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| Wednesday, March 21st, 2007 | | 12:22 am |
| | 12:15 am |
Los Angeles Times
Russian filmmaker Ruminov feels like a horror pioneerHe believes his country's directors must recalibrate Hollywood genres. By Jeffrey Fleishman, Times Staff Writer
March 17, 2007  MOSCOW — In a nation with a history of blood-soaked fields, icy Siberian prisons and leaders like Josef Stalin, it seems a bit curious when Pavel Ruminov, a young, gifted Russian filmmaker, mentions that his countrymen don't know how to kill monsters. History is one thing, film quite another. Ruminov's new movie, "Dead Daughters," is — partly by hype and partly by the vestiges of a former Soviet system that eschewed slasher meditations — arguably Russia's first true horror movie. Ruminov's tale of three murdered sisters who rise from the grave with wicked vengeance is a dense, sometimes erratic whirl of morality, inner banshees and deadly darts that swarm across the screen like a hard silver rain. Think Ingmar Bergman meets Brian De Palma while a trio of invisible Linda Blairs lurks and giggles at the next table. The movie is receiving mixed reviews, with the common complaint that it doesn't know what it wants to be; those hoping for blockbuster horror find the blood quotient too low and the premise too intellectual. The director believes filmmakers must recalibrate established Hollywood genres for a post-communist Russia uneasily balanced between widespread poverty and the wealth of new oligarchs. "I've got nightmares that people want to watch 'Scream' and what they get is a film that's an enigma for them," said Ruminov, sitting in a screening room on a recent snowy Moscow afternoon, a scarf around his neck, his long fingers woven as if locked in battle. "It's rubbish, to be honest, when they say mine is the first horror film. I think it came up naturally because we never had the tradition of the horror genre in this culture. It was forbidden in Soviet cinema. Then we became part of the Western world, and we're still slowly turning that way. But we should be risky and brave in our moviemaking." "Dead Daughters" is more about psychological torment than rip-and-slash horror. | | Sunday, February 25th, 2007 | | 2:55 pm |
TWITCH
Dead Daughters Review  One of the most anticiapted films in these parts for about a year now, Pavel Ruminov's Dead Daughters has shown a remarkable ability to divide audiences. Those who like it - Kino Express and the Moscow Times among them - like it a lot while those who don't generally despise it with one major Russian film site - Kino Govno - driving a very personal feud with the director for months now. Why the split? While the film has some definite weaknesses it seems likely, from the sheer vehemence of its detractors, that a good degree of the backlash comes from stymied expectations. Ruminov is a director who frequently name checks Sergei Eisenstein and Kiyoshi Kurosawa in conversation and that latter influence very definitely shows in his own work so that segment of the audience coming to the film looking for an American style teen splatter fest very definitely departed disappointed. Dead Daughters is far more arthouse than grindhouse.
The film opens with a young woman, Vera, sitting alone in her car. A strange, battered man leaps in unannounced, raving about some force in pursuit of him, insisting that Vera take him someplace safe and threatening violence unless she does. Vera complies and is told a wild, fantastical story about a madwoman who killed her three young daughters years earlier and was herself seemingly killed by her childrens' ghosts. Their hunger not sated the ghosts have subsequently been on a killing spree, tracking the last person to see their latest victim alive for three days and meting out punishment should that witness do anything wrong in that span. Vera's not a stupid girl and she knows a crazy man when she sees one and so she ditches him at her earliest opportunity and relays the story to a quintet of five visiting friends to try and calm her nerves after the frightening incident. But here's the thing. The crazy guy wasn't crazy after all. He was exactly correct. And Vera's abandonment of him in his time of need is more than enough to bring ghostly wrath down upon herself. This, in turn, places her five friends directly in the line of fire. They were all with her on the final night of her life, they all left together, and they thus share the unfortunate tag of last to see her alive between them. They now must survive the next three days. | | Sunday, February 4th, 2007 | | 1:26 pm |
Ghost Story
By Tom Birchenough The Moscow Times
Friday, February 2, 2007. Issue 3588. Page 101. Well, this is a bit of a puzzle -- Pavel Ruminov's "Dead Daughters," which is being touted as Russia's first horror film. But is it? Last year saw the release of "The Witch," a loose adaptation of the Nikolai Gogol story "Viy" that was promoted as the same thing. But given that "The Witch" was shot in English and set in a U.S. environment, there are grounds for disputing its Russian provenance. And then there was the original 1967 version of "Viy," which can genuinely claim to be the only Soviet horror movie.  |  |
All that may be academic, however, because "Dead Daughters" is certainly the first contemporary Russian horror movie, set in the all-too-recognizable location of an outlying Moscow neighborhood. It's also one of Russia's most successful engagements with the realms of genre cinema to date, the kind of project that fuels the film business from Asia to Hollywood. Critics the world over (including, periodically, this one) may frown on all that, preferring the more rarefied reaches of the art-house stratosphere. But in the end, it's time to give credit where credit is due. Ruminov is certainly one of the more colorful characters in the Russian film industry -- with a talent to match. After interviewing him last week, I learned of an incident where he interrupted a fellow Russian director at the 2005 Rotterdam film festival, accusing him of "trivializing the history of Russian cinema in an attempt to please Western audiences," one Internet source said. Though I missed that outburst, I did catch a similarly stand-out appearance at last summer's Kinotavr festival in Sochi, which had him fuming about the local industry -- using some quite fruity language -- in front of a roundtable panel on co-productions.
