Vol. 7 No. 1 Winter 2002

In short, what ac- ON DREAMS AND ART: PART VI tors need is some- one who, in a non- LAST A NALOGY: authoritarian way, can be helpful and DIRECTOR AND DREAM GROUP LEADER supportive. BY MONTAGUE ULLMAN, M.D. s long as there have been movies, there have been movie directors. In connection with movie-making, I have alluded to the director earlier, Abut never singled him out for special attention as the one responsible for creating and maintaining an atmosphere most favorable for a successful outcome. Although that role has task. That unique level of out of people. Turn them evolved over the years and collaborative pooling of loose. Give them their there are individual direc- creativity results in a head. You have cast the torial styles, the general bonding that has all the best people but they are consensus is that the es- elements of whatever we still vulnerable. They sence of the job is to tap mean by the word love. need someone they can into the talent of the ac- My earlier reference (Part trust." tors to the fullest extent IV) to possible, enabling them to speaks to this in his reli- Willem DaFoe give depth and meaning to ance on and faith in his "The director has to the script they are collec- unconscious to come up have an overview, give you tively working on. That with novel solutions to the a setup and see what you collectivity involves a many novel predicaments can do. Scorcese gave me match between the creativ- that arise in so complex an such a beautiful setup. ity of the director oriented undertaking as making a He provided me with a to the overall task of movie. great place to pretend. He bringing the script to life I also referred to what made room for pretending." and the creativity of the openly and intu- actors making their indi- itively need from a direc- Sigourney Weaver vidual contribution to that tor. In short, what they "Work with the need is someone who, in a to find the essence of her Inside this issue . . . non-authoritarian way, self and help her stay out can be helpful and sup- of her head." Leadership Training Workshop in April...... 3 portive. Let's hear from DA Enters Its 7th Year—And Asks Your Input...... 8 the actors themselves Ellen Burstyn about this. "Actors want freedom Note: and the recognition of Monte’s website is: www.pp.htv.fi/msiivola/monte Ron Howard what they are up against. Monte’s e-mail is: [email protected] "Don't make a puppet They want respect for 2 Winter 2002 Dream Appreciation Vol. 7 No. 1

ON DREAMS AND ART: PART VI them as people as well as me. He should have guts Robert DeNiro James Wood professionals. They need and passion and know how "Scorcese had a great The director has to be help and support and to to work with actors. Act- respect for actors and passionate about doing the be dealt with honestly. ing is a lonely task. You knew how to get the best picture." They want a director to be need someone like Mike out of them." straight with them, take Nichols to be there for Lee Grant them seriously and be un- you, someone who comes Jack Lemmon "I like a director who derstanding of the actor's from the acting profession. "I want them to be re- trusts me, who can sur- craft. They want to be He knows everything sponsive to my suggestions prise me and who is open stimulated and pushed in to my suggestions." a direction they wouldn't go by themselves." There are two guiding principles that Holly Hunter structure the process of the dream group. "The ideal (seldom oc- Danny Glover Taken together they encompass what actors curs) is that of a perfect "The director should seek in the directors they work with: The marriage where the needs be helpful without being Safety Factor and the Discovery Factor. of both are met with ease intrusive. He should have and constancy." a way of saying the right thing at the right time. about everything. He is and let me try them out. Meg Ryan Actors are vulnerable and there waiting for me. He is a deeply "I don't like to be should be kept in the gets inside the character. passionate man. Passion is heavily directed. Let me comfort zone. He should He has a tremendous involved in anything do it my way. Let me be make me a better actor. I amount of love for the worthwhile." bad. Let me be good. don't want to be humili- character. He has faith in ated. He should have my ability." Susan Sarandon Angelica Houston faith in you." "I want the director to "I would like the di- Jennifer Lee create an atmosphere rector to love and appreci- Harrison Ford "I want openness and where creative processes ate the actor. I would like (On Mike Nichols) trust. I don't like the feel- can go on." to be helped to move in "His approach is that of a ing of being straight-jack- the right direction." charming host. He is one eted. I want him to see Goldie Hawn of the most brilliant ma- things in me I didn't "The director writes the Kim Basinger nipulators of actors. He is know were there." music and I hit the notes." "The director should so clear and insightful. know what he wants and You never felt his hand on Gene Wilder Mary Stuart Masterson to know what you don't your shoulder. He helps "I want gentleness with "I want a director to know yet. At the same you do the right thing and actors because they under- be open and generous. I time he gives you freedom feel it's the only choice stand actors. They should want to feel trusted. and is comforting." you can make. He makes never shout at them." Don't tell me what to do. you want to be a member That makes me feel self- Tim Robbin of the team." Ellyn Barker conscious. There should "I want the director to "I want them to help be intimacy and trust that respect my opinion and Cathy Bates me become a better actor. we are on a journey and say, 'If you have a better "He should be smart I don't want to be humili- will encounter weird idea, do it.' It becomes a and have been there before ated." places on the way." community effort. The Winter 2002 Dream Appreciation Vol. 7 No. 1 3

