One of the reasons that type-casting has become such an obvious process, is that, as opposed to the stage, the cameras perspective in film is sometimes so close that it’s cutting off parts of an actors head or maybe it’s just their eyes or even one eye. What the audience sees must be the truth, or so close to it that it that they can’t tell the difference. So ultimately to be typecast is to be so close to the truth of the character that is takes much less effort to create something that appears real. And that is where astrology comes in. In some strange way and for some strange reason, you were typecast at birth. So when actors get on a sound stage, they are just revealing what is already there, and making it even more intriguing.
I have worked with actors that seem very bizarre on film, only to find out that they are very bizarre in real life. And frankly, without the process of typecasting, this work probably wouldn’t be possible. If actors were truly acting they wouldn’t have to internally understand the character or more importantly they wouldn’t be able to. In the end we only really understand what we already know.
Now this being the case, once we bring in a director we find an interesting relational aspect. Does a director need to get along with or like his actors, or just choose perfect actors for the part? This is where we find two kinds of directors. Those who pick the perfect person for the part regardless of how they feel about them and those who pick good actors that they feel comfortable with. And within these two modalities we find the difference in astrological casting provided that director has enough pull of power to make those decisions.
Actors can become successful with either, for the latter, the energy is generated by the harmony of the film. That’s what makes it work. In the former the energy is created by the part itself and the actor’s intrinsic ability to play it.
So in film, how directors cast, especially if they are free from corporate or financial control will dictate how the cast manifests astrologically. For example, if let’s say the director is a TAURUS, he may feel a need to feel comfortable around his cast, (TAURUS is all about being comfortable) and will subsequently find actors he’s well aspected with, but they may have to be better actors because they may be playing someone who’s more foreign to them, or the director will a story that is more within scope of his compatible signs. Many directors follow this rule. TAURUS/Frank Capra had a compatible sign, mostly TAURUS in virtually every film he made, and made films about TAURUS themes like responsibly, or in the negative selfishness and greed, i.e. IT’S A WONDERFUL LIFE where he has both in the same film.
Whereas, let’s say we have an ARIES or LIBRA director who is less affected by people because of their inherent dominant leadership and subsequent acceptance, will be more apt to hire “just the right guy or gal” or once again be attracted to stories within the purview of ARIES (heroism) or LIBRA (social justice) and thus attract compatible signs.
We find either approach in both sexes of signs. It seems that many visionary directors will leave there own personal taste out of the process and just cast the best person for the role, but it can go either way, with equally positive results.
Certainly working with a director that’s in the same astrological sign or family helps everyone to see the character in the same way, or from a similar perspective that he or she does, thus making communication more readily understood. In the end, it’s easier. It becomes a shorthand, because it takes less effort. Both the actors and director “get it” when they talk to each other, and the actors feel protected by the warmth of their clan and can do better work.
Also in doing this research I’ve come to understand how inorganic films have become. When films are slower paced we can see more details, more of what is really there. Just as in when we slow down the speed of an image we can see them in finer detail, and in ways that reveal more about how they really behave or what they really are. The faster films have become, the less that they are showing you and the less the astrology is accurate. But once again, I find myself looking at new films and find that it’s still there and sometimes it’s hard to imagine how it got there, with all the added complexity of modern casting.
A RANDOM EXAMPE
Astrology is manifested emotion, physical and intellectual patterns that are spiritual by design and are indeed divine.
I talk about this and will be talking about archetypes here and in my book. And just like in the titles or character names of films, the answer to the riddle is often right in front of us. The word “archetype” is comprised of two words “arch” which at it’s root means ruler, model or source, and so ruler or model of type. So in astrology the ruler or source of our type is our SUN sign. Not surprisingly it’s original meaning was “part of a curved line,” originally in reference to the sun’s apparent motion across the sky. So it’s the SUN and its movement, just as a character arc is the journey of that source or beginning as it moves across the sky. Hence a “protagonist” is the one who is moving forward and “antagonist” the one who is inhibiting that movement. It is always about the cosmic journey as it moves along its path. And so it is embedded into every story from the beginning from the mind of the one who created it, all the way through the casting and production of the that film story.
