Science Fiction Weekly interview with Virginia Hey posted here:
http://www.scifi.com/sfw/advance/01_interview.html
Or you can read the transcript here (without the pictures, of course):
She played a warrior woman who tested Road Warrior Mel Gibson and a bombshell to best James Bond, but most fans of science fiction know Virginia Hey as Pa'U Zotoh Zhaan on the TV show Farscape. A veteran of eight films, 18 television shows, nearly 60 commercials and too many magazine covers to count, Hey considers Zhaan "the most beautiful
character I've ever known in my life, ever."
But worldwide recognition for playing television's most famous sentient plant came at a high personal price. The daily rigor of applying and removing Zhaan's remarkable make-up cost Hey, a former model, her femininity and compromised her health. In an exclusive Science Fiction Weekly interview, Hey speaks candidly about what it took to paint a
woman blue, and what happens when a Delvian priest becomes a human once more.
Is Zhaan really dead?
Hey: What's death?
You tell me.
Hey: Dead in an alien sense or a human sense?
Dead in the sense that her being has been destroyed and disintegrated beyond the possibility of reunion, reanimation or rebirth.
Hey: How do you know that's death? I'm answering a question with a question, because, as far as I know, there is no such thing as outright death in science fiction. Most characters die and come back to life. John Crichton (Ben Browder) has died several times. So has Aeryn Sun (Claudia Black). So has Ka D'Argo (Anthony Simcoe). Chiana (Gigi
Edgley) has been dead more than once. I'm sure lots of other characters in science fiction have died more than once. Now it's Zhaan's turn.
Death is one of those tricky things in science fiction, because it's not really like human death. With life on Earth, you're born, you have a fabulous life, then you die, and death is final unless medical science intervenes miraculously. In the sci-fi genre, who knows what death is? We don't know where Zhaan is. I think she's living in the minds of the writers, so let's say that.
Zhaan's departure outraged a lot of fans. Grown men threw temper tantrums in front of the TV. What prompted the writers and the producers to make such a controversial move in the first place?
Hey: I hear that a lot of times. I've heard from a lot of people who say that they're not going to watch Farscape another moment, ever, because they think the producers wiped me off the face of the earth. That was never their intention. Nor was it the intention of anyone on Farscape or with the Jim Henson Company or anyone else to get rid of
me. It did not cross their minds for a second. Zhaan was very important to the show, and they viewed her as a mascot. She was essential to
their view of Farscape. They'd be foolish to get rid of her. They didn't want to.
If the writers and producers of Farscape didn't want to lose Zhaan, why did she go?
Hey: I wanted to reduce my involvement to six episodes per season from 22, because I didn't want to be bald with no eyebrows anymore, and the makeup was making me quite ill. It was almost as
though—figuratively—Zhaan was becoming more and more powerful and beautiful and talented, and Virginia was becoming weaker and sicker.
It got to the point where it was no longer Virginia enjoying a profoundly creative role. I became the human being that everyone forgot. Zhaan is such a marvelous character that everyone forgot there was a girl underneath the makeup, a human girl.
It was a combination of—not just the hours, because all actors are used to working long hours. There's nothing unusual in that. For me it was a combination of the makeup that was making me sick and the fact that I couldn't ever get away from the character.
Every other character in Farscape could take their makeup off, regardless of how extensive it was. At the end of the day, they'd be human people underneath ready to have normal lives, go home, relax, be themselves and enjoy being human again.
But when I took off my makeup, what was left underneath looked red, scrubbed, sore. I looked like a dead thumb. The first few months were painful, getting used to not looking human in my down time, because I really didn't look anything like human in my down time. The second year was pretty much head down, tail up, as we say—work. But I started to get so ill, physically, that I had to make a decision. Either I sacrifice myself to Zhaan, or I do the logical thing and try to compromise. And the compromise to me was reducing my role to such an extent that I felt I could mentally, physically and emotionally cope with the transition.
Spiritually, I have no problem with it, because I feel with Zhaan. She represents everything that I love about spirituality and enlightenment and medicine and the natural arts of healing. Essentially, all those things were given a chance to live inside me, which was so beautiful.
She was a remarkable individual.
Hey: Settle down. She's only a character. She's pretend. She's make-believe. You're taking it all too seriously. But for me, yes, I did take it very seriously. I did become Zhaan. I was Zhaan and I am Zhaan. And the process of turning a girl into Zhaan was an extraordinary trial.
