All the World is THEATER!

Hey, Hendricks. Hey, Mike.

Alright, well, this is another episode of the Big Leap. And one of the things that we've been talking about here that I'm super excited about is all the world is theater. You're a lot more creative than you think you are and clearing space to be creative. So let's talk a little bit about what's inside this amazing episode.

What's inside this amazing episode is a whole new way to look at your creativity and how to open up a space for more of it to flow through. We talk about a lot how once you get the space opened up, it's an easy thing. It's nothing that causes stress. So if your creativity, if you don't think you're creative or your creativity is causing you stress and pain, we need to go into finding out a new source for your creativity in there. And that's what we're talking about.

Right. And another thing that we're doing is Gay's gonna reveal specifically how he gets into a creative state. He's gonna talk about specifically how he meditates and also when he's most creative. I share my own process as well. And the other thing that I think is really interesting, that I'm really looking forward to, is how you oscillate between creating your 46 books to date, how you've done that, and also how you've switched over and you started doing stories and novels and screenplays as well. And you talk about that process. It's something that I'm super excited about. And then the other thing that I think is really, really cool is, is together, we're gonna design an event in real time. So you're gonna see how Gay and I collaborate and create together and how you can model that as well.

It's big fun.

All right, so all this and a lot more in the next episode, the one you're about to listen to, episode six of the Big Leap. Thank you.

Here we are in episode six of the Big Leap. Hi, Gay.

Hey, Mike.

All right. I mean. I mean, Steve Martin. Steve Martin's here with me today in the studio.

So would you believe it? One time I got stopped in the airport and asked for an autograph by somebody that thought I was Steve Martin. It's.

It's uncanny. It really is. I mean, you do look a lot like him.

Yeah, Yeah, I think I'm a little bit better looking, but yeah.

No, he's. He. He does not look great these days. He's had a little bit of a hard life. I think the cocaine eventually got caught Up, Caught up. It was the Hollywood lifestyle.

Yeah. It's tough on people.

Yeah. No doubt about it.

That's why I live 90 miles north of Hollywood. There you go.

Good idea. So this episode, I thought, why not call it all the World's Theater? And you said, you're a lot more creative than you think you are. And this also stemmed from a conversation I was having with Vivian about clearing space to be creative. And I thought one way to open that up that would be inspiring to us because you. You've written a ton of books, a bunch of screenplays. Now they're being adapted into movies as well. So you've got insight in that and you coach plenty of Hollywood type people.

Yes. And one thing I've noticed about folks that are in theater and music and movies is that oftentimes they are wildly creative and don't know how to kind of channel it. A lot of times you're that kind of person too. You know, you have about 15 creative ideas for every one that you could possibly ever act on. And I think that creativity is the reason a lot of people get into addictions, too. They don't know how to turn off their wild creativity, and so they use some sort of alcohol or something like that to tamp it down. But what I think is that the reason I said you're a lot more creative than you think is because.

Our thoughts are actually what's keeping us from opening up our creative space. Because the space of true creativity doesn't have anything to do with thought. Thought is a subset of creativity. But the actual thing that's happening that's incredibly important about creativity is turning nothing into something. The moment nothing turns into something. In other words, the place where space suddenly becomes material. That's.

Let's call that alchemy. That's one of my favorite words. What do you think of that?

I like it. Yeah, right.

Well, I thought one of the ways we can get this story going, because there's a bunch of different directions we can go in. I've got a bunch of questions for you. But this originally started with I was talking to Vivian, my wife, and the notion was I asked her if I could ask Gay Hendricks any question, what would it be? And she said, I'd like to know his perspective on clearing space to be creative. And the reason for that is.

A while ago, she reached a point upper limit in her life and her business with the Just Like My Child foundation, which she's been running. Now, this is the 15th year, and there are parts of it that stopped being fun for her. So the way she framed it is she had been living a legacy, doing work with just like my child, but getting further away from why she started in the first place, which was having connections with kids and having a God connection and helping kids reach their potential. She felt that she was getting stuck in traps. One of them is this constant need to raise money, raise money, raise money. And the raising of the money was not fun at all. And it did not take advantage of her superpowers, which is her visionary. And she was also supporting other people. And she didn't feel there was a benefit to her personally. And she was dying inside. And Mary Morrissey, who's been coaching her, said, there's no such thing as private good. And she said, it's like taking a breath without exhaling. So she started thinking about and contemplating how to stop, which created an enormous amount of resistance in her. Her sleep got worse. She started having some health issues because the conflict was so great, I'd say the energetic battle within her. So she made a commitment to disentangle herself. And one of the things she did is remodeled our bedroom so it was all white. She bought this big white chair that she'd sit in, kind of like a throne. And she said, I'm going to.