Writers write archetypes, perhaps about people that they know. Directors and casting directors seek them and actors refuse or accept them. When they do accept them, they tend to become type-cast and when a similar role comes up again, casting directors, producers and directors seek that person, again. Then when that person becomes a star they may also have a say in who they will star with and this will assist in casting those that they like, and then the production will hire people who’s sign and dynamic fits in with them.
The actors are tools for the director to tell his or her story. He sees the whole film and approaches the project through theme, message or what he or she can relate to as a whole. The actor is hired or agrees to do the project because he can play the frequency. That’s why I call astrology frequency architecture. In the end it’s all just frequency identification, that moves from the stars to the story to the screen to the spectator, and it’s there virtually all of the time.
But how it manifests becomes almost mundane, as it is so common place. Just throw on all old movie and it all becomes immediately obvious, if you’re paying attention. Let’s take let’s take a movie with a really awful title like, MY REPUTATION (1946). It could really be any movie, but I’m watching this right now, as I’m taking a break from my research and eating what wouldn’t normally pass for dinner by most people’s standards, but I’m still happy.
In the movie, screen legend Barbara Stanwyck has lost her husband. She’s also had to send her kids off to school and is feeling very sad. Stanwyck was a CANCER and it just so happens that CANCER is the sign of nurturing and particularly motherhood, so who better to play a woman who is an emotional (WATER SIGNS are very emotional) wreck over losing her family. Now of course, most any person would be despondent over a situation like this, but this is a movie and movies use the best archetypes (sources, rulers of this energy) to exemplify what would happen in what we call real life.
So Stanwyck calls her friend in a panic, because she has just been practically molested by the husband of one of her friends. Once again, any woman would be upset by this, but CANCER would be probably be the most upset, because CANCERIANS are very slow in moving toward sex. They like to be friends first until they feel emotionally safe.
So, she rushes to see her best friend, who is played by Eve Arden, who was born under the sign of TAURUS and TAURUS is THE BEST FRIEND in the zodiac. They are responsible and loyal and someone that you can count on. They might complain, but they are always there when you need them. They are the rock. It just so happens that they are also probably the most compatible sign with CANCER and considered together as one of the best combinations of any two signs in the zodiac, go figure.
Because Stanwyck is so upset, Arden insists that Stanwyck come with her and her husband to Lake Tahoe. (LAKE Tahoe WATER/CANCER…See the symbols that are starting to unfold?)
Arden’s on-screen husband is of course a VIRGO (played by an actor named John Ridgely), which is the sign that TAURUS is naturally attracted to (It’s called a trine). They are both in the Earth family and so get along. He, being another friend character to Stanwyck is also compatible as VIRGO as a EARTH sign is also compatible with CANCER. WATER and EARTH go together, as do FIRE AND AIR.
Once there, she meets a man, while on the snow. Snow is water that has frozen. (Just reminding you. There is a reason for this) And the man George Brent, was born in the WATER SIGN PISCES. That they meet each other on frozen WATER is no coincidence.. Certainly, Stanwyck is not receptive yet. Like the frozen lake, she is also frozen WATER.
So there is all this astrology and it’s all virtually perfect and I am only thirty minutes into the movie! Like I said it happens all the time, especially in the old studio system films.
Oh and did I mention that there is another suitor? An old family friend who is also a PISCES? So we have two PISCES who are naturally attracted to CANCER, vying for the same CANCERIAN in the form of Barbara Stanwyck.
In my own life my mother was a PISCES and my father a CANCER.
Like I said, this could really be any movie and it truly was. I didn’t pick it. It’s just even when I’m relaxing watching some unimportant, pedestrian movie from 1946 it’s still there. It’s just always there…
The reason people don’t take astrology seriously, is because they don’t have a road map. They look up the nonsense in the paper and do it for fun and that’s the end of it. But what if there was a way to quantify it, to see it in action so clearly that it simply cannot be denied or ignored, they would see it. And it just so happens it’s called cinema and now we can see it. Astrology is a soup of ingredients and it’s an astrologers job to clarify the recipe.
The world is the stage and astrology is the profound creator/writer who creates the characters and the archetypes they are based on. Once we understand this we can identify, and create those characters in ways that transcend the one dimensionality of many performances and screenplays and cast the right person in the right role and even in the right screenplay. And we can save time and money in the process. For they are all guided by the same blue print and that blueprint is Cinestrology. Welcome to the future of film making.