Most actors or actresses probably wouldn't go through that transition for a moment. Not that they should. It's not as if someone is going to pay them $6 million to cut off their hair or another $6 million to cut off their eyebrows for three or four months. It's not been done. At least not the eyebrows, too—I don't know anyone who's cut off their eyebrows.
I thought Bette Davis did for Elizabeth and Essex.
Hey: She just shaved a small front portion of half an inch. I don't know whether she shaved her eyebrows or whether they put some stuff over the top of them. In those days they had very little eyebrows anyway. But that was for a film. I don't know of any actress who's done it for more than a few months, and then it was for enormous pay and enormous benefits.
And Davis didn't get sick from the process. How bad was it for you?
Hey: By the end of the first season I contracted a facial paralysis on the left-hand side of my face. Some people have suggested that it might have had something to do with my age, but that's absolute nonsense. Even a 16-year-old individual in perfect condition would've been damaged.
Basically, as much as Zhaan was the most beautiful character I've ever known in my life, ever, the sacrifice was too great. I didn't want to take her away from Farscape, but Virginia had to survive.
It was never my intention to leave the show permanently. I wanted lesser involvement. To this day, I have no idea why the show didn't go with the lesser involvement. But in all fairness, it would've been difficult to justify the temporary disappearance of Zhaan. Where would she go in the episodes when she wasn't on the ship? She's the mother figure, and she's been given Moya by the Builders. She's responsible for the care of Moya. That's her job, so why would she go?
That's the problem, I think. How could they possibly justify her leaving the ship for 16 episodes out of 22?
Is there a chance that Zhaan will return to the show?
Hey: If I had that answer your article would be worth millions of dollars all over the world. There's an audience out there absolutely dying to know. I actually don't have the answer. In Australia, the producers make these decisions
without any input from the actors. We're pretty much employees. We're not privy to the boardroom meetings. We really aren't. Everyone keeps thinking I know something and I'm just not telling. I swear by my mother's eyes, I don't know.
Would you like to play Zhaan again?
Hey: Not bald.
That could be very interesting. Though from the letters on your Web site, www.virginia-hey.com, it would disappoint a lot of the fans. They really liked the look, to the point of finding it erotic.
Hey: But nobody ever saw me like that, except my very closest friends, who I assume wouldn't take one look at me without the makeup andgo "Oooooooo!"
I know I'm not stupid. Mum and Dad gave me a lot of sense about things. And I feel OK living like that. But I really looked pretty bad.
When you shave your eyebrows off, you lose the balance in your face, and there's no longer that nice balance of forehead. You lose the shape of the eyes, and you just notice the eye sockets. You look like a skull.
The blue makeup was beautiful. It was designed to accentuate everything that they wanted to accentuate, and to hide anything they wanted to hide. It changed the shape of my face.
You looked so much rounder in the makeup than you do in real life. I think it was the way they drew the eyes.
Hey: Oh yes, they spent a long time on my eyes. They took about an hour, at least, just on the eyes alone. Not my lashes—the lashes they would paint on. The makeup was designed so it was almost as though they were shining a light down there [Hey positions her hand at an angle below her chin] and the light cast the shadows of myown eyelashes onto my face.
You cannot imagine the artistry needed to create these lashes. Each lash had two separate shadings underneath it and around it. You didn't ever see it, because Moya was so dark. It's a very shadowy ship, and of course, the walls are brown so they cast extra shadows. But if you saw the makeup, if I was sitting here in the makeup or you saw a picture of it, you'd be astonished. You'd be staring at it for half an hour.
I loved that makeup. I looked at it every day, sometimes for hours while the two makeup artists worked on me. I really wish we had one of those
stop-action cameras so you could see the whole three-hour process in 16 minutes. Very dynamic—everybody running around going, "Woo-hoo."
It was timed down to the second, because if I was 10 minutes late, the rest of the day would be 10 minutes late—every single shot. And I had to sit very still, because all of the lines went at a particular angle, so if I had my head down, they didn't know where they were. They had no way to judge the symmetry of the makeup, and they had to make sure the angles matched each other.
I knew the makeup better than anybody, because I sat for three years watching it every single day. I could move my eyes in very few directions, but I couldn't learn my lines or read, because I'd be tempted to turn my head or move my shoulder or something. Plus, there were two people around me. I had to sit very still and try to relax.
