going rock, to rock, to rock, to rock to rock, and see how fast you could go and how steady you could be on your feet. And I could feel the Algonquins under my feet, I could feel the history. So I had this strong connection to what a cold spirit and and it really, for me was in nature. And I assumed that to be my counsel. And that's how I began to be able to hear my higher self, because I had that connection.

Alex Ferrari 7:39
So you've been around so many artists and artists at a, you know, some of the highest level artists, if you will, and highest performing artists in the world, during your childhood and then throughout your career to because you also were an actress and have worked at Hollyweird for many years and worked with some very high profile people in Hollywood. What do you believe? Is the mission the spiritual mission of an artist? Because I think that there is it's a special calling. It's not an easy one by any stretch. But it is a special calling. What do you what's your opinion on that?

Jocelyn Jones 8:18
Okay, well, I can tell you this referred to I've talked about what art is. And, you know, I broke it the imagination is imperative with artists. So this I'm I have a whole passionate thing I could go into here, which I won't go into, but it's about school, and taking the arts out of school or when you take you know the art school, you take imagination out of school and you take imagination out, you take out leadership and you take out our future really. So imagination is incredibly important. And artists, known artists, you know, there's art and everyone but artists who know that they are artists from a young age have a very, very high imagination. And I believe the mission is when your imagined imagination vibrates at a very high level. So when you are joyous when you are imagining when you are dreaming, you know you're vibrating at a very high, high level. And at that level, you are capable of plucking impulse out of the ether out of the ethos, this air that's all around us is pretty alive and spirited. So the artists mission is to bring in what the universe wants expressed in art. So it is a mixture between the artists personal life and experience and what they pull from the ethos or the ether or the universe. And then that gets expressed and it becomes universal because everybody recognizes it. When it's an impulse From the ether,

Alex Ferrari 10:03
It's so DaVinci. Obviously, he, he could turn that tap on whenever he wanted apparently.

Jocelyn Jones 10:09
Exactly, exactly. He lived in that tap, he lived in that spirited place. I mean, maybe had some down days.

Alex Ferrari 10:19
Like, everybody has Downs there. But in general, it seems like and even when you study, you start studying some of the great artists in history, you start realizing how impactful their art really was. And you could talk about painters. You look at the Van Gogh or you look at Pollock or you know, or Warhol or any of these very famous works there. There aren't changed perceptions there are changed Basquiat. There aren't there aren't changed the way people thought. And it kind of grew out of that, in the space that you and I come from the filmmaking space. You know, you have people like Spielberg or Scorsese, or Cameron, these these juggernauts in the in the space that when they make something it, it shifts, you know, shifts the world's perception. I mean, after Jurassic Park dinosaurs took a completely different point of view. From people in the world, I mean, people like oh, yeah, dinosaurs, though, bones. But now it brought imagination to a gender multiple generations, and it's still going to this day someone like you know, Cameron, and two that come to mind. James Cameron and Steven Spielberg, James Cameron's his work every one of his films, almost every single one. shifted things a bit like you watch the abyss. The messages in the avatar, Titanic, these kinds of movies that just changed, changed the zeitgeist in the planet. Yeah. And, and Spielberg, I mean, how many times did he do that? He's still doing it.

Jocelyn Jones 12:04
Well, you know, painters, dancers, you know, Talia Thorpe was the first one to marry, you know, modern, and, you know, about like ballet and put things together in a different way. Artists, whether they're painters, dancers, musicians, you know, they are the only ones in the history of evolution, who have changed the consciousness of the world. And it's because they're in tune with the higher spirit and where it wants us to go. And so then that gets expressed, and then we move in that direction. So you can see when artists suppressed, we can talk about art being suppressed and the art in anyone being suppressed. You know, we suppress that by corporate, we suppress that by money, we're gonna go after the money, you know, so then we're going to make these kinds of films, and aren't speaking to anyone really, except on a base level, on an entertainment level, you know? So, and we suppress that now with the, with all the screens, you know, AI and, and Twitter and reels. And you know, if you ever looked at reels only looked at reels about three times, but they're thoroughly addictive on Instagram, you know, you start and the next thing you know, you're like, 30 minutes, watching this stupidity stuff. So that's a suppression of art to me. Because while you're doing that, you're not creating it. So going back to the person who, every day feels that they're unhappy, and they're unfulfilled, and they're living this life, but they're not living it as a gift. They're not looking at this extraordinary planet we're living, they're not in present time at all. Because they're not and they're numbed by education, and the lack of it really, and the lack of imagination or lack of arts, the lack of support in them being a human being. And they're numbed by AI. They're known by television and sorry, film, and Instagram and Facebook and reels and, you know, just time spent and they can't hear themselves. So the book is about what if we just slowed down? Yeah, just spent some time alone, and just got still and listened.

