Tuesday, April 13, 2004
10:24 PM
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THE DRUMBEAT...PEOPLE NOT PROJECTS
Here is my latest article for National Catholic Register. Thank God people send me emails when the columns come out or I would never know. Gotta remember to subscribe one of these days....
So, this is my most prototypical schtick. I think even my cat Tibby can summarize the salient points. A snip...
Eventually, the industry will need overt preachers and evangelists to support the troops by teaching and ministering here. But as the first wave, Hollywood needs artists who have their spiritual, moral, emotional and professional acts together.
We need people in place who give a witness to the truth of the Gospel by their lives and by the quality of the work they do. We don't need sermons, tracts, conferences and study guides from the Church. We need people of rectitude, discernment, peace, joy, passion, mercy, kindness -artists and professionals who have been transformed by the love of Jesus - to come to Hollywood, to make beautiful things and to build bridges of friendship with the people outside their family of faith.
Another...
We need people to be sent [to Hollywood], but we need people who know what awaits them and have a spiritual strategy to transform the realities of an industry career from stumbling blocks into stepping stones to deeper communion with God.
The Christians who make it in both the business and in their relationship with God are those who take seriously what the Holy Father calls "the artist's special relationship to beauty." This is to live keenly focused on beauty in terms of mastery of their craft and then beauty of life and beauty of soul. They take Christian community very seriously, the way a man in a desert knows where the wells are.
Here is my latest article for National Catholic Register. Thank God people send me emails when the columns come out or I would never know. Gotta remember to subscribe one of these days....
So, this is my most prototypical schtick. I think even my cat Tibby can summarize the salient points. A snip...
Eventually, the industry will need overt preachers and evangelists to support the troops by teaching and ministering here. But as the first wave, Hollywood needs artists who have their spiritual, moral, emotional and professional acts together.
We need people in place who give a witness to the truth of the Gospel by their lives and by the quality of the work they do. We don't need sermons, tracts, conferences and study guides from the Church. We need people of rectitude, discernment, peace, joy, passion, mercy, kindness -artists and professionals who have been transformed by the love of Jesus - to come to Hollywood, to make beautiful things and to build bridges of friendship with the people outside their family of faith.
Another...
We need people to be sent [to Hollywood], but we need people who know what awaits them and have a spiritual strategy to transform the realities of an industry career from stumbling blocks into stepping stones to deeper communion with God.
The Christians who make it in both the business and in their relationship with God are those who take seriously what the Holy Father calls "the artist's special relationship to beauty." This is to live keenly focused on beauty in terms of mastery of their craft and then beauty of life and beauty of soul. They take Christian community very seriously, the way a man in a desert knows where the wells are.
11:40 AM
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LEAVENING THE MTV LUMP
Here's a piece I was interviewed for by MTV On-line on the impact of The Passion. I have to admit, getting interviewed by MTV News was not something I ever saw coming ten years ago when I was trying to imagine what life after the convent would be like...
I am still learning how to do this press interview thing. For example, for the one and a half quotes that are in this article, I talked for about 30 minutes to the journalist doing the story. I am always amazed how a long conversation gets whittled down to one or two soundbites. The good journalist is the one who chooses a soundbite that reflects the whole spirit of the interviewee on the subject in question. It is quite possible to lift a quote out that is nearly anithetical to what the interviewee really believes or thinks.
I have been really lucky with journalists thus far. Part of it is that I really try to speak to them as people, and not try to talk through them to whomever the faceless millions might be who will hear or read the interview. Making it personal between me and the journalist goes a long way to having them feel that I am a person with, you know, a mother, and not just a thing to be manipulated for an effect.
The biggest thing religious people need to realize is that the one thing journalists need is a good quote. Giving a good quote that makes them chuckle and get excited can trump what they may have started to want to write before they interviewed you. At the end of the day, journlaists have a job to do, and that is rendered easier if they can get some good clear sound-bites.
So, what makes a good sound-bite? "He spoke with authority, and not like their scribes." A good sound-bite takes a clear opinion. It puts the interviewee "out there" without having a place to hide. It is usually memorable because of the way the idea is expressed. That is, a good sound-bite has a poetry about it - a parallel formation of words, or a rework of a platitude to be something new and memorable. It's matter plus form.
Or in other words, art, art, art, art.