I'm very artistic. I paint myself. So I noticed every single dot that was applied to my face. So in the end, the makeup supervisor let me comment when they were trying to train new people. Even somebody who had done the makeup previously would say, "That's supposed to go there." And I'd say, "No, actually, the diagonal is supposed to go from the line of the pupil to the tip of the ear." It ended up that they would paint where I said. I knew it so well. I know I was supposed to shut up and just be an actor, but I knew the makeup better than anybody. I didn't know the makeup on the back of my head, because I couldn't see it. But I knew
the makeup on my face. I was there when 10 makeup artists came and went.
As an actor you need a good memory—for visual cues as well as for vocal ones.
Hey: Yes, and I was staring at it in a mirror for years, three hours a day. For all day, 18 hours a day, because they touched me up continually. You get to know your makeup. [Laughs.]
What was it like working with Muppets?
Hey: Ooooh! They're not Muppets!
The puppets, then.
Hey: They're not puppets, either; they're animatronic characters and very expensive ones. The animatronic characters are the most expensive
actors on Farscape. Rygel has six people operating him, six grown men. He has a team of people—his own wardrobe people, his own makeup people. He does, and his team is far bigger than anybody else's team in the production, possibly on the planet. So as far as believability and what's it like, it's just like working with Ben, Anthony, and Claudia, except that they don't slump down after each scene. At least in a different way—they slump down out of exhaustion.
So the animatronic characters are on the set with you when you work?
Hey: You mean in the same scene? Yes, according to the laws of physics, they have to be shot with us, even if they don't speak until the end of the scene. They have to be there. Otherwise, they'd have to be digitally inserted with special effects, and that would be very difficult to act and direct. So if Rygel is written into a scene, he has to be physically present, even if all his team isn't.
There are ways around using the full crew if Rygel's sitting still. Say he's lying in bed asleep. There's no need for the full team to be present. They can tie him to the computer banks operating his breathing and eye movements and his twitches. Obviously, if he's not moving, they don't need all the operators.
Amazing as the technology is, that wasn't what first drew you to Farscape and the part of Zhaan, was it? You also responded to the spirituality of the character—and still do.
Hey: My interest in Zhaan-like things comes from my parents. I had extraordinarily inquisitive parents—quite brilliant in their powers of observation. They didn't pass all their abilities to me, unfortunately. I wish. I wish. But they passed on that curiosity about living. It's a concept that won't die in me. In fact, it's been getting stronger and stronger as I get older. It's gotten to the point where I am absolutely driven to understand what makes people tick in every way. That includes every dimension of people:
physically, spiritually, mentally, emotionally.
At some stage, I think I will end up—I don't know when, I don't like to put a time on anything, but by the time I'm 65 or 70—by the time I'm a grown-up—I would like to be a lot more like Zhaan.
I wouldn't want to be blue. [Laughs.] I'm incriminating myself here. I'm sure there are people out there who will be saying, "She's taking the part, and she's running with it. It's affected her psychologically." But really, I was this way before I played Zhaan.
Since departing Farscape you've moved to California. Are you looking for roles in U.S. films and television series?
Hey: Yes.
Are you continuing your studies in spirituality, raised consciousness and natural healing in California?
Hey: I'm not studying in California yet, but I want to study in California. I'm trying to find a university that offers courses in the subjects I'm
interested in, and I've only just started to surf the Web for them. But I noticed that the courses that are available are courses I've already done. I want to find something new. I might study acupuncture next, but I think that's a one-year university course. That's for next year.
Do these studies relate to the page on your Web site called the Temple? What do you have in mind for this page?
Hey: There's no "divine plan." Let me say right up front that I am not an egomaniac, and I am most definitely not trying to start any kind of cult.
It's nothing like that at all.
I consciously started searching for spiritual knowledge when I was 15, and I've enjoyed my studies so much. I've enjoyed learning about how
the human psyche works, how the human body works, the human emotions, the human energy. And I've grown to believe that it's all connected with spirituality. There is no physicality without the spirit. There are no emotions without spirituality. The whole source of the energy that motivates our every living second is a spiritual energy. Spirituality is a force of nature that courses through the universe and keeps the whole universe alive. That's something that I've really enjoyed tapping into.
It seems to me that through my life, even before I became Zhaan, I would keep being introduced to wonderful souls who share this goal in life. And I thought the Web site might be a tool for reaching and linking like minds.
I hope it becomes an opportunity for like minds to join in prayer, like minds of all different religions and beliefs. It's not about starting a
religious sect or anything like that. It's like a hobby that I would love to share with other people. I'd like to have some information about
seminars, for example. I wouldn't be the teacher. I'm not knowledgeable enough. My teachers would be the teachers.