DIRECTOR AND DREAM GROUP LEADER director's vision without the way questions are put to This is not unique to dream Several directors have the actor is nothing. Ac- the dreamer. They are meant work. It occurs wherever appeared on the program tors bring life, heart and to be helpful without every be- creative energies can flourish. (The Actors Studio). Here humanity to the film." ing intrusive. They are not The role of the leader in are a few of them speaking information-demanding ques- a dream group is unique in for themselves. Comment tions where ordinarily one only one sense. The leader I have already noted There are two guiding would expect an answer, but is responsible for seeing that what several of the actors principles that structure the are offered as instruments for the structure by means of said about Mike Nichols' group process of the dream the dreamer to use in explor- which safety and help are sensitivity and reliance group. Taken together they ing his or her own psyche. maintained remains intact. upon the unconscious do- encompass what actors seek The question may or may not He differs from the director main. Here are some of in the directors they work turn out to be useful. If it is who usually does not assume Nichols' own thoughts with. The first is designed useful, it still is the dreamer's an acting role in the movie. that highlighted the anal- to generate and maintain decision as to what to share. The dream group leader has ogy to leading a dream the feeling of trust in the The important point here is the same option as others do group. leader and in the process that the dreamer is never to share a dream or not. He that is to unfold. I refer to obliged to share more than he also participates in the same Mike Nichols it as the Safety Factor. It or she feels comfortable shar- manner as other group "The opening scene calls attention to the fact ing. members do to someone else's expresses the theme of the that if the dreamer is to pur- It is this respect for the dream. As the one who is movie. It has to do with sue and expose the feelings dreamer's authority over the more aware of the pitfalls style. Style is beginning that shaped the images of the unconscious domain that that can occur in dream something in a way that dream, he or she has to feel frees the dreamer to do the work, he has the major re- makes things that happen perfectly safe in doing so. necessary exploratory work. sponsibility for keeping the later all follow from the The task of getting to It is the dreamer's own in- process on track. beginning." the unconscious roots of the terest and curiosity that dream is difficult and often drives the process without involves the vulnerability as- any outside authority stand- EADERSHIP RAINING ROGRAM sociated with risk-taking. ing in the way. No one is L T P The task of creating the nec- required to share a dream. A Leadership Training Workshop in group dream essary level of trust for this to It is an voluntary act on the work will take place at Monte’s home April 5-7. This occur requires a second prin- part of anyone in the group, experiential three-day workshop will cover the underly- ciple, the Discovery Factor. including the leader. In the ing premises and key principles on which Monte’s For the "comfort zone" nec- case of the latter, it is analo- group dream work is based. It will explore in depth the essary for the dreamer to suc- gous to taking kinds of problems that occur at each stage of the process cessfully find the way back the double role of director as well as the technique of leading a group. to the dream, the help of- and actor. The mutual Even if you have attended one of Monte’s Leader- fered to the dreamer by the sharing at this level of hon- ship Workshops before, this can be a helpful way to leader and the group is esty and intimacy generates “fine tune” the process. shaped by the need to main- the feelings referred to by the DATE: April 5, 6 and 7 tain the Safety Factor. actors as the closeness of a PLACE: 55 Orlando Ave. At the point, for ex- team, and the feeling of Ardsley, New York 10502 ample, when the group en- family. When you get down gages in a dialogue with the to it, a palpable sense of lov- For information or to register call Monte Ullman dreamer, there is a fine art in ing energies is liberated. at: (914) 693-0156. 4 Winter 2002 Dream Appreciation Vol. 7 No. 1