You.

Know, treat it like a throne. And she woke up one day and she turned to me and said, I'm going to start my own series of videos called the White Chair Monologue or the White Chair Dialogue. And.

And the whole idea of get. Getting out of push mode and getting into attraction mode. And as a result of that, like one of the things that just popped out of nowhere, she ended up meeting a woman who's a major trust attorney off of Sandhill Road, which is where all the big Silicon Valley investors are. And last weekend we were invited to Tim Draper's house, who's one of the biggest, oldest VCs in all of Silicon Valley. He's a big bitcoin guy, but he's been involved in some of the biggest transactions that have taken place. And we go to this house and there it is. Wall to wall multi billionaires. I mean, the Silicon Valley's elite of elite, who are interested in a dialogue to give her money for the foundation, at least a lot of them that came through this introduction. So I share that with you because this notion of getting out of your way is important. But I know you had one big insight when you heard me talk about the White Chair Monologue or dial. So what is that?

Yes, well, have you ever heard of a guy named Blaise Pascal. He's a philosopher.

Yes, yes.

Way back, hundreds of years ago, he had this one great thing that I wrote down that he said. He said all of mankind's troubles, humankind's troubles, come from an inability to sit in a room by yourself doing nothing. And.

I started thinking about that when I came across it, and I realized the absolute truth of that, that a lot of times what people need is simply a moment or 10 minutes or whatever to sit down and think. And I was walking through the halls of a corporation many years ago when I used to do on site consultation, and I was walking along with the CEO and he was expressing his various frustrations to me. And one of them, he said, if I could just get 10 minutes, you know, to myself to sit down and think and get back in touch with why I'm doing this job. It's exactly what Vivian was talking about, you know, because she lost the heart connection that put her in the thing to start with. So here's what we started doing. When people come for our 10k day, which is, you know, maybe an executive will come and sit with us for a day. What we do, the very first thing we do is we ask them to go in a room by themselves for 10 minutes and do nothing. And you'd be surprised, Sometimes I almost have to push them in there. I get so much resistance for that. And because here's the thing, creativity is scary to a lot of people. You know, the idea of opening up to your own individual genius is really scary to a lot of people because in a way, you do have to go down through a layer of fear, I think, to access your real creativity. Yeah, because there's one thing to create from, your ego. You know, you can make millions of dollars with your ego and you can build gigantic skyscrapers. But at a certain point, everybody wakes up, hopefully before they're on their deathbed, and says, wait a minute, did I leave myself behind in the process? And a lot of times people answer that question with a yes. And that's oftentimes when they come and spend a day with us, is they're wanting to find out what that next thing is. People who read the Big Leap, of course, know that down in there, it's that free access to genius, that's the key thing in life. So. But first you've got to be willing to say no to everything else in life. But going in a room for 10 minutes and asking yourself, what do I really want to do? What do I really want to create? Yeah.

Oh, that's great. So a few things popped up for me as I was listening to you here. One of them is I want to go down a fun path with you, which is to talk about your own creative process, your expression. Because first of all, people who may or may not know this about you, besides writing I don't know how many total books at this point in your career.

Around 45. I think number 46 is about to come out with conscious luck.

Okay, so a lot of. Lot of books. And that in itself is very impressive. But also, you went down a different path not that long ago where you started writing novels.

Yes.

And the Tenzin series and then also screenplays, which I know there are some floating around Hollywood right now. And right before we started rolling this, I said something I had heard recently. It was actually from Adam Curry. I didn't make this up, but he said, politics is Hollywood for ugly people. And.

Awesome. Yeah, it's so good.

But on a purely fun note, what you and I have in common is this love of theater and creating, but also the show business side of it. And one of the reasons I wore this jacket today, so if you're watching the video is I've got this over the top blue shiny jacket and I've got some crazy outfits that I've been buying because I started not long ago wearing theater. I thought I'd bring it with me. And I know for a fact the start of this began with a friend bought me a pair of Gucci shoes. Now, I've never been a shoe guy. This is the first pair. And these are like about 800 bucks for a pair of these crazy things. And I started wearing them. And as a result.

I had people who would have normally never talked to me energetically. You know how you just always open up a new channel and something and someone just started asking me about these shoes. It started a whole new conversation. And that led to an introduction to a six figure consulting or advisory thing. And it literally began in an elevator.

Well, normally you wouldn't wear a pair of shoes like that, but that was a leap for you, you know. And if you're going to start your big leap, start from the ground up.

Yeah. And the most recent ones, now there's other ones in between here, but I just got these yesterday. I'll show these for the camera. These are again, over the top. So these are Versace sneakers, which are a couple thousand bucks.

Okay.

