The Hero with a Thousand Faces was first published in 1949 by Joseph Campbell, an expert in mythology. In this book, Campbell dissects his theory that there is only one archetypal hero journey found in all mythologies, fairy tales, and stories told across time - the hero's journey or monomyth.
Campbell's theory of the hero's journey is as follows:
The hero is initially introduced in his natural surroundings when he receives the call to adventure. He faces reluctance at first to cross the threshold to answer the call, but he inevitably takes the call and embarks on his journey into the unknown wherein he encounters tests, allies and enemies. He perseveres to reach the innermost cave where he endures the supreme ordeal. He claims the treasure and is pursued on the journey back to his natural surroundings. His experience causes transformation and he returns to his original world with a treasure benefit this world.
I recently spoke with Pat Solomon, a Los Angeles based filmmaker, about how he embarked on a hero's journey of his own to spotlight the work of Campbell in Finding Joe.
Solomon's journey started as all do: by finding his bliss. He recalls, "I found my bliss quite by accident really. I was super into skateboarding and snowboarding as a kid, but was never good enough to go pro. I liked taking photos and filming my friends. Slowly I found myself doing more shooting than being an athlete. I don't know when it was but there was a shift that occurred one day where I realized I was having as much fun shooting the sports as doing them. Then there was a point at which I realized I could get paid for it. Which is when I recognized I could make a career out of it and it could be my path. I was doing something I loved and getting paid for it. I didn't tell everyone that I would do it for free since they were paying me. That was a magic moment for me."
Solomon had dreamt about making Finding Joe for years. But not in the manner typical to telling the hero's journey as had been done in Star Wars, The Matrix, Wizard of Oz, and multitudes of fictional stories available in the media. Instead, Solomon wanted to make a documentary to show the inner workings of the monomyth as applicable to the lives of every person not just mythical and fictional characters, "What the hero's journey really means to me is taking risks and pushing for change in your life for the better. It's refusing to accept your current reality and continually making heroic day to day decisions to take some kind of action to better yourself."
It wasn't until the deaths of both his parents in quick succession that Solomon decided to act upon his call to adventure. Solomon recalls, "Looking back on my thinking, I realized I had been talking about it far too long. It was time to start it immediately."
Many can relate to receiving the call to adventure and either not answering it, or pushing it off until another day. Solomon indicated that the "things that stop people from discovering their journey or bliss, or for people that know their bliss but don't embark on their journey, are conditioning and fear. We are frequently conditioned from a young age to follow a certain status quo of whatever tribe we're in. In the Western culture it is to go to school and get an education. We're taught not to do anything outlandish such as following our dreams. We're told so much of what we should and shouldn't do that by the time we're in our late teens it has become a part of us."
As for fear, Solomon cites the idea of a major life disruption in leaving the comfort of the current circumstances as the main reason that keeps a person from answering their calling.
Solomon's favorite part of his hero's journey has been the experience of being with other people on their journey, "When we made the film we were all on the same journey together. There was this collective feeling of bliss. We were all sharing the same bliss with the same goal and chasing the same holy grail. That kind of experience and bonding is magical. When you experience that kind of team work, that's a pinnacle moment in life."
In addition to the benefits of meeting others while on their individual journey, Solomon now also adds mentorship to his monomyth, "It's the little moments where I get to be a Yoda for someone else that is on their journey. I get to help someone who is making a film. Those moments are especially significant to my journey now." This is partly because he recognizes the role that mentorship had in his journey, "I had the best Yoda! I badgered the hell out of Robert Walter, President of the Joseph Campbell Foundation, to be on board with this film. After we met he became my mentor. He called at just the right moment and he pointed me in the right direction when I was lost. He connected to the right people and steered me away from trouble. In retrospect, I think he knew the role he was playing for me, which is even cooler!"
What's his least favorite part of the hero's journey? The crises. "The beauty of playing it safe is that you don't have to face challenges. The upside to playing it safe is that you don't have to deal with setbacks. Yes, while challenges and setbacks are horrible and definitely my least favorite part, I'm able to recognize that I'm on a journey and I know that challenges always come when you're going for something. Hopefully they'll make me stronger and prepare me for the next challenge which might be bigger."
As for his biggest lesson during the development of Finding Joe, Solomon notes, "The thing I learned the most about the hero's journey and being on it is that it's better to be a helper to other people on their journey. It's something incredibly powerful to recognize. When you're on your journey it can be myopic and focused, it's completely selfish but you're on a quest and you're on a journey. Take a moment to recognize that everyone you touch and everyone you run into is also on their journey. There is always a way to lighten their load. You're in a universe of others on their respective journey's - help them out!"
To see the film in its entirety, visit www.findingjoethemovie.com.