* * * * * * * * * * * * * * * * * * * * * * * * *
Hope you enjoyed! PkGrl
http://www.scifi.com/sfw/advance/01_interview.html
Or you can read the transcript here (without the pictures, of course):
She played a warrior woman who tested Road Warrior Mel Gibson and a bombshell to best James Bond, but most fans of science fiction know Virginia Hey as Pa'U Zotoh Zhaan on the TV show Farscape. A veteran of eight films, 18 television shows, nearly 60 commercials and too many magazine covers to count, Hey considers Zhaan "the most beautiful
character I've ever known in my life, ever."
But worldwide recognition for playing television's most famous sentient plant came at a high personal price. The daily rigor of applying and removing Zhaan's remarkable make-up cost Hey, a former model, her femininity and compromised her health. In an exclusive Science Fiction Weekly interview, Hey speaks candidly about what it took to paint a
woman blue, and what happens when a Delvian priest becomes a human once more.
Is Zhaan really dead?
Hey: What's death?
You tell me.
Hey: Dead in an alien sense or a human sense?
Dead in the sense that her being has been destroyed and disintegrated beyond the possibility of reunion, reanimation or rebirth.
Hey: How do you know that's death? I'm answering a question with a question, because, as far as I know, there is no such thing as outright death in science fiction. Most characters die and come back to life. John Crichton (Ben Browder) has died several times. So has Aeryn Sun (Claudia Black). So has Ka D'Argo (Anthony Simcoe). Chiana (Gigi
Edgley) has been dead more than once. I'm sure lots of other characters in science fiction have died more than once. Now it's Zhaan's turn.
Death is one of those tricky things in science fiction, because it's not really like human death. With life on Earth, you're born, you have a fabulous life, then you die, and death is final unless medical science intervenes miraculously. In the sci-fi genre, who knows what death is? We don't know where Zhaan is. I think she's living in the minds of the writers, so let's say that.
Zhaan's departure outraged a lot of fans. Grown men threw temper tantrums in front of the TV. What prompted the writers and the producers to make such a controversial move in the first place?
Hey: I hear that a lot of times. I've heard from a lot of people who say that they're not going to watch Farscape another moment, ever, because they think the producers wiped me off the face of the earth. That was never their intention. Nor was it the intention of anyone on Farscape or with the Jim Henson Company or anyone else to get rid of
me. It did not cross their minds for a second. Zhaan was very important to the show, and they viewed her as a mascot. She was essential to
their view of Farscape. They'd be foolish to get rid of her. They didn't want to.
If the writers and producers of Farscape didn't want to lose Zhaan, why did she go?
Hey: I wanted to reduce my involvement to six episodes per season from 22, because I didn't want to be bald with no eyebrows anymore, and the makeup was making me quite ill. It was almost as
though—figuratively—Zhaan was becoming more and more powerful and beautiful and talented, and Virginia was becoming weaker and sicker.
It got to the point where it was no longer Virginia enjoying a profoundly creative role. I became the human being that everyone forgot. Zhaan is such a marvelous character that everyone forgot there was a girl underneath the makeup, a human girl.
It was a combination of—not just the hours, because all actors are used to working long hours. There's nothing unusual in that. For me it was a combination of the makeup that was making me sick and the fact that I couldn't ever get away from the character.
Every other character in Farscape could take their makeup off, regardless of how extensive it was. At the end of the day, they'd be human people underneath ready to have normal lives, go home, relax, be themselves and enjoy being human again.
But when I took off my makeup, what was left underneath looked red, scrubbed, sore. I looked like a dead thumb. The first few months were painful, getting used to not looking human in my down time, because I really didn't look anything like human in my down time. The second year was pretty much head down, tail up, as we say—work. But I started to get so ill, physically, that I had to make a decision. Either I sacrifice myself to Zhaan, or I do the logical thing and try to compromise. And the compromise to me was reducing my role to such an extent that I felt I could mentally, physically and emotionally cope with the transition.
Spiritually, I have no problem with it, because I feel with Zhaan. She represents everything that I love about spirituality and enlightenment and medicine and the natural arts of healing. Essentially, all those things were given a chance to live inside me, which was so beautiful.
She was a remarkable individual.
Hey: Settle down. She's only a character. She's pretend. She's make-believe. You're taking it all too seriously. But for me, yes, I did take it very seriously. I did become Zhaan. I was Zhaan and I am Zhaan. And the process of turning a girl into Zhaan was an extraordinary trial.
