today I’ll share with you some mistakes that I believe people make when they’re learning covert hypnosis or any other kind of influence/persuasion model.I believe that in order to really become good at these things, you have to overcome these three mistakes:Trying to force a response in people
Fig. 1: The proficiency curve. Notice how after every new skill level, there’s a plateau phase where there’s no apparent improvement and many times it seems as if the skill level is getting worse.You now see that if you persist and keep on practicing, you WILL get good at covert hypnosis. The real failure is only when you quit trying.MISTAKE #2:Another, more technical mistake I noticed was that sometimes people try to force someone to respond to them just because according to theory they should. If the technique doesn’t work, a persuader becomes angry with his or her prospect tries even harder to force a response in them.This of course doesn’t work and if anything, it also gets a prospect angry and even less responsive.Example:Salesman: “Just imagine, driving this car through the city, having everyone look at you with that approving look and you feel great, don’t you?”Customer: “Well, I’m not sure. I’d like to have a car that’s more functional than one that’s just a joy to drive…”Salesman: “Yeah, but isn’t it a nice feeling, though, when you imagine driving down the city center and being the one people look at with envy all the time?”Customer: “Maybe, but what I said to myself was that I’d really like a nice, big trunk and something that doesn’t use so much gas…”Salesman (a bit angry because he can’t get a proper response): “But if you could just see that image of yourself driving down the road and feeling great…”Customer (also getting angry as a response to the salesman): “Yeah well, I’ll think about it. I’ll go see some other cars too…”As you can see, the salesman did a crucial mistake of not calibrating to the customer. This is very important. People have different representational systems and different meta programs and so on.It’s the job of a salesman (and any persuader) to elicit from their prospect what’s important to them and what to do to get a favorable response. People REACT when the right “buttons are pushed”. It’s your job to find those buttons and push them in the right sequence.So… if the person you’re trying to persuade isn’t responding, STOP –> ELICIT –> CALIBRATE –> “ATTACK”. Do this as many times as needed to get a proper response.MISTAKE #3:The last thing I wanted to cover here was the mistake people make in learning and using covert hypnosis, when they view it in a rigid, technique-dependent manner. It keeps everything from flowing naturally and makes the whole thing look very awkward and suspicious.Relax. Have a playful attitude. Respond to people and to situations. If you’re in a middle of a language pattern, for example, and a person interrupts you and shares his/her own experiences… STOP, LISTEN, CALIBRATE and PROCEDE. Do it naturally.Remember, the more you do it, the better and more natural you’ll seem and feel until some day you’ll suddenly discover that you do everything unconsciously and then, my friend, you can call yourself a master of covert hypnosis.
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The only real problem with Stir of Echoes has nothing to do with the movie itself, but with unlucky coincidence. Adapted from a Richard Matheson novel, this film arrived around the same time as The Sixth Sense, and surface similarities made it suffer by cursory comparison and the competing film’s phenomenal success. It’s a pity, because this one features one of Kevin Bacon’s best performances, in a psychological thriller that makes a lot more right moves than wrong ones. Bacon plays a blue-collar guy who laments his ordinary life, only to learn, when his sister-in-law (Ileanna Douglas) hypnotizes him, that he is a “receiver” capable of seeing spirits and split-second glimpses of past and future events. It’s a torturous gift to have–especially since his friendly Chicago neighborhood possesses a dark secret–and Bacon plays the role with an appropriate mixture of obsession and internalized torment.
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One would think there would be a diverse history of manly gay vampire films, after enjoying numerous lesbian classics like Vampyros Lesbos and Daughters of Darkness, but surprisingly, The Lair fills a void in this campy realm. Riffing on Dante’s Cove, The Lair is a series in which vampires run an underground sex club employed by hunky, S/M vampires that like to engage in deadly, lascivious orgies. Not since Udo Kier as the Count in Andy Warhol’s Dracula has the leader of a vampire cult, in this case Damian (Peter Stickles), been so horny. However, The Lair diverges from Dracula’s story quickly, allying plot-wise more with The Lost Boys, in which a posse of hot men must secretly kill in order to keep the family alive. Over the course of the six half-hour episodes in The Lair: The Complete First Season, journalist Thom (David Moretti) and his boyfriend, Jonathan (Jesse Cutlip), get a little too close to discovering the vampires behind a series of anonymous John Doe murders, whose case is officially spearheaded by Sheriff Trout (Colton Ford). Sex scenes are as steamy as they can get for television, and The Lair, as melodrama, delivers wherever one would expect people to get naked and crawl into bed. As one would imagine, and hope, everyone involved in the series, save a couple surprises, ends up dead or a vampire. Not until episode three, after Jonathan has been bitten and Thom tries to hang himself under hypnosis, does the series begin to take more mystical turns, cluing Thom and his friends, like Laura Rivers (Beverly Lynne), into the fact that a coven exists on the island they live on. As Thom sleuths away to discover Jonathan’s attempted killer, side plots evolve. Laura’s boyfriend, Jimmy (Evan Stone), beats her up, and another vampire victim, Eric (Michael Von Steele), is recruited to The Lair’s S/M late-night crew. During episodes four, five, and six, a mutiny forms amongst the vampires, masterminded by Kiefer Sutherland look-a-like, Colin (Brad Benton), and his lackey Frankie (Brian Nolan), who turn against Damian because he believes Thom is his old lover, Richard Devere, reincarnated 200 years later. The scene depicting Damian and Richard back in pre-colonial Boston, dressed in powdered wigs while Richard paints Damian, is hilarious. The dialogue is a schlocky mixture of Shakespearean posturing and gossipy club boy, such as when Colin brattily tells Thom, “Truth is, we’re a coven of vampires, and when the sun sets again, you’re going to die.” The Lair is trashy, ridiculous, and lots of fun. —Trinie Dalton
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