Igor Tsarenko

We Decide, he decides. Part 1

A simple example of interaction between the tangible and the intangible.

12 Feb 2017

Dramatis personae:

Igor Tsarenko (as the Screenwriter)

Konstantin Rusov (as the Author of the idea)

Him (as the author of the Reason)

Sergey Kil’kov (as Sergey Kil’kov)

Scene 1. The question

Being in a constant search of an answer to the main question of all the creative and internally tormented people (“Who Am I?”), Igor mentally attracts an encounter with the technique of Holotropic breathing in his life. The rational mind is shaken by the irrational things: a current of energy down and up the belly. Surely the impossible is not possible, but it’s happening here and now. The ancient named it “the Сhakras”. He starts believing, successfully passing the session, and starts waiting. Waiting for 5 years. Igor has been waiting for the answers, observing the changes in him. He’s been waiting vigorously. Frantically. Has even started writing about himself in the third person after these 5 years, in order to see the waiting from a different angle.


Yes? Why not? Oh, so it’s a “no”? Sure, go on.
This set of words already contains a part of the answer within itself, immersing you into the sensation of mysticism and presence, a sensation, that is barely explainable. You can dig deeper - the question doesn’t need any words, as it constantly sounds in the consciousness, sometimes resounding in the head, but more often - in the solar plexus, and in spring in summer - in the heart.

Well, you got it. All the phenomenons that we sing and make movies about are involved here, whether it’s a beginning or an end of one of them (both states are responsible for inspiration and creation). The phenomenons, that are identical to the life itself: birth/death, love/loneliness, fear/courage, faith/disbelief, truth/lie, beauty/ugliness, knowledge/ignorance, imagination and what is opposite to it (this one is for you, work it out on your own).

Igor, as any beginner, has his hang-ups, like “What will the dignified society think about me (not embodied physically or non-physically in anyone, thus, as it turns out after some observation, not so dignified after all), as I’ll become different?”. Our hero, in all his delicacy, doesn’t get rid of his doubts, but puts them aside and decides to dig deeper. As a shovel he employs the familiar breathing technique that expands consciousness through oversaturating the blood with oxygen. In the predefined day and hour, the breathing process begins and now it’s His turn.

Scene 2. Him.

He appears out of nowhere. There’s a sensation that He’s been around forever, but used to be quiet, not being illuminated with stage lightning, not saying any lines in the scenario. But the other characters kept asking about Him, asking each other and themselves, so the viewers had a strong sensation of His presence in the film. Igor sees him and what he thinks himself to be. This feeling is both terrifying and beckoning at the same time.

Hans Zimmer’s music is playing in the background, following the topic of existence and cosmos. (Maestro, would you put on some music from the boundless space of cold stars?)

It takes him some time to make his vain attempts to control the situation. They force him to take a step back. “But what a minute”, - says our hero to himself. “That’s not why I came here. I know Igor in his earthly human embodiment very well. Why would I waste the time and the opportunity to touch the mystery?”. There are no objective reasons, only subjective ones, embodied in my hang-ups or fears”.

As he got more courageous and trustful, he got his bonus right away. The demonstration of a film within a film (an illusion within illusion (brackets within brackets)).
The technical solutions used for presenting the idea of the film are interesting indeed: instead of the offscreen voice, characters on the screen or music, the notions penetrate his very core, bypassing the organs of perception and the brain. The telepathic current of intuitive consciousness and tangible images about the harmonious state of the planet, which include harmonious coexistence of all the living creatures inhabiting the Earth (“But what about the zebras that get killed by lions?”, you might ask. “Is their unbearable fear of impending doom and agony also a part of the harmony? It’s difficult, but theoretically possible to teach the people not to kill animals. But is it possible to force a puma to eat grass?”. And you’ll be right. If I had answers to all the questions, I would be able to stick water to a tree or wake up exactly at the moment when the alarm goes off, and not tap “Snooze” 7 times - in order words, I would be able to do the impossible, but there is an answer to this question after all: life and death in the animal world are natural cycles of existence. Unlike people, animals don’t have any choice but to follow the instincts. Only the man is endowed with the ability to commit the good (actions that develop his/her soul) and the evil (actions that develop his/her ego). And when a human being kills another human being - it’s the first and the most alarming sign of disharmony.

The message that is being conveyed to Ihor can be described as a mission being told to a messiah: our hero must create a film that will change the world views and, if possible, “open the eyes” of the millions of people by shifting the paradigms of their minds, by conveying the information through sounds and images. While the release date, the financing and the key phone numbers are not given in the message. The message is inspiring. It gets installed deep on the inside, right next to the question “Now how do I live with this?”.

Scene 3. The acquaintance.
(One month later)

Igor is in a movie theater. While he’s watching the movie, his phone starts vibrating, as one of the contacts in his phone book wanted so. He peeks at the screen and sees who is this person wanting to reach him. He doesn’t get irritated, as the name of this person is associated with good memories: it is Sergey Kilkov. He answers the call and hears an invitation to a meeting, which he accepts and rushes to the place right after the film ends.

Sergey: “Igor, please meet Konstantin. He practices spiritual development and wants to make a movie about possible ways to achieve it.”
Igor: (raises his eyebrow as he pretends to be impressed, saying in Eddy Murhpy’s voice) “Is that right?”
Him: (smiles invisibly and disappears from the screen).

The end of the Part 1.

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Igor Tsarenko
Film director