| | 1:21 pm |
Hitchcock from Vladivostok
By Anna Ozar The Moscow News The first Russian horror movie? No, we have already had our share. The most famous director? No. To be honest, I heard about him for the first time only two or three months ago. Celebrities? No, just a group of young and unknown actors Pavel Ruminov, a 32-year-old skinny and serious guy, explained a few things to me about his new movie with the terrifying title Dead Daughters. Brrr. What are the advantages of DD compared to other films? DD is a ghost story filmed in Magnolia's style. The movie is filmed with a hand-cam, but the filming process itself was kind of a detailed laboratory screening of each scene. There's a spirit of urbanism there, like in Spinotti's and Mann's films. The camera is balancing on the verge of home video, transmitting all the emotions and feelings of those who make the movie. When the camera is visibly shaking, that means it's in my hands. The camera conveys the emotions of a human being.
| | Monday, January 15th, 2007 | | 2:14 am |
| | Tuesday, January 9th, 2007 | | 5:15 pm |
The notebook. On genre movies
I’ve got a question: I have been keeping up with your Dead Daughters project as closely as I can by picking up relevant information every now and then. I am in the booking business myself and just love movies, any type of them. I do realize that you’ll be probably offended by an attempt to categorize Daughters in genre terms but, still, can I ask you whether it is going to be a thriller or an art movie? I’ve tried to answer the question and discuss other topics related to what is happening to cinema in Russia. At certain point in my life, in order to keep my mental sanity while working and socializing among our movie-people, it became utterly important to me to clarify all those foggy and messy ideas that have been straggling over filmmaking like weeds and suffocating everything. Suffocating me, first of all, so there was no altruism on my part. I wanted to go forward, I needed a clearer perspective and wider horizon in my professional life. So it was time for me to get it over and start seeing things clearly. Generally, we talk too little about movies and filmmaking, we don’t ask questions though a regular exam can show that it’s possible to talk straight and sane about all these blockbusters, mainstreams, genre movies, Hitchcock style and other outlandish stuff. And we should be happy with that. We should be happy to learn because learning is good. If there are questions I’m always ready to give a long and boring answer. It’s one of the thing we launched this thriller for. My desire to clarify the understanding of movies and filmmaking in Russia is far more important than the film and the two hours you will spend at a movie-theater entertaining yourself. I’m sorry to say that but in discussions of this quite an important subject (for it is really the key one since movies help ideas and images infiltrate the heads of millions people, since films are the water of life and the water of death simultaneously) even really smart and refined people are guided by utterly absurd terminology and virtual and fabricated frames of reference. In this sense we’re still innocent and we should benefit from that. However, filmmakers and film lovers should somehow form a more reasonable, self-consistent and influential layer of society capable of exerting some positive influence over the country, powerful enough to bring the spirit of intellectual disquiet and to initiate some further development. With my Daughters, I have been trying to make a project that would resolve a dozen of questions and would enable me to realize my plans related to the advancement of our national filmmaking. I’ve been working not to just flirt with the audience and suck advantages out of the reserves that have been hardly scratched up by now. This wouldn’t have been even pragmatic. The existing system that thwarts the progress of our filmmaking as an intrinsic part of our society and culture will be curled up soon. Investors will have to understand that to make your business in films you need good scripts, inspired and deeply versed people who really have something to say. | | Thursday, August 17th, 2006 | | 12:32 pm |
DD_FIRST REVIEW IN THE HISTORY
No one's ever done it in Russia before. And I still cant f...ing believe I saw it yesterday and the world wouldn't – in the nearest 6 months (according the rumors). Taking a profitable original idea, proclaiming "doing the first Russian j-horror movie", getting the best underground (but rather non-major) casting-shooting–post-production team, fighting producers and all surrounding stupidity, Pavel Ruminov made neither a first national teen-horror, as he was expected by anyone, distributors incl., nor a "our answer to the best of genre". It should have been called "an auteur mystical thriller-drama". With a potential of blockbuster".