Alex Ferrari 14:40
There are there are and again, I'll go into the film space, because there's there's a couple films that come to mind that when they came out, they changed consciousness to this stuff, obviously, Star Wars because when Star Wars came out, the concept of the force is obviously extremely spiritual. But the concept of the Jedi is very monk like, and then all these stories and it's like, it's like Lucas said the, the the meat and potatoes of society is in the stories so that when that movie came out, consciousness shifted, I think also when the matrix came out, consciousness sifted, everyone's just like, What? What do you mean? What's here is not real? And then you can look at it at the base level where is, are we in a computer simulation, or you can look at a spiritual level, which is that the matrix is where we are right now. But the real world is not the ugly place that they made it out to be. But it's the real, and that's the spiritual world. So those things started shifting. And that's what great art can do. When great art is born. It will spread like wildfire, especially if the time is right. A movie like The Matrix coming out in the 20s. Not so much.

Jocelyn Jones 15:58
Yeah, yeah. Yeah. The timing. You're absolutely right. No one I thought you're gonna say was being there. I remember being there.

Alex Ferrari 16:06
Oh, god. Yeah. But yeah, I remember being there

Jocelyn Jones 16:08
Just kind of he was so in present time that it didn't he didn't make sense. They didn't make it. You know, it was. It's all about being in present times being there.

Alex Ferrari 16:16
There are certain movies, there's certain stories or certain books, certain pieces of art, certain artists that aren't, aren't acknowledged until they're long gone. Yeah, I mean, Van Gogh is a perfect example of that. He never sold a painting, I think in his life, and he's now you know, I think his last one sold for $100 million, or something like that. It's insane. So there, there are artists sometimes who are a little too early ahead of the game, DaVinci arguably is really ahead of the game, he really did a lot.

Jocelyn Jones 16:48
You know, I It's so interesting that you say they were ahead of the game, because I didn't think of it that way. I thought of it. I think of it more, but I think you're absolutely right. But I thought is it more like he couldn't have painted if he'd been acknowledged and recognized to that degree, he couldn't have painted those paintings, but they weren't here it was, he had to live the life he lived to paint those paintings,

Alex Ferrari 17:11
But they weren't ready for him. You know, they just weren't they I mean, you were going you were he was living in a time where, you know, many people still believed that the Earth revolved the whole world, the whole universe revolved around the earth and not the sun. And that kind of ignorance that wouldn't allow this, a lot of the things that he drew, and there's the hidden ideas in his paintings and, and mathematics. And I mean, he was at a whole other just completely other level, to the we're still trying to figure it out Shakespeare are still trying to figure it out today. I mean, yeah, the amount of concepts and words and ideas that came out of Shakespeare's plays were revolutionary, that in the time that he was alive, people didn't really grasp that as well as they do now. And even now, they're still it still takes a minute to read a Shakespeare play and understand it, it's, it's just a whole other experience. So it's really interesting that when, you know, when the arts supposed to come into the into into space into where we are right now, it does not necessarily means that it will be accepted at that time. But it will move things forward. And it might be a little slow, and it might pop 10 years from now. 100 and you and I've seen that with movies, that you're like how did this movie not make more money? Why was this movie not more well respected? Why? What happened? And I always bring up Shawshank like when that came out. People were like, This is good. It's well written, but it didn't grab the zeitgeist. And two years later, until now, it's considered one of the greatest films ever made, you know, and arguably stayed. So it's really interesting. Now, as an artist, you know, we always want to kind of, I want to I want you to talk to the people in the audience who aren't outed as an artist who don't understand that they might be an artist. And, and there's not an all or nothing scenario here. You could do artistic things, and tap into that spiritual artistic side of you without I'm quitting my job as a lawyer, I'm quitting my job as a doctor to be an artist unless you want to go down that but you can, you can start to play with that energy. Because if there's something inside of you that saying, you know, I really want to paint I really want to draw I really want to write I really want to do dance and whatever it is, how do you tap into that and start to let that flourish a little bit because there's, there's there's a lot of walls, a lot of blockages, a lot of concepts about your brain, your ego, stopping you from moving forward in that space. So what would you suggest for those people?