ON DREAMS AND ART: PART VI Comment about directing and learn- I feel very much in tune block of stone. You chip This applies in an in- ing about it." with Nichols' approach. away everything that isn't teresting way to dream When I first embarked on an elephant." work. A dream is triggered Comment group dream work, I was a by some current concern. Mike Nichols came group virgin. I came to it Comment Much effort is devoted to upon the perfect outlet for with a special interest in Dreams are all about helping the dreamer discover his creative energies. His art dreams fostered by my years feelings. This requires the these recent emotional resi- took the form of collabora- as a psychoanalyst, and de- helping agency to be exquis- dues. They are further itely sensitive to where the elaborated on by recovering feelings are as the dreamer the connections to past and Dreams are all about feelings. This explores the dream. That future concerns, where each involves getting rid of all requires the helping agency to be ex- new bit of information adds that isn't relevant to the more meaning. quisitely sensitive to where the feelings dreams. are as the dreamer explores the dream. Mike Nichols Norman Denison "When 150 people "Acting is a very diffi- show up on a set, you tion with others to produce veloped a certain intuitive cult profession. There are need a plan. You need motion pictures that were sense of what conditions so many technical de- collaboration." multidimensional. They were essential for good mands made on the actor. touched both the conscious dream work. They were the Actors are to be appreci- Comment and unconscious domain of same conditions necessary for ated. It's about love, not In no endeavor that I the audience. As he put it good acting, e.g., a non-au- hostility." know of do you need so clear in connection with his first thoritarian, non-hierarchi- a structure in which to work attempt at directing in The cal arrangement, respect for Comment as is the case of dreams. Graduate: "This is a very the dreamer, an openness to The same applies to Dream work can be danger- surreal movie. Some part of others more experienced in dream work. ous but the danger is not in my unconscious made the group work than I was, and the dream itself. The dan- ending possible." a certain humility in regard From time to time, I ger is in the eye of the be- Nichols draws a sharp to the unpredictable ways have received letters from holder. By that I mean that line between artists and the unconscious domain can those who have been in the danger is anyone who managers. "The former manifest itself. Every new one or another of my approaches the dreamer in a learn from process; the latter dream is an entirely new dream groups. I suppose way that supersedes the don't. They are too literal. learning experience. those who do write are the dreamer's authority over the My process includes the un- ones who responded posi- dream. A dreamer can be conscious." Nichols' process Stanley Donen tively to their experience. victimized by any à priori includes learning from oth- It's all about feelings I do not wish to misuse theoretically based superim- ers. "I have learned a lot and learning how to trust the letters as any kind of posed interpretations. from Jack Nicholson on how your own feelings. If you endorsement, but rather to deal with the company. do, you'll know when to because they spell out in a Mike Nichols He connected with every- say 'Cut! Print!' It's a more heartfelt way than I "After the Elaine May- body. Everyone was his struggle at times to find can what any dreamer has Mike Nichols team broke friend." The director is not my way. It's like the a right to expect from a up, I was drawn to direct- necessarily the one with all sculptor trying to sculpt dream group leader. It's ing. I just liked thinking the answers. an elephant out of a large pretty much the same as Winter 2002 Dream Appreciation Vol. 7 No. 1 5