Now, I didn't pay that. There's a story behind the story. But way over, fell off a truck Definitely they're legit and they're real, but again, totally over the top. But what happens, I found, especially after I started doing television, it became a little bit of a signature move. And now when I go and I speak, if I don't wear some of my over the top shoes or I don't show up for business meetings with them, people are like, what the hell's wrong with you? It's turned into this, a shtick. But it also, like I said, has opened up doors and channels because the people who notice little things like that are oftentimes people who control different gateways to new opportunities, especially in entertainment.

I agree. I have a collection of about. I'm not into shoes so much, but I love socks. And so people give me socks all the time. And my wife, when she goes on speaking tours, will often bring me back half a dozen pairs of socks. And I've got on a pair of my fine purple socks right now, if I can hold them up for the camera.

Oh, yeah. Oh, yeah.

And to match my purple shirt somewhere down in there. And to me, it's part of life being theater. And here's a good thing that happened. One time. I was speaking on a panel with Bernie Siegel, you know, the love actor, and I was sitting next to him on this panel and on the stage, and he looked over at my socks, and I was wearing a pair of my particularly wild ones that I usually wear when I'm speaking on stage. And he looked at my socks and he said, wow, look at this guy's socks. And I'd never met him before. And, and he said to the audience, you know, it was like a thousand people, or he said to the audience, believe anything this guy says because if he's willing to wear socks like that, you can really trust him. Yeah. And so if you're willing to go out in public in those Gucci shoes, I think you're worth paying attention. Attention to.

Go. It's a, it is, it's a, it's a fascinating tool that I, I never would have gone down that path before because part of me was, I'm going to be simple and I don't want to be judged or I don't want to. You know, I had a big story about what it meant. And so with that, let's go down the path of creating theater.

As your creative expression, but also clearing space to be creative. So just the, the ten minute put yourself in a room is really good. And I've got a few, yeah, I've got a few techniques that I use to get myself in creative state that it just doesn't fail. So I know I how to access that at any time. I know you can too. And I know when we're together that's something that we've always had that magic spark of we can just make stuff happen. That's why we're doing this. But I'm curious, what's your system or your process for activating your creative spirit and also being able to engage that? Because to have written 45, 46, 47 books, you've got to be able to control and engage your brain and be able to get into that space and then usually grab that freight train when you're on it and ride that bucking bronco. So what do you do?

I do it a little more disciplined. I like to have my creativity done in the morning primarily. And so I wake up early. I don't have an alarm clock or anything, but I wake up early, around 4:30 or 5, and then I meditate. That's the key thing to opening up the door to my creativity. I spend about 20 minutes or so in meditation and then I go into my creativity. So I'm usually writing from 5:30, quarter six till about 8 o' clock in the morning when my wife gets up, she likes to sleep in a little later. And so I've. I've kind of disciplined myself by making myself kind of sit down at a particular time. But the other thing is, that's really key. I only do stuff I love to do. I've focused my life for the past 30 years on doing things that I love to do. And first I was only doing that about 10% of the time. But now I spend all my time doing stuff I love to do and I just don't do anything else. And so that's part of the discipline also is saying no to everything that's not in your creative sweet spot. I think you're either on the genius spiral, moving up and opening to more creativity or, or you're defining yourself by shutting down to your creativity or pushing it aside. I meet people all the time that say, which just freaks me out. They say I'm not a very creative person or I'm not a creative guy or something like that. You know, that frustrates me because if you think about it just sitting there, your liver is doing 350 things without you even having to think about it. Right now it's cranking out. Since we've been sitting here having this conversation, it's created literally thousands of base pairs of DNA. Boom, boom, boom, boom, boom. Cranking them out. So if you're not convinced you're creative, you're going to have to answer to your liver, you know, because your liver is one of a million things that are going on in your body all the time that are wildly creative. And if you think about it, also, you're the luckiest person alive that you know, because 250,000 of your colleagues started out sperm cells and only one got to the egg. You know, so look at you, you know, you exploded into this whole new world.

You won the sperm race. Da, da, da, da, da, da.

Yeah. So don't ever tell me you don't have self esteem or creativity.

Okay? I love that. I love that. I want to ask you a question about your meditation practice because everyone's got a different technique. You said about 15 minutes. Do you have a style, a strategy? Like, how do you get yourself into the space? What are you doing with your body? What are you doing with your mind? What are you doing with your breath? Let's get specific on that.