Here's a piece I was interviewed for by MTV On-line on the impact of The Passion. I have to admit, getting interviewed by MTV News was not something I ever saw coming ten years ago when I was trying to imagine what life after the convent would be like...
I am still learning how to do this press interview thing. For example, for the one and a half quotes that are in this article, I talked for about 30 minutes to the journalist doing the story. I am always amazed how a long conversation gets whittled down to one or two soundbites. The good journalist is the one who chooses a soundbite that reflects the whole spirit of the interviewee on the subject in question. It is quite possible to lift a quote out that is nearly anithetical to what the interviewee really believes or thinks.
I have been really lucky with journalists thus far. Part of it is that I really try to speak to them as people, and not try to talk through them to whomever the faceless millions might be who will hear or read the interview. Making it personal between me and the journalist goes a long way to having them feel that I am a person with, you know, a mother, and not just a thing to be manipulated for an effect.
The biggest thing religious people need to realize is that the one thing journalists need is a good quote. Giving a good quote that makes them chuckle and get excited can trump what they may have started to want to write before they interviewed you. At the end of the day, journlaists have a job to do, and that is rendered easier if they can get some good clear sound-bites.
So, what makes a good sound-bite? "He spoke with authority, and not like their scribes." A good sound-bite takes a clear opinion. It puts the interviewee "out there" without having a place to hide. It is usually memorable because of the way the idea is expressed. That is, a good sound-bite has a poetry about it - a parallel formation of words, or a rework of a platitude to be something new and memorable. It's matter plus form.
Or in other words, art, art, art, art.
Monday, April 12, 2004
9:27 PM
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FORGET THE ALAMO!
I tend to have a bias in favor of historical war epics. My father is a naval historian. I grew up on hi-stories, and I never get tired of seeing them played out on screen. Unfortunately, almost every war epic has the same Waterloo. Because a battle is the story of so many players, most war movies end up getting blitzed by too many actors, not enough characters.
The new $100 million dollar Alamo gets flanked early on by the crowd of personalities who made the battle such high drama, but who can't possibly all be developed in a two hour and sixteen minute drama. Every character can only get a few minutes of screen time to be established, so the film resorts to easy, obvious attempts to gain sympathy or notoriety. This is particularly unfortunate in the case of Gen. Santa Anna, as he is reduced to such a stereotype, that the studio executives must have balked at what they ended up having on their hands. So, they had Hancock inject an anti-war/anti-American kind of PC moment in the end of the film, just so we know that nobody at Disney or Imagine is, you know, anti-Latino or anything. There is also a completely grautitous anti-racism against slaves moment, just so we can all remember that, hell, Americans are just as bad as the bad Mexican guys.
(I don't object to these sentiments. I object to them being inserted in a half-hearted attempt to cover the filmmakers' creative butts...)
From a directoral standpoint, there aren't enough establishing shots in the film. This was weird and disconcerting in a war film. I kept wanting to see things from the air to get a broad sense of the opposing armies, but the most director John Lee Hancock gives is a wide shot from either sides lines.
The script was clearly problematic and episodic, so they ended up getting a film that is choppy and hard to follow. There is no attempt to use any imagery, which might have made the film work emotionally. Instead, all the director ended up using is the strong cast at his disposal. Billy Bob Thornton does a great job - as usual - this time fleshing out David Crockett. Thornton is the best thing in the film.
While I was sitting out the last hour of the piece, I started a revery about which epic war films have worked. I only came up with two. The Great Escape and The Battle of the Bulge have huge ensemble casts, but they manage to hold together the main story, clearly communicate the lynchpins of the real history, and establish all of the myriad characters. Of course, The Great Escape takes almost four hours to do this, and The Bulge runs long too. Gettysburg would be on the next tier down. It was a solid and fascinating film with a huge cast - but I would be remiss to count anything with beards that fake looking alongside The Great Escape....Anybody have any other epic war films with huge ensemble casts that worked? (Don't say Lawrence of Arabia or Bridge Over the River Qwai. They are both one or two guy's stories, not ensemble pieces.)
Anyway, this Alamo won't be remembered...except by the studio that lost a wad of cash on it.
I tend to have a bias in favor of historical war epics. My father is a naval historian. I grew up on hi-stories, and I never get tired of seeing them played out on screen. Unfortunately, almost every war epic has the same Waterloo. Because a battle is the story of so many players, most war movies end up getting blitzed by too many actors, not enough characters.