Jocelyn Jones 19:56
Well, I'm gonna say, I'm gonna answer your question. I want it wanted to go back a little bit to what you said about that, you know, things are being made, but then it's not right for the zeitgeist, and it happens later. So I just wanted to talk a little bit there about, you know, we're there. Now, we can look at that, what don't we know now what art is being, you know, created, that we're not quite ready for. And so one of the reasons that I wrote the book was because I believe there's art in everyone. And I believe that some people have not tapped into the very thing we're going to talk about. And they could be the one that has the voice. You know, Van Gogh was a simple guy who lived in a village, he was painting paintings, because he had to paint paintings. So you know, we don't know where those expressions of art that we need right now on the planet, we don't know where they're going to come from. And they may come from you audience, they may come from, you know, any one. So, I think it begins with this communication with self. You know, as I've talked about, art enjoy go hand in hand, that is a very high vibrational level art is a very high vibrational level, people who have not, you know, either acknowledged, you know, they want to be an actor, but their family goes, you know, grow up and go to law school, you know, there's that level that they kind of know, they wanted to be an actor and, and there's a level where people don't feel they're an artist at all. And you can wake up from that level as well. But one of the systems to do it is to raise your vibration. So in the book, we give examples of how to do that. One of them is to make a joy list, literally write down the things that bring you joy. So I've given this to actors, you know, I gave this to an actor who had a very, very big series in his career, and nothing else in his career could quite match that series. And you know, he'd had a bad divorce and hadn't actually hadn't divorce was separated. I gave him this because he looked very sad. And I thought, you're not going to book from this space, you know, that you're living in just like, I want to raise this guy down here doesn't even know he's an artist. So I said, I want you to give me a list next week about things that bring you joy. So next Monday came to class with us Chausson. Really, man, I couldn't I got one thing on the list. And I went, Okay, what is it because golf, go, okay, that's the start. So next week, I want you to go through your life, and look at what things used to bring you joy all the way back to childhood. The next week, he came with a list, you know, I got this and I, I used to love to play ball. And I love movies, and I never watched them. And he had, you know, eight things on this list. And I said, Okay, I want you to take your calendar, I want to take two of these things. And I want you to put them on your calendar, and do them. You know, he loved going to the museum, go to two museums in LA people don't do that. So his spirits started coming up, his level of joy started coming up, his vibration came up, you know, and then I talked about a few other things. Don't do things that are not good for you. Because what do you mean? I said, you're drinking too much? No. Go Yeah. So stop it. Stop it. So you know, how about a little less of that, and you know, you're kind of screwing everything in a skirt. And he said, Well, you know, I'm separated and I'm sad. I go stop it. You know, knock that off. And by the way, either get back with your wife, or let it go. This guy got a divorce was doing the things he loved. Stop screwing around, stop drinking and grow your hair out. This is sexier, long hair. And he started booking and got a huge sheriff. So it's a matter of lifting the spirit up to it. So I tell people, you know, meditate, even if it's 10 minutes a day to create space just to begin to have a conversation with yourself. Make a joy list. Write down five things you're grateful for every day gratitude instantly lifts your spirit when you go, you know, I'm grateful for where I live, I am grateful for this person in my life. Instantly your spirit is lifted. Just on that feeling. You know, as you rise up and the tone of your own tone level, your own, you know frequency, more imagination will begin to operate and you can start asking yourself important questions like if you're going to have anything in The World barring all obstacle, what would that be? And and don't answer it. And I mean, you'll get an intellectual answer. Ask again, ask again, keep asking until your heart kind of starts vibrating and you go, Oh, that's exciting, then you know you have you figured out to do your podcasts, your heart was pounding you went, That's it. I want that.