Most actors or actresses probably wouldn't go through that transition for a moment. Not that they should. It's not as if someone is going to pay them $6 million to cut off their hair or another $6 million to cut off their eyebrows for three or four months. It's not been done. At least not the eyebrows, too—I don't know anyone who's cut off their eyebrows.
I thought Bette Davis did for Elizabeth and Essex.
Hey: She just shaved a small front portion of half an inch. I don't know whether she shaved her eyebrows or whether they put some stuff over the top of them. In those days they had very little eyebrows anyway. But that was for a film. I don't know of any actress who's done it for more than a few months, and then it was for enormous pay and enormous benefits.
And Davis didn't get sick from the process. How bad was it for you?
Hey: By the end of the first season I contracted a facial paralysis on the left-hand side of my face. Some people have suggested that it might have had something to do with my age, but that's absolute nonsense. Even a 16-year-old individual in perfect condition would've been damaged.
Basically, as much as Zhaan was the most beautiful character I've ever known in my life, ever, the sacrifice was too great. I didn't want to take her away from Farscape, but Virginia had to survive.
It was never my intention to leave the show permanently. I wanted lesser involvement. To this day, I have no idea why the show didn't go with the lesser involvement. But in all fairness, it would've been difficult to justify the temporary disappearance of Zhaan. Where would she go in the episodes when she wasn't on the ship? She's the mother figure, and she's been given Moya by the Builders. She's responsible for the care of Moya. That's her job, so why would she go?
That's the problem, I think. How could they possibly justify her leaving the ship for 16 episodes out of 22?
Is there a chance that Zhaan will return to the show?
Hey: If I had that answer your article would be worth millions of dollars all over the world. There's an audience out there absolutely dying to know. I actually don't have the answer. In Australia, the producers make these decisions
without any input from the actors. We're pretty much employees. We're not privy to the boardroom meetings. We really aren't. Everyone keeps thinking I know something and I'm just not telling. I swear by my mother's eyes, I don't know.
Would you like to play Zhaan again?
Hey: Not bald.
That could be very interesting. Though from the letters on your Web site, www.virginia-hey.com, it would disappoint a lot of the fans. They really liked the look, to the point of finding it erotic.
Hey: But nobody ever saw me like that, except my very closest friends, who I assume wouldn't take one look at me without the makeup andgo "Oooooooo!"
I know I'm not stupid. Mum and Dad gave me a lot of sense about things. And I feel OK living like that. But I really looked pretty bad.
When you shave your eyebrows off, you lose the balance in your face, and there's no longer that nice balance of forehead. You lose the shape of the eyes, and you just notice the eye sockets. You look like a skull.
The blue makeup was beautiful. It was designed to accentuate everything that they wanted to accentuate, and to hide anything they wanted to hide. It changed the shape of my face.
You looked so much rounder in the makeup than you do in real life. I think it was the way they drew the eyes.
Hey: Oh yes, they spent a long time on my eyes. They took about an hour, at least, just on the eyes alone. Not my lashes—the lashes they would paint on. The makeup was designed so it was almost as though they were shining a light down there [Hey positions her hand at an angle below her chin] and the light cast the shadows of myown eyelashes onto my face.
You cannot imagine the artistry needed to create these lashes. Each lash had two separate shadings underneath it and around it. You didn't ever see it, because Moya was so dark. It's a very shadowy ship, and of course, the walls are brown so they cast extra shadows. But if you saw the makeup, if I was sitting here in the makeup or you saw a picture of it, you'd be astonished. You'd be staring at it for half an hour.
I loved that makeup. I looked at it every day, sometimes for hours while the two makeup artists worked on me. I really wish we had one of those
stop-action cameras so you could see the whole three-hour process in 16 minutes. Very dynamic—everybody running around going, "Woo-hoo."
It was timed down to the second, because if I was 10 minutes late, the rest of the day would be 10 minutes late—every single shot. And I had to sit very still, because all of the lines went at a particular angle, so if I had my head down, they didn't know where they were. They had no way to judge the symmetry of the makeup, and they had to make sure the angles matched each other.
I knew the makeup better than anybody, because I sat for three years watching it every single day. I could move my eyes in very few directions, but I couldn't learn my lines or read, because I'd be tempted to turn my head or move my shoulder or something. Plus, there were two people around me. I had to sit very still and try to relax.
I'm very artistic. I paint myself. So I noticed every single dot that was applied to my face. So in the end, the makeup supervisor let me comment when they were trying to train new people. Even somebody who had done the makeup previously would say, "That's supposed to go there." And I'd say, "No, actually, the diagonal is supposed to go from the line of the pupil to the tip of the ear." It ended up that they would paint where I said. I knew it so well. I know I was supposed to shut up and just be an actor, but I knew the makeup better than anybody. I didn't know the makeup on the back of my head, because I couldn't see it. But I knew
the makeup on my face. I was there when 10 makeup artists came and went.