Well, now I do. Well, first of all, I got to tell you that I think meditation saved my life because I learned to meditate when I was a graduate student at Stanford in the most insanely hard working time of my life. I would not put my worst enemy into that kind of stress. The stress of I was a single parent at the time. My wife had left for Europe and, oh, man, I was working and trying to be a consultant and I was doing classes at Stanford and it was really tough stuff. And in the middle of that, I saw a poster one day, you know, learn to do tm taught by Maharishi Ma. And I went to their lecture, learned to meditate. And I haven't missed a day since the early 1970s. I now do an advanced form of TM that they teach after you've learned the basic ones. But it's basically, although I've studied Zen and been to Zen monasteries and everything, that's the one I do on a daily basis. And so I sit in a chair and close my eyes, and then for about 20 minutes or so, I let a mantra resonate in my head. And the key to meditation, whether you're using your breath or a mantra, is when you drift off, just come back. You know, if you're, if you're working on your breathing, just when you drift off in your mind, come back to your breath. Well, the same thing. The mantra. Meditation works that way too. You just come back to it whenever you find your mind wandering off and your mind will wander a thousand times during 20 minutes, you know, but then giving that. That place to come back to. The end result, though, is after 20 minutes or so of medit, and I feel this real open spaciousness inside what they call pure consciousness in Hindu. In the Hindu system. And I forget the original name of it in Sanskrit. What is it?

Not nirvana, but it's something like that. But anyway, it's that state of pure consciousness with no programming on it. And that's the state I get into before I write every day. And then I do it again at the end of the day and kind of clears out my mind from all the stuff I've been through during the day. But that's basically the practice.

Okay, yeah, that makes good sense. I know what I do is.

I begin my active creation the night before. So I intentionally sleep. So what I do is I have an intention of what I want to create, an outcome I want to experience or have. And then I will essentially tell my subconscious that this is my intent for the next day and when it's going to happen. So I effectively tell my brain that's what's going to occur. And then I stop thinking about it. So I find that entering a space of no think and no attention drives that subconscious and lays down the foundation and the layers. It's like setting the dominoes. And then, generally speaking, when I'm in that space, I wake up in the middle of the night and I'll wake up and my brain is actually spinning its wheels and obsessing. And it's not an uncomfortable obsession. It's more like, oh, ah, it's doing its work. It's doing its work. And if I'm compelled and I know there's a breakthrough, I'll wake up. And I always have a pad of paper and a pen by my desk. And I don't use a device just because I don't want the light to wake me up. But I'll sketch it out, you know, and write down a couple bullets so that moment isn't lost. Because I think what needs to be embedded and encoded is the feeling, not just the words. And I know I can repeat and get back to that state later on.

I do that too. I always keep something near my bed in case I wake up. And I'm like you. I don't like to turn on the light of my device, But I think it's a really important thing for everybody to do. I interestingly enough, I was hearing a. An interview by Keith Richards of the Rolling Stones. A while back and he was saying that he was on tour early in their career and he woke up in the middle of the night and he always kept a tape recorder by his bed. And he woke up in the middle of the night with this really great guitar riff. And he recorded it and then went back to sleep and completely forgot about it. And the next morning he woke up and sort of had a vague remembrance of recording it and he pushed a button.

You know, satisfaction. There was the riff it came in the middle of the night and he totally forgotten about it. I get, I would say almost probably nine times out of 10 nights I will wake up somewhere, maybe two to three, 15, something like that, and I'll be thinking about the stuff you're talking about, what you're going to be doing the next day. And I often will.

To get back to sleep. I'll actually start working in my mind on that part of the book or whatever I'm working on. I'll actually do some thinking of it in the middle of the night and then I'll go back to sleep again. Usually this morning before I drove down here, I was working on one of my mystery novels. I'm now working on a new series about Sir Errol Hyde. He's a Victorian era Londoner who's a kind of a crosstown competitor of Sherlock Holmes. He's very funny and curmudgeonly guy. And so I was working on him for a couple of hours and then got up and drove down here. And now we're doing this. You know, to me, it's exactly the same source that feeds both of those things. Yeah, that's.

That's really good. I want to go down the path with you of the distinction between writing books and writing stories, like switching out between book mode and story mode, because that's something I have not done. I've written a bunch of books at this point, done a lot of. I did improv this past year, which was a really powerful, expansive way. Learned a lot from that. I'm going to definitely continue, but I haven't done story related stuff and I. And were you tuned to story prior to doing that? What is it that enabled you and allowed you to turn on that side of your brain and start inhabiting characters and knowing like how to build a framework or who trained you? Like, how did you get into that space?

