Interview: Albe Falzon & Spirit of Akasha
Big Sky Wire
By Michele Lockwood
Of the 30 odd films Albert Falzon has made throughout his career, it is without doubt that Morning of the Earth is his best-known work. For the last two years, Spirit of Akasha, the film made in its celebration, has been in the works and is now about to make its premiere at the San Sebastian Film Festival.
While he was recently visiting us, I took the opportunity to speak to Albe about the meaning of akasha, his involvement with the film and his take on the 40-year long ripple effect that Morning of the Earth has had on subsequent generations.
CW: Before anything else was really decided on this film, you had the title, Spirit of Akasha in place. What is the meaning of Askasha?
AF: You can go on and on but I think it says it really well right here, (reads from Science and the Akashic Field by Ervin Lazslo)“The Akashic record or Akashic chronicle is the enduring record of all that happens or all that has ever happened in the whole of the universe.” In a sentence that really embodies it, you can then branch off with your own ideas about what that means in different ways but really when it gets down to it that’s what it is. So then, where do ideas come from? We live on an intellectual plane and we get all the information that’s needed, but really if you step into that next realm which is intuition or the spiritual realm, that cosmology, that is a whole different energy field and that’s where all these great ideas come from. So the next step for evolution is to go from the intellect to the intuition. As soon as you tap into intuition you are tapping into the Akashic field and that is where all the great things in art and science and technology stem from. Some people who have got their antennas up, tune into it, like Einstein or Mozart or any of those people who left great pieces for humanity, they have been the great intuitives. And basically, what they’ve done is tapped into Akashic field, which is that high plane. All those ideas, didn’t belong to Mozart they just came through him, he was just the vehicle to give the ideas to others.
So how does the term, ‘Spirit of Akasha’ relate to the film?
It’s really important if you are in the media to use it in some way. Say if a film is 90 minutes you may not be able to spend the entire time impressing people but there might be aspect of it that reaches people that people will remember.
Like in Star Wars, “Use the Force Luke, let yourself go...” that line embodied the whole film and it was worth Lucas making the whole film just to get that out there. And the ‘Spirit of Akasha,’ I think in a way embodies the whole principle of life and what we are attempting to do with the film, they can start to examine it.
Most people in the western world don’t know what Akasha is; it’s an eastern word. “What is this Akasha?” And they look into it and find out what Akasha is and when you talk about that spirit of Akasha you are actually bringing people into that next level of consciousness even if they sort of don’t understand it, it is laying the foundations. Others might understand it, but most people in the western world won’t. So through the title, you’re able to impress a thought straight away, that will go into their mind and maybe they’ll investigate it.
How does it compliment Morning of the Earth?
Morning of the Earth dealt with this planet, planet Earth; it dealt with the spirit of planet Earth. ‘Spirit of Akasha’ is the spirit of the universe, of cosmology. Just looking at the titles together, ‘Spirit of Akasha’ is the next step up from the earth plane; it’s going more into the spiritual plane. The titles are incredible how they work together. Like, here’s your ladder and you just step up from one to the next.
If you look at the way the world has gone in those 40 years, since Morning of the Earth on just an evolutionary, technological basis, we now have the Internet. If you look at that alone, just as one aspect, what you are doing is setting up the planetary brain where we have moved from the physical/emotional plane where most people function on, to the mental plane, which is just one step off of the spiritual plane. So what we’ve done is, expanded the consciousness to such a point now where most people are communicating through the internet, on the mental plane, because that is what it is, it is communicating mentally, which is laying the foundation for the spiritual aspects of life to enter not for individuals but for all of humanity. Once again, the Internet is just the vehicle; it is what’s fed into it that will change people’s consciousness.
Why do you think Morning of the Earth has meant so much to people? Why hasn’t it ever lost its charm or its message? It’s been able to transcend generations and inspire people again and again over the last 40 years. What is your feeling behind this?