Alex Ferrari 25:26
Yeah, it seemed that that was the, you know, my wife even looked at me and said, Hey, you seem so much happier. You know, I've been doing this now almost seven years. And it's just that you seem happy. You know, and I've been with you for a long time. And you weren't happy for a while, because you were struggling through other things that just didn't make us happy. And there was a reason why those those doors weren't opening as much as they should have been opening. Which brings me to my next question. So many of us, and so many of us, we need to work on letting go. And letting go of certain things. And many of us hold on to them on a conscious level, many of us hold on to it on a subconscious level. And those things hold us back from our true purpose, our true mission are two things that we need to be doing in this world. And sometimes it holds us back for a year. Sometimes it holds us back for a lifetime. What can we do to let go of those, those anchors, those stories, the stories, you tell yourself? The stories other people tell you that you believe these kinds of what can we do to let those go besides just saying Stop it?

Jocelyn Jones 26:42
Stop it.

Alex Ferrari 26:47
Exactly.

Jocelyn Jones 26:48
Now, the real, the real thing is, you have to recognize we're spirit and body. Right. And we have an ego, we have a personality. And we work on this personality, a lifetime, you know, from the get go, we can I have my personality, you have one and I have one. And it's how we can be separate expressions of consciousness. Right? It's I have this personality, you have that personality. But we are much, much more than our personalities. But because we haven't been educated to it, because we haven't practiced being we're human beings. And we don't know how to be because we haven't practice being, which is being able to walk in the world and observe without judgment, and just take in the moment what is actually occurring. That's truths. That's the only truth there is really, but we're not practiced in that. And we are, we're all about ego. And we're also you know, corporate and lots of people are making money off of our egos. And so it's very, very stimulated, and it just thinks it's the cat's meow. To let go. You have to let go of ego. Because our traumas are all live in the ego in the now we don't have any traumas. traumas are from the past, and traumas or worry about the future, because of the past, there is no trauma in the present. So when you practice being in the present, the ego loses its grip. Now, either of them won't lose its grip, because we love our personalities. You know, we're generally not gonna say we love our egos, because that means we're egocentric. So it's easier to say personality, but it's really the same thing. And it's not a bad thing. You know, it's just way, way, way out of balance. And some people have absolutely zero concept that they're anything more than their personality. One personality defines me, these problems define me, that trauma defines me, I identify with all of these things, and everything that's mine I identify with, but really, we're just a spirit having this wonderful game and a body with the sensory equipment. So that consciousness can experience itself. And we just need to get in a little bit more balanced. So letting go has to do with recognizing that creating a little space so that you can be and recognize, I don't need that anymore. I don't need to think about it anymore. Really, it's about that we think about it. We just spent all this time thinking, you know, we think about and then we make lists. We're justified in our thinking, look, this thing happened to me and I'm right in being a victim because this happened and This happened, we're lawyers, and we have a whole long list. And he did this, she did that. Come on, you got to admit, this was really terrible. And, you know, just long long lists, we hold up, look, I got evidence, like you're so much more, you're being you're just holding on to that as long as you hold to that onto that, look at that arm, that's just a hunk of space, that you don't have anything you can't do anything else with. If you let that space go by just fine. You know? Okay, that's just my thinking. Those are just my considerations, you gain an entire unit of space to create and and that's what you're here to do is create your life. You're here to take the whispers of the universe, and express them in some way, whether it's engineering, or inventing, or art, or, you know, any number, a bookbinding, you know, any number of ways, you have a purpose, you have a contribution, you're worth, you know, your wife says, You're happy in this job, because because you are contributing, and you know it and it's beautiful. We're all here to contribute our piece of the puzzle. So I'm just about helping people find out what my piece was look like, how do I make that?

