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Jim Warren, Celebrity Artist and Scientology Ambassador is currently commenting on Glosslip article: Scientology Ditz, Jenna Elfman’s New Fall Show… A CBS Accident For Sure
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I'll post Jim Warren's 2003 Celebrity interview about the SP doctrine, in the public interest.
Celebrity 353 (c) 2003 Church of Scientology Celebrity Centre International wrote:
[/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\ Is that Dopey or what. ]
Jim Warren wrote:
"One of my early successes was only about a year after I started in Scientology. I accomplished one of my biggest dreams... I painted the cover and it won a Grammy Award for Best Album Package."
The name Jim Warren may be familiar to you. It may also be that you've never heard his name. But, you have undoubtedly seen his art at some time, in some form. It may be on some of your record album covers or, perhaps, on the front of a treasured paperback. It could be that you were struck by one of his paintings on a billboard while driving to work, on one of your favorite television shows, or even on a greeting card you received from a friend.
Jim Warren's career as an artist started almost thirty years ago, where he won first place in his first art show in California. Since that time he has quickly gained popularity painting fine art, illustrations and portraits.
Early in his career, Jim painted album art, winning a Grammy Award for the cover art of Bob Seger and the Silver Bullet Band's Against the Wind.
Jim also illustrated book covers, with over two hundred covers to his credit, including titles from authors such as Arthur C. Clark, Clive Barker and Piers Anthony.
For the past eleven years, Jim has been a featured artist in the prestigious Wyland Gallery chain and has collaborated on several now classic paintings with top marine life artist Wyland.
Jim has made his living solely from his art since coming into Scientology in 1978. This month, he speaks with Celebrity Magazine on a service that especially contributed to his success as an artist, the PTS/SP Course.
CELEBRITY: How did you get into Scientology?
JIM: I saw an advertisement in 1978 on TV for Dianetics: The Modern Science of Mental Health. The ad showed a boy feeling bad because of an upsetting incident in the past. What I was experiencing at the time was the exact same thing as shown on the ad and I thought, "That's what's happening to me. That's what I need. Get me that book." I ran out and bought the book.
Then I went to the mission in Long Beach, California. They recommended I do the PTS/SP Course. It was recommended for artists and people who were roller-coastering in life, doing good, then doing bad. — "Hey! That's what I'm doing," I thought. I was doing well in many ways but not enjoying it as I should have, and I would start to go up, then roll back down again. It was getting frustrating, until I started studying Scientology.
First I did the Success Through Communication Course and I really liked it. Then I went straight onto the PTS/SP Course — about 40 hours per week — and it truly hit the spot.
CELEBRITY: what gains did you notice while doing or having completed the course?
JIM: I noticed right away my situation getting sorted out. I first learned it had to do not just with other people, but with myself and my ethics and how that related to being bothered by other people. I realized things I was doing wrong that caused the situation I was in. I realized, "Wow. Ethics is an important thing and I shouldn't do those things. I should be more honest with people."
At that point I started to get along with people better and started feeling much better about myself. I started understanding people better. I started seeing that there were kinds of people around me that I shouldn't be around — they weren't so ethical and they weren't exactly encouraging me with my art. They were destructive people and I was trying to do something constructive. It wasn't working.
I dramatically changed my lifestyle and the people with whom I was associated. After that my art career became very stable. I started to enjoy being an artist again.
CELEBRITY: How did that affect your career?
JIM: I was much more confident, and I could go forward and I felt free to do whatever I wanted to do. I immediately went up rather than up and down. I started to have big successes in my art very soon after I started in Scientology.
I accomplished one of my biggest dreams at the time which was, since high school, I wanted to paint album covers and see my art on album covers of musicians that I admired. In 1979, Bob Seger had wanted me to do his album cover for Against the Wind, which was of horses. The art director for Capitol Records encouraged me that I could do this. I painted the cover and it won a Grammy Award for Best Album Package.
The album also went #1, exactly what I'd always dreamed ten years earlier in high school — "Gee, I want to see my artwork out there, internationally on a hit record album. Something everybody sees." I went after a dream and I got it.
Another dream was to be a fine artist and be in the public eye, something I had actually been withdrawing from after earlier attempts. With my new confidence and ability to handle people, I went out again to the very large public art show in Westwood, California where I won first place for my fine art. That was my dream too — to be accepted as an artist for my own paintings and for my own ideas.
Another dream was to have my art published and distributed broadly in stores. This soon happened also.
It was just a simple matter of weeding people out who overtly, or worse, covertly, tell you "you can't" or "you shouldn't" or "you're not good enough." All of the negative yackety-yack.
I now love being an artist and also can easily juggle the demands of family and career.
CELEBRITY: I read that before you painted the Against the Wind cover, you hadn't painted horses.
JIM: No. I just painted mostly people and when the art director said, "Oh, Bob Seger really wants horses," I said "I can't do horses." "Yes you can," he said. "Ok. For Seger I can do horses." My attitude was, if somebody said I could, I could. That's the kind of people to associate with, people who encourage, especially in the beginning of your career. You need the confidence and belief in the positive. Don't worry about the failings and rejections. Don't worry about the unimportant things like that.
One thing unusual about me and my success is that I have made it as an illustrator (book covers, movie posters, corporate ads, etc.), a fine artist (over 40 galleries and many products such as puzzles and greeting cards worldwide) and as a portrait artist. I continue to do all three when I choose.
I attribute much of my success to the PTS/SP Course, because before that, success was mostly just a dream, not a reality that I could actually "have."
CELEBRITY: It is an LRH datum that the artist attracts the antisocial. Is this something you've experienced, and how did you handle it?