Well, partly it's. I grew up in a writer family. That was helpful because my mother was a newspaper columnist and she had to hit a deadline every day. And so she was always Pounding on her old Underwood typewriter there. So I come from a lineage, but I would say that as far as stories go, one of the best pieces of advice I ever got. I went out, went out of my way to meet Tom Wolf. Do you remember the writer Tom Wolfe? He wrote Bonfire of the Vanities and a whole bunch of popular books. But anyway, he had this great piece of advice about writing. He said, even if you're writing a nonfiction book, write it in scenes like a movie. And if you look at all my nonfiction books, the Big Leap, they are like little movie scenes with. Often with a story that goes with them and an example. And for me, they're basically the same process. When they're going, well, it's almost like taking dictation rather than having to sit and think of something to write, you know, it just comes flowing out. And I think that what happens is once you get connected to that creative source, then you just follow it, follow it, follow it. It doesn't take work anymore. It almost takes work to silence it or get it out of the way, but to follow it, to just let it inform every moment of your life. My wife Katie, has a great thing. She teaches in seminars. She's our main teacher in our seminars. And her system that she teaches is called Presence, Connect, Play. And it's a style of relationship. And I see her do it like, I'll be going through the line with her down at the supermarket. She'll connect with the person who's doing the checking out. She'll make a connection with that person, and then she'll have some kind of play with them, you know, some. So make some little comment that's funny, and then they respond to it. But she goes out of her way to have these little mini theatrical experiences all throughout her day. Her. Her goal in life is to have all of life be a work of art. That's one of her philosophies, and I think that's a wonderful one. I've really modeled that after her.

Mm. I love that. I love that.

So I.

As you were describing this, I'll tell you something that I've been doing now for quite a while, so I'll give you the context for this. First of all, I found that being kinesthetic helps me establish and create momentum. So just sitting and saying I'm going to right now is not a good way of getting there. And having a muse makes a big difference. So to me, a muse is someone you get to perform for or a rounder width. And so what I will do is stand up. And I've got a whiteboard, so those big 3M sticky boards. And whenever we do something, which we call vision Day, I do this down at our beach location, which is across the street from the Pacific Ocean. It's up five stories, so you can see everything, 270 degree views. So being in a good environment matters. And I'll do an intentional exercise. I'll stand up and I'll look at the ocean and smell it and feel the abundance and get into that mindset, that frame. And then I will ask myself what feeling and emotion I want to have and be present with. And then go in and just start writing down bullet points, all the feelings, and try to come up with a flow of what I want to create. And if I'm there with a muse especially, I can just start channeling whatever the message is and perform it for the individual I'm with and bounce off and create a conversation. Now, if I don't have someone there, I can, I can create a simulated person, but I found that is if I'm in performance mode, I create much faster because I'm imagining the character or the, the customer, the avatar I'm performing for and giving them value. And that way I can have a conversation and start becoming them. And that's basically the way I do what I do anyway. My ability to create, copy or videos just has. Has to do with performing in my head and then spewing it out in the form of channeling. So I'm curious if it's kind of sounds like for you, you get that ball in motion and then it just starts to flow in a similar way.

Now it does. It didn't always. I used to have to do a lot more prep to kind of get into the space, but. And I've been basically writing a book a year for the past 45 or 50 years. And so after a while it becomes easier to drop into that space. Now, I used to have to, you know, have my earphones on, have it be dead silent and everything like that. Now I can sit down on a train and start, you know, because I just have ready access to it.

I want to caution people though, on not getting too hung up on the physical environment, because I remember a conversation from way back many years ago where a person said they wanted. A therapist was talking to me and said she wanted to write a book. And I said, well, why don't you just go ahead and write me a page or two and bring it in and I'll give you some feedback on it. And she said, no, I know this exactly how it's going to be. You know, we're going to finish our dream house and it has a writing cottage out back of it. And, you know, so she had all these conditions on her creativity. Well, strange things was she ended up getting the dream house, but in the process of doing so, she and her husband split up and then she lost, you know, and so I don't want anybody to put their physical environment first. First tap into your creativity. Put your attention on getting your creativity flowing.

Yeah.

Because oftentimes that'll tell you what kind of environment. Environment it needs.

Yeah, yeah, that's. I'm glad you did that. Because the truth is, I don't need that location. For example, the beach location, it's my preference. I like to use it as a seed. And to me, I get into a great space because I feel abundant there and I've earned it. You know, it's like it's a prize for working hard, and I allow that to be an activator. But the truth is, I. I can. I can do this anywhere. In fact, one place that I love to create is taking the train. I like the Amtrak. I like the motion and being able to put on a pair of headphones, throw some music on, start with an outline and have some flow, some motion. Just as, you know, some people love to be in the coffee shop or whatever. But I'm with you on that. There is no condition to that. And that is. I'm glad you brought that up. It's really good. All right, so next question I had for you is, let's talk about creating events. Because one of the things that we've been talking about doing is creating the big leap event in the conscious luck experience as a opportunity and a reward. So how do you think about creating outside of books and creating experiences, events, and something that becomes like a party or an elevated experience where there's an outcome related to it. You compose that in your mind.

