After the Dec. Solstice in 2012, while living on the South Island of New Zealand, I began to see/feel a hero's journey story about five children, living in five different countries around the world who are each called to Whale Island in the South Pacific, where they meet each other and share an extraordinary underwater “eye of the whale” experience with humpback whales. The kids return to their homes and find that they have been transformed by the experience and discover that they each now have new skills and abilities that emerge spontaneously and often unexpectedly. They also find that they now have the ability to commune in various ways with the Ancient Ones and their Ancestor Spirits.
I first perceived the story as on ongoing television show, but when I approached a local television network in NZ was told the idea was not commercial enough to warrant consideration. During 2013, I was guided to visit Easter Island and South America where I had many magical, mystical experiences as I deepened my ability to listen to and follow the guidance that was coming to me from multidimensional sources.
In August 2013, I was called by the Ancient Ones and the humpbacks to an island in the South Pacific where I spent 2 weeks communing with the whales and the Ancient Ones. During this time a mother whale gave birth just a few meters from the viewing platform of the place where I was staying and I was blessed to watch a brand newborn humpback calf first experiencing itself as a whale. I was also shown that before the TV show could be manifested, the story needed to be introduced as a feature length film. The day before I left the island, I suddenly was “downloaded” with the Song of the High Tide and knew that it was the title song for the movie.
After leaving the island, I returned to New Zealand and decided to find Peter Jackson and see if he would be interested in my story idea. While researching his career journey I learned a lot about his personal process of mastering the craft of filmmaking. I met someone who had worked with him who listed what I needed to put together to introduce my story concept to possible producers: a vision statement, a one page story synopsis, 10-page treatment and a demo video. I wrote the vision statement and story synopsis, but soon discovered that that the idea of working with Peter Jackson was a total dead end. I ran out of time because my NZ visa expired and I had to return very abruptly to the USA.
Returning to Ashland, Oregon, I was very surprised to discover that since screenwriting is taught at the local university there were many informative manuals on writing screenplays available in the local library. Synchronistically a neighbor had written several screenplays and showed me how to get started with screenplay-writing software. The theme of the first movie is “Wake up! Remember who you are!”
Four months later (spring of 2014) I sent that first screenplay, entitled High Tide: Eye of the Whale off to screenwriting contest, mostly to get feedback, hoping to re-write and make it better. After I sent it off, I immediately knew that it was not the right direction in which to proceed. I realized that there were actually two more movies to be written before any filming could be done for any of the movies that were part of what had now become the High Tide Trilogy.
Because the main characters were all children and as the filming would be in many different locations around the world, scenes for all the three different movies would need to be filmed simultaneously, Peter Jackson style. I was also made to understand that the films would not, could not, be made in the usual Hollywood fashion and that the making of them would actually be done in a way that had never been done before. Many, many people would be contributing to the production process. The movies will be co-created multidimensionally and I just need to follow my guidance step-by-step.
Because the main characters were all children and as the filming would be in many different locations around the world, scenes for all the three different movies would need to be filmed simultaneously, Peter Jackson style. I was also made to understand that the films would not, could not, be made in the usual Hollywood fashion and that the making of them would actually be done in a way that had never been done before. Many, many people would be contributing to the production process. The movies will be co-created multidimensionally and I just need to follow my guidance step-by-step.
The theme for the second movie made itself known: “You each have the power of choice - to react impulsively in fear or anger - or to go within and look with the eyes of your heart, shift to a state of higher consciousness, and then deliberately create what you’d rather be experiencing.” The children each face some life threatening situation where they find themselves alone with no human help available. They must find there way through by remembering who they are and that they can choose how they perceive and thus deal proactively with the threatening situation.
Some of the scenes I was “seeing” in the 2nd movie seemed so far beyond ordinary reality, that I announced, “If you want me to write these scenes into the movies, then you need to bring me the experiences that will allow me to know they are indeed possible!” Dangerous, potent words! I soon found myself in Bali for a couple of months, then returned back to New Zealand, and then on to the Big Island of Hawaii once again, continuing to have all sorts of magical/mystical experiences.
Some of the scenes I was “seeing” in the 2nd movie seemed so far beyond ordinary reality, that I announced, “If you want me to write these scenes into the movies, then you need to bring me the experiences that will allow me to know they are indeed possible!” Dangerous, potent words! I soon found myself in Bali for a couple of months, then returned back to New Zealand, and then on to the Big Island of Hawaii once again, continuing to have all sorts of magical/mystical experiences.
I finished the rough draft of the second movie and began to receive ideas for the third movie. The theme for this one is: “Imagine the world you most want to be living in and begin to create it, right here, right now, wherever you are in the world.” I began to focus on discovering the incredible things people are doing and inventing, that allow them to create a more harmonious way of living as a part of the living Earth. I began to share my EarthSong work with children and was amazed to see how easily they took to singing to the Earth and working with sacred geometry in order to create our Sound Sculpture ceremonies. I was in awe of the innate understanding they brought to whatever we co-created together.
During 2016 while staying near Mt. Shasta at Lake Shastina, working on the screenplay for the third movie, I realized how perfectly one on the songs I had written years ago, fit perfectly into one of the scenes. Thinking about how we tend to remember songs far more easily than just spoken words, I soon discovered that many of the songs I had written through the years fit unbelievably well into the dialogue and realized they are meant to be included in the movie’s sound tracks. I paused with my work on the third screenplay and now twenty Songs for the High Tide Trilogy are available on Youtube.
At this point (Jan. 2017) - four years after the originating moments of inspiration, I am understanding that the High Trilogy is a vehicle for sharing all the shamanic type practices that I have learned during my lifetime from my interactions with non-physical beings and singing to and communing with the Earth and her creatures. They serve to show the magical moments that resulted in the new awareness and new abilities that I have experienced in my travels around the world, visiting and working in sacred sites and living close to the earth in many different locations. These movies serve as vehicles to show not only how all members of the Web of Life interact and co-create the physical world we each are experiencing, but of how we all INTER-ARE.
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