Story of five young people socially trapped by a so familiar legend-of the-dead-dark haired-pussies-killing-everyone-who-sees-their-victim-last turned out to be just a ground for director's eagerness to use 10-year-making-short-movies experience on a big-screen project. Not to forget that in Ruminov's case "making movies" was never without a great deal of keen understanding, exploring and widening cinema horizons. Did he reach one of them? – Definitely yes and not for a minute of his Dead Daughters did he forget of the audience expectations. Brilliant camera-work (by Lyass), incredible city and interior visuals, astounding editing (by PR himself), mind-blowing sounding and variety of genres (well, horror mostly – from hints on Italian gore to the more or less American pattern) exploited during 110 minutes made me think I saw an indieAmerican-European movie, as nothing ever got closer to the cinema art in recent Russian cinema as DD did.
Proclaiming himself a Russian Shyamalan-Kubrick-Spielberg kind of filmmaker, Ruminov is not so far from the truth. Surprising twist-in-the-end? Yes. Intelligent style? Yep. Commercial appeal. Well, if Praktika Pictures whose mythic promo-buzz made this project attractive for Hollywood wouldn't slack the speed – everything is possible. Since DD is done, there is nothing for them to be afraid of – unless its director is alive.
Serguei Bondarev
His best is done, now it's for producers' move, Aug 16 2006
| | Wednesday, August 9th, 2006 | | 1:46 pm |
Digest: Dead Daughters Remake & Other News
The teasers are rather short and to the point, but they are very ominous and leave you with that lingering feeling. The film looks to be shot with a discriminating eye and is looking amazing.
Apr 19, Two More Teaser Trailers for Dead Daughters
http://www.horror-movies.ca/horror_5738.html
Pavel Ruminov's Dead Daughter's is always looking better and better. Today they have put up two new teaser trailers for you to check out. I love the approach they are taking with promoting this film. Slowly giving us bit by bit and letting us piece it all together. It is also a less is more strategy as well.
May 12, New Dead Daughters Teaser Trailers
http://www.horror-movies.ca/horror_5848.html
Variety just confirmed today that Gold Circle Films has obtained remake rights to Pavel Ruminov's Dead Daughters. Jared Wright will be adapting the film for the english speaking audience. No director has been announced yet. <…> Despite the fact that the film hasn't even been released yet they have still optioned it. Maybe they have been paying attention to all the coverage the film has been getting and decided to pounce on it before it becomes a bidding war over the picture.
Aug 02, Dead Daughters Remake Confirmed
http://www.horror-movies.ca/horror_6237.html
Gold Circle Films has optioned English-language remake rights to Russian horror pic "Dead Daughters," with scribe Jared Rivet on board to adapt.
Directed by Pavel Ruminov, original film centered on three girls who are murdered by their mother. To seek vengeance for their untimely deaths, their ghosts randomly pick people to watch. If that person does something wrong or acts out of line, the girls hold a merciless trial.
Gold Circle topper Paul Brooks will produce the redo with shingle's Scott Niemeyer and Norm Waitt taking executive producer credit. Gold Circle's Zak Kadison, who negotiated his company's deal with Central Partnership's Armen Dishdishyan, will co-produce.
Rivet previously penned "Killers of the Dead" which is being produced by Brian Witten and will be directed by J.C. Barros.
Aug. 1, 2006, Gold Circle nails 'Dead'.