I think it embodied the soul of the earth through surfing, through the spirit of surfing. We’re all trapped in our lives- either personal or professional and what happens when you show people a great piece of art or film or music that deals with the inner aspects of your life, like what I think Morning of the Earth did; it showed the beauty of surfing but underneath it, it was about the soul of the planet. And that is something that resonates with all of us regardless. So when we get trapped in either relationships or economics or whatever, life gets restrictive and what Morning of the Earth offered was an opportunity to look outside of that. It captured the simple aspects of living. And in time as people develop and grow and expand in consciousness, they relate more to the spiritual aspect of their lives.
When you think of humans, most of them are ordinary but underneath it they are extraordinary, but that gets buried from the mundane aspects of everyday life. So I think the film has lasted because when people sit down to see it, it resonates with them. They got into surfing because they loved it for no other reason but that they purely loved being in the ocean, surfing. Then they get caught up and then they look at the film years later, and it pulls them back in.
You’ve been down there with Andrew editing the intro of the film for the last couple of days. He said to me that it was exactly what he needed, to have you there sitting next to him, to help him get through this last bit of the film; how it was perfect timing for you guys to come to together to finish the film off. How do you feel after what’s been accomplished over the last few days?
I think sometimes when you get locked into projects like this there can be times when it is daunting and frustrating, there can be a blockage. So if someone who you love, trust and respect and are moving equally in the same direction with can step in, then that’s like opening up a window and some fresh air comes in and blows all the other energy out and clears it and through that clarity you can see how the pieces come together. You can be caught up in those pieces but then suddenly you can see how they all work and they fall in together.
The other thing is with Andrew and me and the film is that Andrew has been putting these pieces together for the last ten months or longer, which has been at times daunting. For me, I’ve been disconnected from the mental aspects and physical aspects of putting the pieces together but then connected to it in on another plane. So I can step in and see things clearly and when I come in I can clear it real quickly for him and then allow him to move forward on something that was just a little blockage.
Andrew is a sole trader. You know if you are a painter it is very rare to share the canvas with someone else, you can ask people what they think about it but you’ve got the brush and you’re creating the image and I think it’s the same with the tapestry of a film- people can contribute but at the end of the day you’ve got the brush and sometimes it is good to have someone you care for and respect and love nearby to say, what do you think about that? And they can say, yeah, it looks good but what about moving that colour a little over there. And it was there all the time but because they are bogged down with it, then they can suddenly see it and say, yeah that’d be good.
What are your feelings about the new soundtrack that’s been created for this film?
I think it’s inspiring. When I heard the cover of the Morning of the Earth track, I just thought it’s so amazing because a lot of that music is timeless, which was the driving force behind the original film, but when you actually listen to the lyrics to some of those songs, they are equally, if not more important to what’s going on now in the world now than then. And when you think of where the worlds gone and what’s happened, it’s really important that people don’t disconnect. You know you see kids today and they are so connected to technology that they seem to lock themselves away from the natural world. There’s a plus factor but a downside too. So when I hear young groups and their new interpretations of the songs where the young people can identify with those musicians because they are part of that mindset then it just gives new life to the words and the meaning of it all.
I also found generally, that the music is a lot softer. When the original music was done you could hear Hendrix and other sounds coming through, it had highs and lows but now, it’s not so much to the extremes, they are more pulled together to the middle range, so there’s a real softness in most of the songs and I like that. I think that’s really great. I think in today’s world we got to try to bring the extremes to the middle way and I think that’s what the music offers and to me that is really appealing.
Big Sky is the property on which Andrew Kidman and Michele Lockwood live with their two children in Northern New South Wales. Once a week they speak to writers, photographers, surfers, artists and musicians for Coastalwatch's Big Sky Wire. To follow Andrew Kidman's film celebrating 40 years of Morning of The Earth, head to the Spirit of Akasha blog and to check out Michele Lockwood's blog click through here.
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