The new $100 million dollar Alamo gets flanked early on by the crowd of personalities who made the battle such high drama, but who can't possibly all be developed in a two hour and sixteen minute drama. Every character can only get a few minutes of screen time to be established, so the film resorts to easy, obvious attempts to gain sympathy or notoriety. This is particularly unfortunate in the case of Gen. Santa Anna, as he is reduced to such a stereotype, that the studio executives must have balked at what they ended up having on their hands. So, they had Hancock inject an anti-war/anti-American kind of PC moment in the end of the film, just so we know that nobody at Disney or Imagine is, you know, anti-Latino or anything. There is also a completely grautitous anti-racism against slaves moment, just so we can all remember that, hell, Americans are just as bad as the bad Mexican guys.
(I don't object to these sentiments. I object to them being inserted in a half-hearted attempt to cover the filmmakers' creative butts...)
From a directoral standpoint, there aren't enough establishing shots in the film. This was weird and disconcerting in a war film. I kept wanting to see things from the air to get a broad sense of the opposing armies, but the most director John Lee Hancock gives is a wide shot from either sides lines.
The script was clearly problematic and episodic, so they ended up getting a film that is choppy and hard to follow. There is no attempt to use any imagery, which might have made the film work emotionally. Instead, all the director ended up using is the strong cast at his disposal. Billy Bob Thornton does a great job - as usual - this time fleshing out David Crockett. Thornton is the best thing in the film.
While I was sitting out the last hour of the piece, I started a revery about which epic war films have worked. I only came up with two. The Great Escape and The Battle of the Bulge have huge ensemble casts, but they manage to hold together the main story, clearly communicate the lynchpins of the real history, and establish all of the myriad characters. Of course, The Great Escape takes almost four hours to do this, and The Bulge runs long too. Gettysburg would be on the next tier down. It was a solid and fascinating film with a huge cast - but I would be remiss to count anything with beards that fake looking alongside The Great Escape....Anybody have any other epic war films with huge ensemble casts that worked? (Don't say Lawrence of Arabia or Bridge Over the River Qwai. They are both one or two guy's stories, not ensemble pieces.)
Anyway, this Alamo won't be remembered...except by the studio that lost a wad of cash on it.
9:14 AM
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EMILY EASTER MONDAY
318
I'll tell you how the Sun rose --
A Ribbon at a time --
The Steeples swam in Amethyst --
The news, like Squirrels, ran --
The Hills untied their Bonnets --
The Bobolinks -- begun --
Then I said softly to myself --
"That must have been the Sun"!
But how he set -- I know not --
There seemed a purple stile
That little Yellow boys and girls
Were climbing all the while --
Till when they reached the other side,
A Dominie in Gray --
Put gently up the evening Bars --
And led the flock away --
318
I'll tell you how the Sun rose --
A Ribbon at a time --
The Steeples swam in Amethyst --
The news, like Squirrels, ran --
The Hills untied their Bonnets --
The Bobolinks -- begun --
Then I said softly to myself --
"That must have been the Sun"!
But how he set -- I know not --
There seemed a purple stile
That little Yellow boys and girls
Were climbing all the while --
Till when they reached the other side,
A Dominie in Gray --
Put gently up the evening Bars --
And led the flock away --
9:08 AM
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ACT ONE BLOGGER
I'm adding another new blogger to the blog roll. Kris Rasmussen (Act One, '99) is blogging over at The Alpine Path. She is meeting my Emily Mondays and raising with Madeleine (L'Engle) Mondays. Welcome, Kris!
I'm adding another new blogger to the blog roll. Kris Rasmussen (Act One, '99) is blogging over at The Alpine Path. She is meeting my Emily Mondays and raising with Madeleine (L'Engle) Mondays. Welcome, Kris!
Sunday, April 11, 2004
8:08 PM
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"GO FORTH TO PARADISE" - DAVID SCHALL, RIP
One year ago today, my boss, friend and colleague, David Schall died suddenly of a massive heart attack. Jan Batchler has beautifully summarized here what David meant to the organized Christian community in Hollywood.
I was with David at 4:30pm that afternoon. He had stopped by my office to tell me that he had decided to take a sabbatical starting in the Fall. He said, "I feel like I have done what God wanted me to do. I need to take some time to figure out what He wants me to do next." On the way out of my office he stopped and said, "I don't say enough how proud I am of everything you have done with Act One....And, by the way, I love that color blouse on you." It was so wonderfully David. An hour and a half later, he was in eternity.