Alex Ferrari 31:20
Now, it's so many times as artists, you hear about the muse, the Muse that's supposed to come and show up and she's normally laid out as a she, because of greed and things Greek mythology, if I'm not mistaken, where the Muse first came in. And, you know, after speaking to so many different artists over the years, I'm always fascinated. I'm like, do you ever find that moment when you're writing and all of a sudden, you look down and go, Wow, who wrote that? Like you've channeled in? You've, you've tapped into that that thing? What advice do you have for people who are looking for that inspiration to try to tap into that inspiration to to raise their vibration, if you will, high enough to be able to tap in to that situation? Because if you're coming from a very heavy place like ego, it's tough to tap into that, you know, when you're, and you might get lucky once and we've seen this in Hollywood. One time they like, oh, the one hit and then just like that, gone. never hear from them again. Because they weren't, they were coming at it from a different place. But when you hear I'll bring up Steven again, Mr. Spielberg, he's coming from a completely different place. And he's been able to do it consistently since the 70s. at a level that nobody in the industry has ever heard. So he's obviously at a different vibrational pitch, if you will, that is able to continuously tap in to that thing, and, and the universe is continuously going. Let's give this one to Steve. And that will give the avatar thing over to James Cameron, I think you'll be better at that. And I will give Nolan, that Inception thing. Yeah, we'll give them Stephen will be good for this, these kinds of things. So how do they how do you suggest people tap into that views or prepare themselves to tap into it?

Jocelyn Jones 33:10
Well, if you take a look at things, Gilbert, he's Romancing The Muse. He wants it, he intends it. So part of it is, you know, we are our intention. If we if we're intending to impress somebody, then we're going to do all these things to impress them, if we're intending to listen and see them, and we're going to open space and receive them, you know, so intention, if you look at us as these very fast spiritual beings, our intention is everything, you know, if you if you're trying to get from here to, to, you know, a department store, and you know, you think about this restaurant over here, you know, you're gonna just you can go off in the wrong direction. That was a terrible analogy, but you can go off in the wrong direction, very, very quickly. So the first intention is, to romance the muse, I want to relationship with a muse. The Muse is that piece of the ethos, that's that thing in the universe that I talked about that when you when you intend to get into communication and use your art, whether it's acting, writing, or creating your life, that you ask questions of it, and it arrives. So yeah, you have to be you have to have the intention that you want to do that and you have to be at a high enough vibrational level to hear, you know, to hear you, you know, down a lower vibrational level, it's noise, you know, you have the news and you have the news is enough to kill anybody. You know, it's just, it really is dragging us down. And we want to bring humanity up from the very bottom for everyone. Everyone has this in them. Everyone can connect in this way. If we just give them a shot, you know, a roof over your head, some, my husband did a film about Rosie rear. Many, many years ago, it's one of the first first documentaries, he made his director. And Rosie grew up in a house with 11 kids. Rosie came in a certain way, and he had a higher vibration. And he said, I'm going to school, nobody went to school. So I'm going to school and we go honey schools too far away. He walked to school, at six, he walked to school, he had a vision, he followed that vision. I want to reach the other 10 kids in the house and say, you're worth it. Don't be don't go with the story of we have no food and you know moms this that don't go with the story you're born into, go with what you hear in your heart, you have a purpose, you have a mission. So you have to first intended once you intended, then the exercises will come flooding into, you know, my book, somebody else's book or certain movie, you know, those things, just, you know, law of attraction is a real thing. If you think negative things, those you're gonna that it's a mirror, you know, it's like, oh, you know, this terrible thing. If I do this bad things gonna happen? Well, you're gonna prove that right. You know, so it's not airy fairy. Like, I'm gonna think, you know, lovely thoughts, you know, wonderful thing like and Peter Pan, what was it lovely. Your thoughts, Michael. And he flew, you know, a little bit of a parallel. But anyway, first you have to intend it. And I mean, just take a look at it. Alex, a lot of people aren't intending anything.