JIM: It's very real to me as an artist. I was not aware that there were antisocial people in the world, although they were very much around me I later found. There were people that would even "get behind me" in business, that in one way or another were tearing me down even when "promoting" me. It almost became normal to me and I accepted that this is the way life is.
Painting was what I wanted to do, but I started thinking, "Well, as an artist, you're going to be treated that way." And I was resigned to that.
With the PTS/SP course, I saw that wasn't right and there are just some people that have that attitude. It's just a false, weird data that "You're an artist and artists are..." They have these fixed ideas that they try to put on you. I kind of believed that, because I didn't know otherwise — until I did the PTS/SP Course.
It actually can become a generality, "Artists are just weirdos. They aren't really smart. They just paint things." It's very general so you start feeling that everyone thinks that about you and after a while I started to believe it myself. If you don't understand people, you can easily go into agreement with what they are saying about you. I found that's how it worked on me. I started to believe those covert generalities until I looked at it on the PTS/SP Course. When I got specific as to who around me was making me feel like that, I found it was really only a few. I could then separate who was that way and who wasn't. What was once "everyone" became just a few, whom I didn't need around me.
A weird thing I noticed about the antisocial person is they act like you need them to survive. "Oh, you're just an artist. I will promote you, because artists can't promote themselves — they aren't very smart, you know." Forget it. I don't need that.
After that, I promoted myself. I was the one who sent out my art to the record companies and other places, which resulted in the Grammy Award and other successes. I didn't promote myself before that. I relied on other people. This is a good example of how my viewpoint changed from the course. I could promote myself with confidence and I could stay true to my dreams.
CELEBRITY: Having PTS tech under your belt, do you operate differently now?
JIM: I never really have to think about weeding out people anymore. My art is in over 40 galleries right now, and I do about 50 art shows a year. So, I'm around a lot of people — almost everybody in the business. I don't even have to think about the application of PTS tech anymore. I just instinctively know who I want to talk to and who I don't. It's not something where I have to sit down and think, "Oh, I shouldn't be dealing with this person."
I don't even attract them anymore. It doesn't happen. Those people that used to buzz around me like a swarm of bees, it's like they don't exist anymore. I think they just know when they come around and start talking to me, I don't look like I'm going to fall for their little game anymore. My instincts guide me now because I know the tech so well. It's just second nature.
You know, most people are good intentioned, and I just deal with them.
I want to mention also that there is constructive criticism and destructive criticism and after the course, I could truly tell which is which.
CELEBRITY: How has the Golden Age of Tech affected your knowledge of the PTS Tech?
JIM: Well, the original PTS/SP course I did back in the late 70s had enough important basics that I could take these tools, use them to see what was happening and do what LRH said to do in order to handle situations. When I did the course later with the Golden Age of Tech, it put the tech in solidly.
"I just instinctively know who I want to talk to and who I don't. It's not something where I have to sit down and think, "Oh, I shouldn't be dealing with this person."
[Image captions: Left to right: "Nature's Little Helper"; "Snow White's Romance," a collaboration with Disney; "Wild Waters"]
The drills really helped me to get all the data so that I don't have to look back for an answer. I know the tech perfectly. I know the tech enough to help other people with it. The course took my ability to apply PTS tech to that new level.
The new checksheet is laid out in a simple gradient that makes it easy to study and easy to apply. In the end, it all fits together like the pieces of a puzzle — so that you have the whole concept of the subject when you are finished. I use it every day without even thinking about it.
Aspiring artists around the world e-mail me every day and sometimes they say, "I'm not very good. My teacher says..." "Well, ok," I tell them, "Go by what you think. Paint from the heart and don't stop and you will be as good as you want someday. It doesn't matter what the teacher thinks. Some people are just stuck on their own failure and believe nobody else is able to make it. People used to tell me that, but I don't listen anymore."
CELEBRITY: How has knowing PTS tech helped you move up The Bridge? Jilfi:Well, the reason I did the course was because of PTSness. When you have and can apply PTS tech, you can have wins and continue with more. You're not dealing with problems going on around your life, where you're distracted all the time.
I'm surprised they knew at the mission that I needed to do the PTS/SP Course before Dianetics. But it was true. I wouldn't have moved otherwise.
Aside from the technical reasons — out-ethics, problems — when you have a PTS situation, you can get distracted, goof around or waste a lot of time. In short, you'll do anything but move up The Bridge.
For me, there was no middle ground. I either had a lot of suppression around or I had none. When I had it around, if I went up at all, I went right back down. You tend to want to give up.
But when you have the data of what is going on, and you know what to do about it — Wow! You can move on.
CELEBRITY: Who should, in your opinion, do this course?
JIM: Everyone, really. This course also cleaned up a lot of things in my past. Things I should have known long before I was an artist. I could have used that!
Looking back, wow! My first grade teacher was like this. No wonder I was sick and I didn't want to go to school.
I don't look at the PTS/SP course as one only artists need because they attract antisocials.
Everybody, especially successful people, and anyone who wants to become successful. Even if you don't have an obvious problem, it'll make certain that you don't get caught by surprise. You'll be ready for it and handle it. I can't imagine anyone not knowing this data.
I have kids now, and in a gradient way, my wife and I are already teaching them about it.
CELEBRITY: Is there anything else you'd like to say?
JIM: I'd just like to stress it's such a good feeling to feel confident and have understanding about people, especially when you are in the public eye as an artist.
And I forgot to mention a very important thing, the achievement of my greatest goal. This data has steadily improved my art and what it communicates. Many of the letters I get, from places such as Iraq, Iran and Israel, mention after seeing my website that my art has uplifted and inspired them and given them a happy place to go in "these stressful times." Changing the world for the better with my art is what I set out to do from the beginning. I could never communicate artistically in that way without the PTS/SP Course, that's for sure. •PDF format