As an actor you need a good memory—for visual cues as well as for vocal ones.
Hey: Yes, and I was staring at it in a mirror for years, three hours a day. For all day, 18 hours a day, because they touched me up continually. You get to know your makeup. [Laughs.]
What was it like working with Muppets?
Hey: Ooooh! They're not Muppets!
The puppets, then.
Hey: They're not puppets, either; they're animatronic characters and very expensive ones. The animatronic characters are the most expensive
actors on Farscape. Rygel has six people operating him, six grown men. He has a team of people—his own wardrobe people, his own makeup people. He does, and his team is far bigger than anybody else's team in the production, possibly on the planet. So as far as believability and what's it like, it's just like working with Ben, Anthony, and Claudia, except that they don't slump down after each scene. At least in a different way—they slump down out of exhaustion.
So the animatronic characters are on the set with you when you work?
Hey: You mean in the same scene? Yes, according to the laws of physics, they have to be shot with us, even if they don't speak until the end of the scene. They have to be there. Otherwise, they'd have to be digitally inserted with special effects, and that would be very difficult to act and direct. So if Rygel is written into a scene, he has to be physically present, even if all his team isn't.
There are ways around using the full crew if Rygel's sitting still. Say he's lying in bed asleep. There's no need for the full team to be present. They can tie him to the computer banks operating his breathing and eye movements and his twitches. Obviously, if he's not moving, they don't need all the operators.
Amazing as the technology is, that wasn't what first drew you to Farscape and the part of Zhaan, was it? You also responded to the spirituality of the character—and still do.
Hey: My interest in Zhaan-like things comes from my parents. I had extraordinarily inquisitive parents—quite brilliant in their powers of observation. They didn't pass all their abilities to me, unfortunately. I wish. I wish. But they passed on that curiosity about living. It's a concept that won't die in me. In fact, it's been getting stronger and stronger as I get older. It's gotten to the point where I am absolutely driven to understand what makes people tick in every way. That includes every dimension of people:
physically, spiritually, mentally, emotionally.
At some stage, I think I will end up—I don't know when, I don't like to put a time on anything, but by the time I'm 65 or 70—by the time I'm a grown-up—I would like to be a lot more like Zhaan.
I wouldn't want to be blue. [Laughs.] I'm incriminating myself here. I'm sure there are people out there who will be saying, "She's taking the part, and she's running with it. It's affected her psychologically." But really, I was this way before I played Zhaan.
Since departing Farscape you've moved to California. Are you looking for roles in U.S. films and television series?
Hey: Yes.
Are you continuing your studies in spirituality, raised consciousness and natural healing in California?
Hey: I'm not studying in California yet, but I want to study in California. I'm trying to find a university that offers courses in the subjects I'm
interested in, and I've only just started to surf the Web for them. But I noticed that the courses that are available are courses I've already done. I want to find something new. I might study acupuncture next, but I think that's a one-year university course. That's for next year.
Do these studies relate to the page on your Web site called the Temple? What do you have in mind for this page?
Hey: There's no "divine plan." Let me say right up front that I am not an egomaniac, and I am most definitely not trying to start any kind of cult.
It's nothing like that at all.
I consciously started searching for spiritual knowledge when I was 15, and I've enjoyed my studies so much. I've enjoyed learning about how
the human psyche works, how the human body works, the human emotions, the human energy. And I've grown to believe that it's all connected with spirituality. There is no physicality without the spirit. There are no emotions without spirituality. The whole source of the energy that motivates our every living second is a spiritual energy. Spirituality is a force of nature that courses through the universe and keeps the whole universe alive. That's something that I've really enjoyed tapping into.
It seems to me that through my life, even before I became Zhaan, I would keep being introduced to wonderful souls who share this goal in life. And I thought the Web site might be a tool for reaching and linking like minds.
I hope it becomes an opportunity for like minds to join in prayer, like minds of all different religions and beliefs. It's not about starting a
religious sect or anything like that. It's like a hobby that I would love to share with other people. I'd like to have some information about
seminars, for example. I wouldn't be the teacher. I'm not knowledgeable enough. My teachers would be the teachers.
* * * * * * * * * * * * * * * * * * * * * * * * *
Hope you enjoyed! PkGrl