Alex Ferrari 36:48
No, Survival mode,

Jocelyn Jones 36:51
Survival mode, that guy you talked about the one hit wonder, he probably intended it, and got that piece of art done. And then the powder puff came in. And everybody told them how marvelous he was, oh, he fell into his ego. And he couldn't didn't even think to intend to make the same kind of connection.

Alex Ferrari 37:11
It's interesting, because, you know, studying, I mean, I've arguably been a student of artists since I was a teenager because I was constantly reading biographies constantly studying how other people made it in, in the industry as an artist in the film industry as an artist. So I was constantly searching and looking and trying to figure out okay, what path should I walk in? And it took me 20 odd years to figure out like, You got to walk your own path rather, you can't. You can't, you can't, you can't go to Universal Studios, jump off, jump off the tram, set up an office and start making calls like Steven did. You can't make El Mariachi like Robert did. You get there's there's certain stories that are inspirational, but those things can't happen again, for anybody else. They were very specific for that person at that time in their lives. And as I've spoken, I've spoken to many artists to that, you know, one that comes to mind, well, I won't name had a huge splash in the 90s monstrous. And he was a talk of the town and everybody wanted to be in business with him. And, and something happened where he derailed his own life. And he's been struggling ever since the comeback from that, and he has to a certain extent, but the potential of where it could have been, is really interesting to me, but there's I've spoken to the one hit wonders, and also just being able to psychologically deal with that that hit is difficult for many people very difficult.

Jocelyn Jones 38:48
Yes, it's famous very, very, very tough. I mean, it's it's like a Turkish delight, you know, in that Narnia stories, it's like, I want more, I want more, I want more. And so this intention that I'm talking about, I want to explore artistically, what else is there for me you take a look at someone like Meryl Streep's career, always reinventing, always reinventing, it's all her intention as about the characters about expression through a another, a different a new character. That's her intention. So, you know, intention is a huge part of it. And we have to realize how powerful that is. And intention,.

Alex Ferrari 39:32
And watching and watching someone Merrill's is a such a great example because arguably, there's very few actors in the history of cinema that have done what she's done. And that every single time she just shows up to work. There's something magical that happens it's like she's been nominated what 100 times for an Oscar I mean, it's it's insane. Every every basically every year she's up every year there she's always in the conversation. She's always nominated when was To perform. And I always find her fascinating because she's tapping into something as an actor and maybe you can speak more eloquently about it than I can. Since you are an actor and teach acting and have been in that space for a long time, she is able to, to tap into the ether in her performances consistently, in an authentic way that you believe who she is. And that's the job of an actor is for you to do exactly what Meryl Streep does that Daniel Day Lewis does that Denzel does, these masters of the craft that they could just, they just turn it on effortlessly, at this stage in their careers, because they've been working on it for so long. But Meryl, is she's just able to tap in to that thing, whatever that thing is, but she's able to do it as an actor. What is it about her abilities that allow her to continuously do that is I mean, the only word that comes to mind is authenticity. She attack attaches an authenticity to every character, she plays in a way that none of many of our competitors, most of her contemporaries cannot do consistently.

Jocelyn Jones 41:17
Well. Yeah, it's, uh, you know, actors, there's a technique to act, and people very rarely understand what it is that actors do. And, you know, I was able to deliver a real meat and potatoes. A technique is, you know, starting with Where are you, actors create life out of nothing. And the reason I believe that we're so attracted to actors, and you know, you don't have movies, if you don't have actors, you don't have anything if you don't have actors. So the reason I believe that the audience is so attracted to actors is that when they create life, before your very eyes, you are reminded that you are creating your own life. And if they can create that emotion and those inner feelings and this character before my very eyes, that I can leave my seat and enter because it's so authentic, which is a result of their work. Surely, I can create my life a little better. I think that is the underlying connection that actors remind people that you're creating your life, what do you want to do with it, I just created this one before your very eyes. There's also something about parallel lives because we are living parallel lives, we are all of a whole. So they're creating new lives in front of us, informs us about the nature of life and be now the way an actor gets to that is by a series of questions and a series of inspired answers. So actors now, you know, starts out with where am I? You can't have any seen any place without where am I and as a director, you know, this, this is like your location. The actor looks at where am I? Sometimes they're given, you know, the where am I in a television show? You're in a hospital. But where am I? And now I have to place myself where and also with actors who could be like when they're working in class, where could I be? Could you take place someplace else? And you keep asking, Where am I? And what's that about? Until exciting things happen? And you go, Oh, what if it was this? And I did? You're waiting for that ha ha moment? After? Where am I it's what am I doing? What happened before this? One? I mean, these are a lot of questions for an actor to deal with. It's not like you have to answer all of them. It's like you have to review them, and answer enough of them that excite you, too, to what I call into the character, I worked with a wonderful actor. Tell us anyway, we will work for two or three months before the shooting. And this actor said it kind of beautifully, that I would feed the machine. You know, here's some history about this character. Here's, you know, all kinds of research particles where what, who is he? Who does he love? How does he love? I have all these questions and look, by the way, and they're the same questions you can apply to your own life. Who do I love? How do I live? Love? who supports me? Who doesn't support me? You know, all these questions are exactly the same. And you ask these questions and you try clothes, actors love clothes, they put on the hat, they take the cane, they put on the shoes, and at some point something snaps and it's not just that they enter the character, but the character like the higher It starts in forming them, and we bring them. And that's what happens with Masters. The technique, the bicycle riding out of it, but this, you know, very basic work that most actors can't do, because they don't know how to do it are things like, you know, I can talk about working on the butler, because Forrest gave me a credit as a dramaturge on that, which was very kind of them in the first time anyone's ever done that. He's, he's a magnificent actor. And so for instance, you know, and the Butler is the butler and has worked for six presidents, right? So we, I would do things like, look, research, what the papers what was in the news, so that by the time you know, I would say, so you sit down to breakfast with your wife, your your son is, you know, revolutionary. He's reading one set of newspapers, you're reading these newspapers, okay? When you go to play this scene with the President, don't look at this piece of research, until you go to do this scene and then turn to this page, I was observing books. And this, this is what he read in the newspaper that morning. And it would be Emmett Till's death. So the actor would look at him, it tells that and take in those photographs, and that horrible event, and then play a scene that had nothing to do with it. With the president of the United States, that acting actors know how to put those two, you know, ingredients together, so that it broadens the scope of the beam. And we go, Oh, my God, this is like a whole human being, because we have in our life, and then we have our dialogue. And our dialogue is very often not to Representative what's going on inside of us. Most of the times, yeah, most actors do words, where, you know, they read the words, they get an idea what they're what they're supposed to sound like. And then they play them and all the emotion is in play. But now St. Forrest Whitaker themselves, they're diggin, they're digging for the parts that will call in that parallel beam will then start leading them. And then in this way, they're honoring another, another almost like another life form. It's, it's pretty wild

Alex Ferrari 47:33
It's pretty insane. You know, and I've seen, you know, I've had the pleasure of working with some Oscar nominated actors in my career and watching them work. Fascinating. You know, when when they walked in, I'm like, Oh, so this is what I think's like, Oh, I haven't. I haven't been dealing with actors in my career so far, until I started working with you, sir. And, and you just see them and just like, wow, they they're just at a different level. And we were talking about this for everyone listening because of understanding the process of an artist. And understanding a process of what it takes to tap into certain things. Even though many people listening right now we're just trying to figure out, how do you even start this journey. But I also think it's a really educational process to show you what people at the highest level are doing, and how they're able to do and that's what I strive for, if you're going down this path, and it doesn't have to be grandiose, you don't have to win an Oscar, you don't have to win a Pulitzer. It could be engineering, it could be architecture, it could be a million other different forms that this comes in, with the concepts all stay the same. It's coming, I do believe that art comes through us and through our filter. We are the filter, there's no question. So if I write a book is gonna have my my flavor in it, my experiences my life, my, my, the way I speak, it's going to have my voice, but the information is still going to have to come in from somewhere else. And that's what I think, after speaking to so many great artists, the real great ones understand that they understand that like I am just a dictator here.