I love that, by the way. To me, there's almost nothing like being on the front lines as a bunch of people are awakening to their creativity and taking those big leaps. Yeah, well, I. How I think of it is right now in my life, I only want to do things that I absolutely love to do, and I really want to do them in a way that gives people the complete experience. Like, for example, I want to have. When we do whatever event we do, I want to have it be maxed out special. Like, for example, we will find out what kind of music people really love. And we'll bring in somebody to entertain us. One of our famous friends that is a musician or, you know, it doesn't matter. But I just got the wildest, most wonderful surprise for my birthday. One of my dear friends, Susie Batiz, arranged to fly in one of my favorite singers, Betty Levette, or the day after or a few days after my birthday. We couldn't get her on the actual night of my birthday. So but she came in the next week and did a private concert for about 25 of us. And so that's the kind of thing that just knocks me out. And it's not that hard to do, really. It just takes a little bit of advance planning. I love it.

I love it. How about when you are thinking about the curriculum and planning? So think of it through this lens. Let's say you want to teach something and you were gonna, you know, like, let's pretend we're gonna teach how to write a book or how to create.

An elevated event. I know for me, one of the things that I did not long ago, I don't remember if I told you about this, is I created a bucket list experience.

Oh, yeah, I remember that. I saw that. Yeah. Okay.

Yeah. So. And I was just. This past weekend, I was with one of our mutual friends, Stuart and Joni. So Stuart Emory. And. And I asked him this question. So he's 79 years old. And I asked him, so what's left on your bucket list? And.

Specifically I said, what kind of an experience would, if it were planned out three or six months into the future, would get you super excited to wake up every day and look forward to it and.

Get you in a mood where it would activate all of your senses? Okay, here's what it was. He said, I would like to have dinner with six Michelin rated chefs. I want to have dinner with them, not cook with them or have them necessarily cook, but I want to experience this and have a conversation about the food. And he told me this amazing story about. It's Sergio something. It's the composer, Italian composer who's done music for Tarantino, used to do spaghetti western.

Oh, Sergio Leone.

Yeah, Leone. So he had an opportunity, he and Joanie. So Joni used to work on the Godfather movies and worked for Scorsese. And.

They were at his house for a big dinner party filled with remarkable, successful people from all walks of life. And there was one table where Sergio was sitting and there were maybe eight people there. And then Stuart and Joni were at another table and enjoying whoever they were. Again, highly elevated People. But at Sergio's table, there was a head of state and then a woman who was a very famous Hollywood writer, but had written for international publications. And also.

At the time, Europe's most notorious or famous. She wasn't a madam. I think she was a prostitute of some nature.

And.

And then there was someone and someone and someone. So all these people at the table, and Stuart turned to one of the guys and said, who was at that table? And said, one of the things I noticed is how much deep respect you have. I'm watching your. Your body language and how you're engaged and interacting. He said, what. What's going on there? And he said, well, it's interesting you picked that up. You know, we all deeply admire and respect each other, and we're all the best in the world at what we do.

I love that.

And, yeah, so I think, you know, to me, one of the things getting back to Stuart, specifically composing or creating a bucket list experience, you know, at some point, yeah, you own all the things you'd ever want to own, have all the stuff you've had experiences. But the one thing that you never get tired of are meeting people with skills and capabilities and profound experiences that you're interested in. And if you're an elevated person who's always, always values, growth and education and knowledge.

You know, there's just one conversation sometimes that'll completely shift your perception of reality. And to be in an environment with people where you genuinely feel amplified with, it's sort of like, man, when I'm around that energy, I feel 10 times smarter than I am when I'm by myself. I love that. And to be able to compose and create, it's sort of like painting with people.

Yeah, I love that. Well, also, too, there's this quality of human beings that doesn't get revealed very often. I call it essence quality, where who the person really is comes forth. And sometimes that's hard to create in a formal environment, a teaching environment kind of thing. But I'm envisioning also an environment where it draws forth the creativity of the people that are there as participants, that it takes them into a creative space that they've never been before. That's always very exciting to me because whenever I shift into some new way of being, I get a kind of a whoosh of energy down in my body. Yeah.

Yeah. Well, I have an exercise. This is an active challenge and an exercise to consider. So you want to play?

Sure.

Okay. So let's pretend for a moment that we are going to compose and we've talked about this to some degree, but let's compose and create the big Leap experience and what that will consist of when we have this. I think we've been imagining like a two day experience, something like that.

Yeah.