DIRECTOR AND DREAM GROUP LEADER what an actor has the right enough self-effacing com- felt deeply touched by the stones from my childhood to expect from the direc- ments to suggest that this process and by you—your stone collection from my tor. is the result of lifelong ex- sensitivity, integrity, wis- parental house. And that perience and refinement. dom and fun-loving being, was only one step I could "I remember quite I saw many areas in which I and not least by your gen- take and only the first as- clearly that I have felt a need refinement. I felt en- erosity of spirit. It is truly pect I began to see about gradual awareness as I couraged wonderful the stone.) The dream- worked with your method, to think work. I work is ongoing. And that that even nightmares con- that I, too, What any am pre- is what makes it so fasci- tained a healing message. am being dreamer has a right senting it nating to me. I have never honestly felt refined to expect from a to my "I also wanted to tell afraid of my dreams. A and that dream group leader is classmates you that the fall workshop frightening dream is of my experi- at Helix has been very instrumental pretty much the same course scary when it oc- ence is on De- to the flourishing of the curs and that feeling adding up. as what an actor has cember dream group in which I might linger when I first "The the right to expect 14. I will participate on a regular wake, but I welcome group con- from the director. endeavor basis. We were already dreams now, and feel sure text gave not to be doing dream work accord- that even disturbing imag- me a pre- tentative, ing to your method, but I ery can offer me under- cious opportunity to test my but to be inspired by the often felt a sort of hush, standing. No therapy or understanding. That some spirit of your teaching hush aspect about the any other type of experi- of responses clicked which is that the dreamer dream work: 'Is this ence had ever before with the dreamers was knows what the dream is dream interesting enough? helped me with that ter- validating; that some telling her—she simply How long can people en- ror. It's really an awful proved off base or ill timed needs a safe and stimulat- gage with someone else's thing to feel so vulnerable was clarifying and correc- ing environment in which dream? When is the nov- to one's inner imagery, tive. The dreamers' open- to become aware of the elty of a dream wearing and the release from that ness was inspiring. The message. I can do this, I out?' It seems to me that fear was liberating. And magnificence of their lacily believe—perhaps a little a lot of that was to be at- your process is unique, in intricate dreams and the clumsily from lack of prac- tributed to a general fear that it has a structure that beautifully discrete process tice, but well enough." of sitting with someone is simple and solid, and is through which you guided else's anxieties and the un- easy to pass on, but it's us reinforced my spiritual "I would like to use familiarity with the idea not confining—within the premise, foundation, and this opportunity to tell that there are skills avail- process, endless variations my footing in it." you how much 'mileage' I able to all of us in that take shape. I never tire of got out of the fall work- area. Despite my own dreamwork, or feel stifled "Almost a week has shop at your place: the fears, my patience with by the structure." passed since the beginning work on the dream itself my own dreams in the of the Dream Group Lead- was very illuminating for presence of the dream "Your presence and re- ership training last week- me (if you remember, in group has grown tremen- sponses assured clear, un- end, but the work and the dream I gave away dously and so, I believe, derstanding, respectful, your presence are still stones to supposed helpers have other people's pa- compassionate, patient, strongly with me. It's re- who then ran off from me. tience with theirs. The gentle, but sure and help- ally hard to find the right Subsequently, in waking group work has benefitted fully firm. You made just words to say thank you. I life, I retrieved the similar from that." 6 Winter 2002 Dream Appreciation Vol. 7 No. 1

