Paul Perry Interview on Dali’s Great Secret, Villas & Golfe Magazine, May 2017

Paul Perry Interview, Villas & Golfe Magazine, May 2017 Author of four New York Times bestsellers, and maker of documentaries such as Afterlife, The Lost Years, and Dali's Greatest Secret, Perry belongs to the Order of Saint Michael of the Wing (OSMA), Portugal’s oldest order of chivalry. He has always seen journalism as the perfect job. As an editor in some of America’s most prestigious magazines, throughout his career he has chosen the path of uncovering great mysteries. "Mystery is what makes the world exiting and what makes life worth living", stresses Perry.  What led you to produce the documentary, Dali’s Fatima Secret? (In the United States the documentary name is Dali’s Greatest Secret) -  I have what I jokingly call “the curiosity gene” Perry said; because I was born with a curiosity about everything. That is especially true of art. A great artist can take your mind to places it never would have gone on its own. That’s how I felt when I first saw Dali’s painting Vision of Hell. It was filled with imagery that I could not have conceived on my own, very powerful images of a hell itself and various scenarios for getting there ...

Dali’s Great Secret in Villas & Golfe Magazine, May 2017

Dali's Greatest SecretHere is the May 2017 Article on Dali's Great Secret from European "Villas & Golfe" Magazine. See my interview here. At the age of 55 years (1959), Salvador Dalí – the Spanish surrealist – found himself spiritually trapped between atheism and belief in God (his father was an atheist and his mother a catholic), to the point where he wrote in his autobiography "Heaven is to be found exactly in the centre of the bosom of the man who has faith". He added, "At this moment I do not yet have faith, and I fear I shall die without heaven". At the time, Salvador Dalí was invited by John Haffert, co-founder and director of the World Apostolate of Fátima (also known as the Blue Army) to paint an image of the first vision seen in 1917 by the shepherd children of Fátima. And the work, painted on canvas, The Vision of Hell, later became part of the history of humanity. Painting this work meant that Dalí spent some time with canon José Galamba, and, afterwards, he spoke with Sister Lúcia, the only shepherd child ...