And you've already talked about. We don't necessarily have to disclose them, but you've got a beautiful list of people you want to invite who are. There's big players in business, Hollywood, creative environments, many of which you've coached or advised over the years. I know I've got a long string of people that I want to invite as well. But some of the outcomes and goals we talked about is a space where you actually show up and feel totally elevated. Where we talk about the biggest breakthroughs and where you walk out. And this is, I'm going to use your words, having quantum levels of additional access to your natural genius. Feeling your capacity to receive abundance and creativity increases in ways I've never imagined. And having a deep experience of inner satisfaction. And if you're in a place of lack of. This is one. You said I have plenty of money but no love or I have don't have a deep experience of loving myself and loving others fully. I know there's many, many others. But this synergistic co creation, this sense. But what do you imagine the event experience like from your perspective? What do you want to bring there and have the attendees walk away with beyond some of these seeds that I gave you?

It's like that mantra of my wife's presence, connect, play that I want. However many people are in the room. What's a convenient number for us to imagine? 50 or something like that?

I think that's beyond that. It loses its intimacy and we want everyone to feel like you can build real connections with the majority of the people there. Especially if we compose the right exercises that don't feel imposed upon you but they feel again playful and exciting and. And natural.

Yeah, I was just picturing 50 people in my living room. And they're all people we love and have admiration for and they are there to.

Be participants but with the agreement that it's really about them turning themselves benignly inside out and revealing creativity of themselves that they have not perfect previously accessed and they need to be willing to share that with the whole group. And so it's a group. It's an experience of going deeply within and then bringing that forth out into the world in some way that you've never experienced it before.

Being on the front lines of creativity. To me it's like eating dessert. Conceptually you know, being there when people break through. I've, I've been living on that dessert now for many, many years, but I've never really done it in a group like that. That's what's really exciting to me.

Usually, you know, we, we have people in our seminars, but the seminar has a particular focus. It's either on relationships or body centered therapy in our institute. But this is about something else. This is about.

Going to a different space. It's about opening up a new space. It's about waking up one day.

Feeling like you're a lemon and then realizing you're a tangerine in the process of that and really opening up a new dimension in yourself.

I love that.

I love that.

So imagine for a moment what are some of the things that our attendees are going to walk away from? And I don't know if you remember some of the names that of the people that you want to be there. I can think of a few. One of them is SB and then there's MD and then there's a few others. I forgot who MD is, but you can tell me if you look at the bottom of or at the very beginning of the page. I'm going to type it in here.

Yeah.

And I can give you the list as we're going through it. But what would you imagine they would be saying as they leave? What was their experience, the outcome that they had?

They'd be saying some version about, I never knew I was this big, I never knew I was this immense.

In my favorite poem from Walt Whitman, he says, I am large and contain multitudes.

Don't box me in. I am large and contain multitudes. Well, I want everybody to come out discovering multitudes having a body feeling in themselves of being at peace with themselves and open to the flow of creativity.

Almost in a way of having a full blown psilocybin experience without necessarily having the substance there. Or MDMA therapeutic session without necessarily having the substance there.

Well, one of my favorite things that ever happened at one of the seminars I taught, taught back in the 70s was some famous acid guru came up to me after the seminar and he said.

You'Re dispensing legal lsd. That's a pretty good compliment. I wouldn't necessarily go on Oprah and talk about that nowadays.

You almost can think about it. But I love that. And, and, and I, I like that, that direction. So as we compose the, the pages and make this available, one of the things that we'll do is again, make this available to you, the viewer, the Listener to actually attend. Because this is going to be an invitation experience you can apply to be there. Because part of what we're doing is we're going to selectively choose who's in the room and want to make sure that you're a right fit and feel right. So why don't you describe through your lens, gay. I've got some really specific intentions about who we want to attract, but why don't you describe the right fit person for this experience through your lens.

The kind of person we want to hang out with in the Big Leap event is a person who's, who's feeling the flowering of their creativity they have. You know, we're not going to jackhammer anybody. We're not going to break up anybody's pavement that they've got over themselves. We want people that are in a conversation with their creativity already. And what we want is folks who are willing to go all the way with it, who may be operating at an 80% level, but really would love to know what it's like to operate at 95 or 100%. And so it's for people who are feeling a calling also that what they're doing right now, if they continue to do it, isn't going to be fun for much longer. I've had that direct conversation with some well known people where they looked me in the eye and said basically if I keep doing what I'm doing, which is supporting 90 people and an agent and three publicists and everything, but if I feel like I'm got to continue to do that, I feel like I'm going to die. And so you may feel down in there some level of urgency. You may feel some urgency that your health will improve and your peace of mind will improve if you can only access a deeper level of your creativity. So that's what I want people who are ripe and ripening and ready to play at a big time level to go, even though they may already be a billionaire. There's nothing at all wrong with being an absolutely happy billionaire. Yeah.

Yeah, I love that. So some of the add ons that I have here is.

Where your favorite things in life stem from. Experiencing intentional breakthroughs and being willing to put yourself in a place where accidental breakthroughs can occur. And that takes a certain amount of courage. Another one is.

I like folks who are at a place in their life where they're ready for that next reinvention. And the reinvention means maybe you've had your recent sale so you got out of something and now you've got financial freedom. And you're asking yourself, what next? Where can I have the greatest degree of impact?

Or you've done it, so you've made the money, you've accomplished a lot, the ego's fed. But you know that there's a more there that should be spiritually grounded and spiritually principled. Or you're at that stage where who you are, you've outgrown who you are, what you do, why you do it, who you do it for. And that has been percolating for a little while. So there's enough pain there where if you don't change, like you said, something's going to die. It's like God's been knocking on your door.

And then there's a great saying that Brian Tracy used to say, which our lives are changed by the books we read and the people we meet. That, you know, that transformation happens by being with highly elevated, amplified people. I love to say, if you know you're an alien, then this is the right home for you. And it's like the alien homes you've been visiting, you've outgrown them. Them and you're ready to find another family or a new family or an upgraded family. And it's not necessarily that of blood. This is a spiritual family. And I think we can, we can. Gay and I can both say welcome home and come home because that's the place we're going to create for you.

I love that. Thank you for sharing that. That's really beautiful.

Yeah, well, I couldn't have made that if you weren't here with me right now. That was the thing. It was like, I feel like a. You're, you're an absolute amplifier and a multiplier. And that's part of the outcome is, is I know that when we attract the right people and they're there, we're going to have this ball, this universe and this entire. Not just an ecosystem, but a universe create as a result of that. So maybe a solar system and where we're going to choose the appropriate 50 planets in our solar system, each with their own rotation, their own orbits and characteristics. And so maybe you're a Jupiter, maybe you're a Mars, maybe you're a Mercury, but you're going to be the right person who belongs there. And you'll know this. If you're called to that feeling and that sensation, then we want to make sure that you apply and get information about participating with this. So what do you think of that?

I love it. I just had the image of A spiral galaxy pop into my mind and how.

The Milky Way galaxy that we're part of, we're halfway between the dense center of it and the very spacious periphery of it. So we're kind of at a choice point in evolution about whether we're going to open up and expand and go the way things are going, or are we going to resist expansion?

I love that. Well, I think the experience I've had. So I felt for a little while. I think you and I have talked about this a little bit. I genuinely felt like I've been oscillating between the physical world and the spiritual world back and forth. And I think we're at an interesting moment in human history where that's the calling.

In our next stage of evolution, because everything that we're surrounded with on the earthly plane, for the most part, is obsolete and already on its way towards extinction. And I'm talking about every institution we live with right now, whether it's healthcare, business and politics, certainly political leadership and money, the concept of money.

And educational systems, many, many professions, and being able to be comfortable with the discomfort of. Of choosing to evolve and choosing to relinquish that attachment to a decaying what has been. In other words, it's sort of like a corpse and. And being able to say, I'm okay, letting that go on. And maybe we're like one of those crabs that move to a bigger shell. Like, if it's a fiddler crab. So they're a hermit crab. Hermit crabs do that.

I don't know. I don't know.

There's something a little bit. Yeah, yeah.

Okay.

But something. So that wasn't a good picture, but more of a spiritual experience of that, where it's sort of like it's time to move on and feel comfortable oscillating between the energetic realm and the physical realm. And what was. And what is.

Somebody was telling me the other day, I haven't seen this myself, but the butterfly, before the larva turns into the butterfly, is basically looks like sort of a goo.

Yeah.

It's squishy. Yeah. And then all of a sudden, out of this thing comes this beautiful new butterfly.

Right on.

Yeah.

Transformation, baby. All right, so what do you say we. We fly this. This baby jet home and. And bring out. Bring around. And in the next episode, we've got more awesome concepts that we're going to be sharing with you. But this is Mike Koenigs, Gay Hendricks here, and this is another episode we have brought home of the Big Leap. Hope you enjoyed it. Make sure you comment and leave some comments. And we've got a great gift for you. So when you I'll share that in an upcoming episode. It's a new creative thing that you've created. Gay, that we're going to share. But head on over rate review. And we're going to pick a reviewer to send this gift to. It's our way of saying thank you for listening and also sharing this with people you know.

And we're going to be also talking about conscious luck, how to create your own luck consciously in many upcoming episodes. And maybe you can use this as an opportunity to create yourself as lucky enough to win this cool new prize that I brought today.

Oh, I love it. I love it. Thank you, Gay.

Thanks, Mike.