ON DREAMS AND ART: PART VI "I ask myself today, "Thank you, Monte, cal this semester. Monte's benefit of embedding dream 'What is it about this pro- for sharing the wisdom of approach, with basically work in a group context, us- cess that encouraged my your life's experience with self-guided voluntary ing an atheoretic approach dream to speak to me so the dream world with hu- groups exploring dreams derived from the basic phe- profoundly?' First, there mility and compassion and (with the theory of the nomenological features of is the total safety and ac- for being a unconscious dreaming consciousness (cur- ceptance I felt throughout person who that he ar- rent relevance, information the entire process. This understands gues along and honesty), and providing Monte's ap- tone was set by the group the impor- with the the time necessary to focus on leader and mirrored by tance of proach, with basi- group psy- every element of a dream group members. I felt lis- equality and cally self-guided chology), (usually an hour and a tened to, valued, and re- love in our voluntary groups strikes me as half). This in no way di- spected which freed me to world. And exploring dreams, an Ameri- minishes the importance of relate to my dream images thank you for strikes me as an canization of dreams in formal therapy. intimately and fully. reawakening Americanization of depth psy- Is simply provides a more "Secondly, I always my passion depth psychology chology that natural and spacious way of felt in control of what was for working that is in the Ameri- is in the receiving a dream. happening. The process with dreams can grain. American The above encomiums sets guidelines that kept and helping grain. should be taken as essen- me centered on the fact me to realize Tocqueville tially tributes to the way the that the dream was mine, that I have a stressed the group process is structured. and that I was the author- gift I must start using in a importance of voluntary Dream work flourishes in a ity free to accept, reject, or broader world than I have associations as counter- nonviolent atmosphere and amplify on others' projec- until now." weight to US emphasis on the structure is there to bring tions and insights into my privacy and individualism, everyone as close to that dream or to stop the pro- The following quota- and the importance of ideal state as possible. The cess if it became too much tion is from Dr. Robert democratic—as opposed to trust that is generated and for me. There was only Kugelmann, Professor of aristocratic—social organi- the way help is offered re- once when I felt dimin- Psychology at the Univer- zation. The 'European moves the obstacles in the ished and felt myself with- sity of Dallas. I did not style analyst' is more of an path of the dreamer himself draw in fear and doubt. know Dr. Kugelmann at authority figure." or herself finding the way That was when one group the time. The following back to the dream. member took on the role quote is taken from a letter Comment of an authority on my he wrote to a mutual While actors often work Originally, I thought I dream, thus not following friend who then forwarded with a variety of directors, could develop the analogy the guidelines of the pro- it to me. the excerpts I have noted are between acting and dream cess and demonstrating to limited to just one dream work in three or four me the importance of a "I thoroughly enjoyed group leader, myself. I have parts. The more I wrote, sensitive leader reminding Monte's approach so I parted company from my the more interesting the group members to follow would be interested in the psychoanalytic colleagues in analogy became to me. the process. The process training group. ways that I feel are more This is now the sixth and really works and helped "Side note: I've been suitable to the universal ap- final part. I realize that me to delve deeper and reading some of peal of dreams and their this analogy, like all analo- farther than I ever Tocqueville's Democracy universal availability. gies, is limited. It falters, 'dreamed' possible!" in America on my sabbati- Chief among these are the but doesn't fall. Here are Winter 2002 Dream Appreciation Vol. 7 No. 1 7