Jocelyn Jones 49:18
I'm just I'm looking and they're seeking it. They're intending it. So when you say you know you're writing the book, and then you look back and you go, did I write that happens all the time, because also people should know, when you are going in the right direction. It starts to flow very, very slowly that that is the universe answering. You know, I really feel Alex that we're on the precipice of I mean, I feel this way many people feel this way. Everybody on your show feels this way. We are on the precipice of a huge leap in evolution. And part of that leap is we have been learning by problems you know, we we get the problem we have this trauma We learn from it and we move on, which is kind of a slow process. You know, I believe we're moving into a consciousness is where we create space just like that actor does ask questions, it all starts with creating the space to be there and to listen to counsel. It's a, you know, it's interesting because I go to your higher self to listen to your higher self, but it's also listening to your heart. Some people I just breathe into my heart, and I'm suddenly there, just that breath in dark. But you're creating space to listen to counsel to move towards that counsel. And then synchronicity comes in and goes, yep, yep. Yep. And it's extraordinary. That once you start on those three steps, space, listen, get the idea. Move toward it, I promise you, you know, a hummingbird is going to come and tap on your window. Good job. The trees gonna the winds gonna pick up in the trees and land on your shoulders.

Alex Ferrari 51:06
There's the crickets gonna start talking. And then that's, that's when the problems start. If the crickets starts talking to you, anyone listening? Speak up. Words, if there's actual words,

Jocelyn Jones 51:18
Butt if he just is chirping? That's fine. Just be acknowledging you're doing a good job, that's fine.

Alex Ferrari 51:23
But if they start singing and dancing, let me know what you took some Ayahuasca there's some Ayahuasca stuff going on?

Jocelyn Jones 51:34
Well, my answer is that you know, you're in a forest, you know, can you see the trees? And they go, Yeah, I can see. I mean, since you're never going to see the trees, honey. I mean, if you actually see trees, we have a problem. But if you look out into the audience, and you imagine the specificity of that tree, that tree will appear for you and the audience. But yes, no seeing trees.

Alex Ferrari 51:59
Please, please. Jocelyn, tell everybody where they can pick up your new book artists awaken the spirit within?

Jocelyn Jones 52:11
Well, you can certainly pick it up on Amazon, Amazon, and any other place they sell books. It will be there.

Alex Ferrari 52:21
And I have two questions. I ask all my guests. Yeah, sure. What is your mission in this life?

Jocelyn Jones 52:29
You know, my mission is to help. I just want to help. And you know, I have a lot of counsel, I have a lot of, you know, things that I hear I write very fluidly. But my job is not to tell anybody anything. I really feel the job of an educator, which is what I'm most interested in, is to bring people to themselves because they know the answers. And so my mission is to do that, to not tell you the answers, but to tell you you know the answers, here's the space where you'll be able to hear them.

Alex Ferrari 53:10
And what is the ultimate purpose of life?

Jocelyn Jones 53:13
I think to love and be loved. I think to practice kindness, I think to do what you know, in your heart is the right thing to do even if it's you know, not convenient.

Alex Ferrari 53:34
Simple, good answers. Jocelyn has been an honor and privilege having you on the show. And I want to have you back soon. Just keep talking about this subject and many others I know that you are capable of speaking of. So I appreciate you coming on the show. And thank you so much for writing the book and thank you so much for doing what you do for artists out there because it's it's lonely out there for the artists that the artists sometimes it's can be very lost and it needs a little a little guidance, even if it's not a finding the artist inside of you. And not just being an artist in general, but just everything and tail so I appreciate what you do. And thank you so much for coming on the show.

Jocelyn Jones 54:13
Thank you Alex has been immense pleasure.