Shingle to redo Russian horror pic By CHRIS GARDNER
http://www.variety.com/article/VR1117947807?categoryid=13&cs=1&nid=2562
These days, it’s inevitable that a Stateside production house would scoop up the rights for an American translation, and Fango has learned that Gold Circle Films (the outfit behind WHITE NOISE and SLiTHER) has taken that honor. Newcomer Jared Rivet is penning the adaptation; it’s his second script in development after KILLERS OF THE DEAD, a zombie tale that has generated a curious murmur around Hollywood and is being produced by Brian Witten and directed by JC Barrows. <…> Тhere’s no word yet on who will ultimately distribute or direct DAUGHTERS’ U.S. take, but Paul Brooks is producing with Zak Kadison.
July 27: Russia’s DEAD DAUGHTERS to be remade in U.S.
http://www.fangoria.com/news_article.php?id=2412
| | Thursday, August 3rd, 2006 | | 9:13 pm |
Silent Man
Silent Man (2005) by Pavel Ruminov is coming soon on DVD. Visit the website of the film at http://silentman.ru/
Below you will find a review of the film written by Anindita Banerjee (Cornell University):
"Not until the very end of the film does the viewer, navigating through the strangeness of Pavel Ruminov’s second directorial venture, become aware that The Silent Man is an extremely self-conscious engagement with an emerging genre that I will call “horror vérité.” Both parts of this definition are easily identifiable in the film, but what makes their fusion especially unsettling is the level of reflexivity informing the use of familiar tropes from each.
The core narrative is essentially a stalker-and-slasher story, in which a young web-designer is relentlessly pursued by a mysterious cyber-persona, “Donald D.” In increasingly threatening terms, the cyber-stalker keeps ordering him to be “silent” about something he cannot even guess at. As he begins to obsess over Donald’s identity and motives—is his co-worker his persecutor? is his former girlfriend’s mysterious death after “falling in the bathroom” somehow linked to his predicament?—the protagonist’s world shrinks backwards from “real” relationships and spaces until it boils down to the computer screen glowing silently from a corner of his claustrophobic one-room apartment. The impasse is broken when, remembering his childhood desire to become a filmmaker, he decides to go back into the world with a digital camera bought, ironically, over the web. But this, too, becomes a life-threatening endeavor.
| | Wednesday, July 19th, 2006 | | 11:43 pm |
| | Monday, May 15th, 2006 | | 11:33 am |
Interview to be published in Action! Magazine
Q: Could you please share your experience of working with video-boards?
Pavel Ruminov: I try to make maximum use of film director’s contemporary arsenal. When I shoot a scene using a video camera, I create a sort of draft that allows for additions and deletions to be made as easily as a writer or a poet would make them. This is in fact the core process in the whole film-making affair. It is video camera that helps me establish a contact with the film’s soul and, beside that, it’s a good means to resolve a number of practical issues related to a given scene.
Sure, a pencil can also be very useful in creating this contact with film’s soul and I’m used to drawing the whole film scene by scene and to making animatics in certain cases but video camera opens larger possibilities and the spirit of the film seems to better talk through this very device. There is more affinity between them than between film and pencil. Of course, today Hitchcock and Eisenstein would make video-boards for their films using digital video cameras. Digital camera is in fact a realization of the camera-pen so passionately dreamt-of by cinema theoreticians sixty years ago.
The technique itself is very simple. Using a video camera you shoot ten versions of a complex monologue. After that you analyze the experience together with your actor and cinematographer, which allows everyone to breathe the air of the task and to better nail every practical aspect by looking at the action from all possible angles. Can this procedure fail to make a scene better? No, it can’t. It will make it stronger in any case.
Does this make producers spend more money? No, this helps them save. Advantages are clear – one only needs to understand that many contemporary russian films degrade to the level of ‘film-rehearsals’ right because their authors lack the will to meticulous preparatory work. Things that should have been sorted out and discussed at the stage of pre-production show up in the final version. That’s why we have so many films-sketches that had been paid for at full rate. This is the loser’s game in which neither investors nor spectators gain. Most additional investments in russian film production are needed to cover directors’ laziness and ignorance.
Another accursed problem is producers’ risk. Though risk is part and parcel of moviemaking, there’re certain methods of risk reduction. Film director is neither an all-mighty unicorn nor a voodoo-priest and his professional skills can be checked easily and cheaply – it only requires modest investments in the production of video tests of a future film’s key scenes and proper attention to the results. If the digital version is powerful enough to bring a scene to life, the director’s skills are indisputable. This may sound all too practical and earth-bound but it’s a workable alternative to the aura of uncertainty and paranoia hovering over film production process.
Q: Talking about the casting, what was your producers’ reaction when you selected little-known actors?
Pavel Ruminov: Within the framework of real movie world, all of us, including Russian film directors, producers, actors and camera directors, are known very little. To change the situation, we need to focus on cinematographic problems and stop spending priceless time and energy on devising foul lures for the public. I don’t think I know who is well-known here and who is not but I’m sure that well-known people can also be talented, which sounds like a good reason to invite them to work on the film. To cut it clear, I think that in the true world of my profession any director has to work very seriously to find the actors who would tune in to the spirit of the project. This is the only criterion to be taken into account and the only way for a director to answer his obligations to the public and producers. I am in very reasonable relations with my producers and they assume that my decisions are justified. Also, producers are not that rigid. Mine shared my wish to work with new interesting people, so there was no conflict between us on this matter. And another reason: if we’re not to procrastinate in this deplorable state, we should realize that it’s high time to raise new stars.
Q: Do you think your film will better appeal to the Russian or international audience?
Pavel Ruminov: I never take it this way. I am working on several projects that may be interesting to my favourite Russian actors inasmuch as to Ralph Fiennes and Julianne Moore. Every shot I’ve ever made was addressed to each and every person on the Earth. For any film director, the audience is all the people. As I live, I love the country I happened to be born in more and more and there’re lots of thing I must do here but I should admit that my approach to my art and my love for genre-play are purely American. Americans are interested in making a remake of our film. It seems to be the best answer to your question.
Q: What’s your opinion of horrors? How would you assess the state of the genre? Do you think a Russian horror movie has any chances for success in Russia? Don’t you afraid it would be taken as another imitation and adaptation?
Pavel Ruminov: I am making a horror because this very script was first to attract producers. Quality of a film solely depends on its authors’ level. If you wish, you can easily reduce Eisenstein’s and Pudovkin’s works to quotations from D.W. Griffith while some of our serials would betray no connection to either history of cinematography or human situation as such – not even if third-degreed by a picked team of erudite movie-scholars. What fear of borrowings and adoptions can we have in the country where the whole industry is based on a tracing-paper copy made from a thousandth photocopy? Moreover, this whole talk of originality can barely be applied to genre movies. All westerns, whether stupid or great, tell the same story. It is depth of interpretation that distinguishes John Ford’s films from those made by a noteless director X. Genres can’t exist without plot repetitions. I’m not an Institute of Cinematography graduate and I have no more intention of making a ghost story without ghosts than Kurosawa had of making a Samurai movie without Samurai. People took my film for another Ring, and it couldn’t be otherwise. People’s first reactions are very predictable, though absolutely virtual. People tend to see non-existent things. Having read the story they expect to see a ghost movie of The Ring style because they’re sure that a Russian director isn’t capable of inventing anything else. However, I’m not an abstraction and my struggle for cinematographic originality is not an abstraction, too. I’ve made two films already and they sufficiently define me as a director. It’s clear from these films that there will be no drowned girls wandering around and so on. But the point is that we’re inclined to avoid seeing the world and prefer looking for its ghosts. Though, it’s easy for me to understand people: in fact, what is a Russian film director capable of? I’m a movie-goer myself and I’ve recently seen the Viy trailer.
| | Thursday, May 4th, 2006 | | 5:37 pm |
| | Wednesday, April 26th, 2006 | | 3:48 pm |
| | 3:37 pm |
| | Tuesday, April 25th, 2006 | | 2:36 pm |
How the Daughters appeared. PART 1
I was on the subway when it struck me that I knew what I was to do this year. First I got the motto (as far as I remember, the same happened to the guy who made The Usual Suspects). It was Biblioteka Lenina station… First, they died. Kropotkinskaya… then they got angry. Park Kultury… then they got enraged. The revolutionary and clever film about ghosts. “Come on, - said my consciousness having met the idea with no apparent enthusiasm, - some ghost-girls like in The Ring? You were supposed to be a Russian Kubrick, aren’t you? But that’s cool, congrats!” I started to look for counter-reasons. “I need my Jaws, my Terminator, I need a breakthrough, - I was telling myself. – I hate the idea of beefing around imploring some inconceivable people unknown to me to finance my Schindler's Lists and Space Odysseys. I will simply tell an interesting story, gain independence and all”. Then I delved into the story, I SIMPLY GOT INTERESTED to see what will come out of it. I thought that if Sergio Leone made a ‘western’ in Italy, I would be right to make a ‘Japanese horror’ in Russia. I stopped thinking and started doing. And what is more: I am a movie-goer first and foremost. I am not making this film – rather, I am watching it trying to guess how it will turn at the end and admiring each new twist of the story line each shooting day. A Russian The Ring… OK, OK. Kurosawa wrote that Rashomon was compared with some stinkeroo at first. Daughters may be compared with The Omen, Final Destination (methods of murders), Godfather (the structure of the key scene), Michael Mann’s films (long-focus lens, hand-held camera, poetic urbanism), Pudovkin (the key scene editing), The Ring (it’s too clear, why), Kevin Smith (some dialogues), independent movies about restless youths usually shown at the Sundance film festival, Crash (music by Trey Gunn), Edgar Poe (he haunted me and helped with many scenes but this may sound too improbable, so forget him) and, finally, with what I have made before. Though, by and large, Daughters SHOULD STARTLE the audience, including me, – and that’s all. I would like this film to render into me and my audience the magic that one day penetrated my chemical and spiritual composition in the darkness of a video salon at a confectionary in Vladivostok and formed me as I am now. I want to make an adventure story for that lad from a video salon – he was so obsessed with movies. And it seems that God told me the whole country needs just the same. Daughters required true painful labour from me and my colleagues. And Daughters insist we can still work better. Though, they might have mistaken us for Americans or Koreans. For we’re Russian moviemakers and everyone knows we’re on long odds with our colleagues in the west. If the readers happen not to know this fact, I should openly declare that all contemporary Russian moviemakers’ heads had been drubbed at birth, so be charitable. | | 2:32 pm |
| | 2:25 pm |
| | 2:23 pm |
dead_daughters: director's notes
* When I grow old, I will wear a T-shirt saying ‘Don’t get offended if I don’t remember you’. * A SCENE WITH THE DAUGHTERS: a bimbo was going to eat, his soup is too hot; in a second (a faint breathing sound) the soup is cold. * A WOMAN PSYCHIC: this world is quite a difficult place to live and I can’t deliver you from all your problems. - I just want to get rid of ghosts. - That’s easy. * Water is what they are afraid of, isn’t it? * THE DAUGHTERS WERE COMPLAINED ABOUT BY THEIR CLASSMATES’ PARENTS. THE DAUGHTERS WERE DEVOUT KLEPTOMANIACS. Their mother was left by her husband, it was an accretion, insanity, despair. * A friend was involved in telephone terrorism. * Five characters are five human logics. Very complicated but worth trying. Reconstruction of the Father Brown type. * Ghosts can HELP. Any possibility is double-edged. * A lad is downloading the Bible from the Internet. * The ‘choking’ sound of the daughters. First we hear it on a wasteland. * At the end the daughters laughed and the water they swallowed the wrong way was finally out? * The club of Edgar Poe friends. * To combat ghosts with scientific methods. One of reactions to the situation (a girl). * Are ghosts omnipotent? NO. An ant thinks people are omnipotent. There are limits for both ghosts and the living. * What is sin? An Internet search query. * One of the characters is an advertising designer. Events in the film are juxtaposed with the necessity to FINISH A YOGHURT PACKAGE DESIGN. A great scene: a character scared by ghosts is nonetheless trying – despite the mortal danger – to finish the package that absolutely must be ready by the morning. * We will shoot TWO ENDINGS. * Exterior shooting: a playground at a kindergarten, a children hospital. All those handmade frescoes illustrating fairytales. Fantasy still unknown to the world. * The daughters come into actresses playing three sisters and suddenly draw applause. * If there’s a problem in your life, you can cope with it! What does this statement imply? I am not saying that any wish may come true. WHAT COMES TRUE IS INTENTION. We do not know what path it will take to come true. This is the reason to purify your thoughts and energy from everything negative, including pessimism, disbelief, malice, grudge, feeling of guilt, denunciation. Our own negative emotions create negative INTENTION that forms our life. The right intention is to accept life and other people. Denunciation and critique are signs of REJECTION. Take that into account when you’re working. This may be creating real problems in your life. When you’re experiencing difficulties, the whole process slows down – pay proper attention to you INTENTION. THE PROBLEM PERSISTS BECAUSE YOU DON’T LET IT GO. Find out what keeps the problem in and let it out. | | Monday, April 24th, 2006 | | 4:27 pm |
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