DIRECTOR AND DREAM GROUP LEADER some differences between our cultural evolution. to an audience. This in the group can carry the the two. The hope is that dreams, turn involves a fallout process by itself, simply Acting is a profession. too, will find their rightful quite different from the alternating leadership. It's a job. It is the liveli- place. more private effect of dream hood of those who go into A number of more spe- work, namely, public ac- 6. A final feature of it. A profession requires cific differences between claim, celebrity status, etc. interest is that in the act- some uniform level of dream work and acting Theatricality and dream ing profession, my guess is training experience and should be noted: work don't mix. For the there is about an equal standards. Dreams, by number of males and fe- their very nature, don't males. In dream work, my Dream work flourishes in a nonviolent lend themselves to any experience is that there are kind of institutionalized atmosphere and the structure is there to seven or eight females to structure. Just as there are bring everyone as close to that ideal state one or two males. Men different schools of acting, as possible. The trust that is generated and have more important there are different ap- the way help is offered removes the ob- things to do, like building proaches to working with stacles in the path of the dreamer himself or missile shields. dreams. There are a grow- herself finding the way back to the dream. ing number of people who It has been fun to look are being paid, as I am, for at the way various aspects teaching group dream 1. Actors rely on a dreamer, incremental be- of the dream work/acting work. much more elaborate sup- havioral emotional growth analogy came into focus as While there is a need port structure than do is the goal itself. I began writing about it. for training and standards, dreamers. Dreamers just Linking dream work to the ultimate goal is for our need a few other dreamers 3. Acting is a specific acting and the dependence dreaming psyche to find to work with, including at talent. Dreaming is a uni- of both on the rich re- its natural place in society. least one who knows how versal talent. What is sources of the unconscious Reliable leaders are neces- to go about it. The long common to both is that domain may contribute to sary to achieve that goal, list of credits that fill the talent cannot be taught. a mutually beneficial link- but organizing and insti- screen at the end of a It is there to be discovered age of the two. tutionalizing that training movie attest to the exten- and developed. Acting is an art that comes with its own dan- sive array of talent and ex- has long been with us. gers. There are many dif- pertise involved. 4. We are all dreamers Dreams have been with us ferent schools of thought from early childhood on. even longer, but insuffi- about dreams, and no gen- 2. Perhaps the most While there are naturals cient attention has been erally agreed upon method obvious difference between such as Shirley Temple, paid to the intrinsic cre- of teaching dream work. acting and dream work is most actors do not dis- ativity of those visitations This is the current di- that, while it doesn't un- cover their talent that early. that come to us nightly. lemma faced by those of dermine the validity of the It is up to us to get on us working toward the analogy, introduces a 5. Every movie has a with the task of welcom- universal availability of qualitatively different di- director. In the course of ing them to our waking our dream life. mension to the work. I re- the natural development existence. Far too long Art generally and act- fer to the fact that the ul- of a dream group, once the have our dreams remained ing specifically have always timate goal of producing a structure is thoroughly in the closet. ™ been essential features of movie is the presentation understood and abided by,

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PA PA Square, Square, Kennett Kennett

Lane Taylor Taylor 105 105

Editor Pannier, Pannier, Wendy Wendy c/o c/o

Appreciation Appreciation Dream Dream Dream Dream Appreciation Dream Dream Appreciation Appreciation Dream Dream Dream Dream

D.A. ENTERS ITS 7TH YEAR — AND ASKS YOUR INPUT! It hardly seems pos- your input! What have some of Give us your input sible that Dream Apprecia- Are you in a group you done to get dream and we will respond! All tion is entering its seventh using the process Monte groups started in your ar- the contact information is year! developed with Nan eas? What types of people below. Let us hear from If you missed any of Zimmerman? Share your have you done dream work you! the issues, please check experiences with us! Ask with (e.g., students, elderly, And thanks for mak- our website, (see address questions! Share a prob- etc.) What questions do ing Dream Appreciation on front cover) for a com- lem! Tell us what you you have about starting a such a success! plete listing of them and want to see in the newslet- group or keeping one go- other articles by Monte. ter! We are very open to ing? If any of you no the ideas of our readers. longer wish to receive We would love to Dream Appreciation is published quarterly for Dream Appreciation, please have readers submit ar- people interested in working with dreams and the group let us know and we will ticles related to the group process developed by Dr. Montague Ullman. remove you. This is a la- process and how it has af- bor of love for which we fected them. Don't like to Comments, suggestions, questions and letters are do not charge, so this is a write? If you want, I can welcome. Contact the Editor, Wendy Pannier, by phone at good time to clean up our interview you and write (610) 925-0758, by fax at (610) 925-0759, or by writing 105 mailing list and take off something up for your ap- Taylor Lane, Kennett Square, PA 19348. Our e-mail ad- dress is [email protected]. those who do not wish to proval. Don't be shy! receive the newsletter. Here are some more We encourage you to share this information with oth- Now for an impor- questions to get you ers, as long as proper credit is given. tant request: We want thinking: