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Nicolas Cage
American actor (born 1964)
The numbers
2 + 8 = 10
1 + 0 = 1
Lo Shu grid
Missing: 3, 5. Present digits repeat to show how many times they occur.
Life path 1 — The Initiator
Tradition reads 1 as the number of origination — the point before anything has been divided. Practitioners associate it with people who move first, set direction, and carry the discomfort of being early. The same tradition is candid about the cost: the instinct that starts a thing is not the instinct that finishes it, and 1 is read as needing others precisely where it least wants to admit it.
Complete lines
Line of Reason
A complete line in the grid.
Line of Ambition
The 7-8-9 column complete. Read as drive that has both the wish and the machinery — the traditional marker of someone who converts intention into position.
Cooperation
A complete line in the grid.
Responsibility
A complete line in the grid.
Organisation
A complete line in the grid.
Care
A complete line in the grid.
Repeated numbers
1 appears 4 times
Concentrated self-direction. Read as conviction that does not need external agreement — and does not always seek it.
What is missing
Missing 3
Read as difficulty getting the inner picture out — the thought is complete, the expression lags. Often described in people whose written voice is far stronger than their spoken one.
Missing 5
The centre of the grid, so its absence is weighted heavily. Read as difficulty adapting mid-course — a preference for the plan already chosen over the plan now indicated.
Vedic — Ank Jyotish
Moolank 7 comes from the day of the month alone; Bhagyank 1 from the whole date. They differ, which is the ordinary case — the two numbers answer different questions.
Ketu
The descending lunar node — the other shadow graha. Detachment, renunciation, the unfinished. Read as spiritual pull and worldly indifference.
Bhagyank uses the same arithmetic as the Western life path, so the two will always agree. That is not two traditions confirming each other — it is one calculation under two names.
In their words
PLAYBOY: Your salary is shooting up into the multimillions per movie–reportedly $ 4 million to $ 7 million. Do those numbers make you chuckle?CAGE: I don't chuckle. I have respect for the dollar.PLAYBOY: It's a lot of money.CAGE: There's one thing I have some difficulty with, and that's hanging on to money. I find ways of spending money that mystify everybody around me. They're amazed. They want to know how I do it.
I'm not career-minded. My mantra has always been "work." I never had a "career." I only had "work." That was a way of going through different movies. I find something in a movie that I think works. It's like a rock album. Maybe not all of it works in the script, but there's one or two songs, one or two scenes that work.
The media sometimes talks about the Video-on-Demand work. The first thing I want to say about that is that, in my opinion, anyone that says "straight to video" in this age is a dinosaur. It's past tense. Everything is streaming now. It's one of the best ways to get your movie out there now and have it re-played. It's been terrific for me.
My interest has always been cinema or films, because that's what I was most compelled by. I was most inspired by the movie actors that I grew up with. I only hesitate to say I would because my process now is that I need about two months for the libretto of the screenplay to sink into my instruments so that I can not have to think about dialogue. That's the first thing that's going cave an actor in, having anxiety about not knowing their lines. I don't want that.
I developed this mantra, which is: "I never had a career, I only have work." And when I say that, I am saying that I'm a better man when I'm working because I don't want to be that guy that's sitting by a pool getting bombed on mai tais and Dom Perignon.
There's a difference between remorse and regret. I don't have any regret. And when I say that, what I'm trying to say is that I'm applying my mistakes to my present so that I learned to improve on myself and be a better man. And I do think every movie I've made that hasn't worked has all led me to this place where I'm at now, where I can do a movie like The Unbearable Weight of Massive Talent and I can tell the story with some integrity and authenticity to it. Everything happened for a reason. I have to look at it like that because that's the healthiest and most positive way of looking at it.
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