I can't believe it has been a year since David walked out of my office that afternoon. So many days I walk up the stairs to my office and catch myself thinking, "Have to tell David about that."
That's the thing I miss the most. Having David's unconditional support and affirmation one office away. Because of his faithfulness to his vocation, David shares in the good done through every work of love, sacrifice and beauty that comes from the Act One community.
"Good and faithful servant. Come, share your Master's joy."
One year ago today, my boss, friend and colleague, David Schall died suddenly of a massive heart attack. Jan Batchler has beautifully summarized here what David meant to the organized Christian community in Hollywood.
I was with David at 4:30pm that afternoon. He had stopped by my office to tell me that he had decided to take a sabbatical starting in the Fall. He said, "I feel like I have done what God wanted me to do. I need to take some time to figure out what He wants me to do next." On the way out of my office he stopped and said, "I don't say enough how proud I am of everything you have done with Act One....And, by the way, I love that color blouse on you." It was so wonderfully David. An hour and a half later, he was in eternity.
I can't believe it has been a year since David walked out of my office that afternoon. So many days I walk up the stairs to my office and catch myself thinking, "Have to tell David about that."
That's the thing I miss the most. Having David's unconditional support and affirmation one office away. Because of his faithfulness to his vocation, David shares in the good done through every work of love, sacrifice and beauty that comes from the Act One community.
"Good and faithful servant. Come, share your Master's joy."
8:57 AM
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A TV WRITER BLOGS...
Here is a very informative blog from a TV writer. For those of you who are fantasizing about being part of the television industry, this is a great place to linger and see if the life she is describing seems like a place you would thrive....and where God wants you, of course, which is ultimately the only reason to do anything, isn't it? I like this writer because she clearly loves what she does, although she doesn't have any illusions about it either. She also must be a pretty pastoral soul to take so much time to go into the fine details of network TV inner-workings.
Thanks to Evefor making me aware of it.
Here is a very informative blog from a TV writer. For those of you who are fantasizing about being part of the television industry, this is a great place to linger and see if the life she is describing seems like a place you would thrive....and where God wants you, of course, which is ultimately the only reason to do anything, isn't it? I like this writer because she clearly loves what she does, although she doesn't have any illusions about it either. She also must be a pretty pastoral soul to take so much time to go into the fine details of network TV inner-workings.
Thanks to Evefor making me aware of it.
7:58 AM
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HERE WE GO AGAIN...SEE ME IN SAN DIEGO
I'm keynoting the annual awards celebration for the San Diego Christian Writers Guild on Friday, April 30, 2004. If you are a writer anywhere south of Orange County, the San Deigo Writers Guild is probably the best organized, most successful fellowship of writers in the whole country. The Guild's web newsletter is here. Information on the awards dinner is here.
I'm keynoting the annual awards celebration for the San Diego Christian Writers Guild on Friday, April 30, 2004. If you are a writer anywhere south of Orange County, the San Deigo Writers Guild is probably the best organized, most successful fellowship of writers in the whole country. The Guild's web newsletter is here. Information on the awards dinner is here.
Saturday, April 10, 2004
7:58 PM
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Christians, to the Paschal victim
offer your thankful praises!
A Lamb the sheep redeems:
Christ, who only is sinless,
reconciles sinners to the Father.
Death and life have contended
in that combat stupendous:
the Prince of life, who died,
reigns immortal.
Speak, Mary, declaring
what you saw, wayfaring:
"The tomb of Christ, who is living,
the glory of Jesus' resurrection;
"Bright angels attesting,
the shroud and napkin resting.
"Yes, Christ my hope is arisen;
to Galilee he goes before you."
Christ indeed from death is risen,
our new life obtaining;
have mercy, victor King, ever reigning!
Amen.
(Wipo, ca. 1030)
offer your thankful praises!
A Lamb the sheep redeems:
Christ, who only is sinless,
reconciles sinners to the Father.
Death and life have contended
in that combat stupendous:
the Prince of life, who died,
reigns immortal.
Speak, Mary, declaring
what you saw, wayfaring:
"The tomb of Christ, who is living,
the glory of Jesus' resurrection;
"Bright angels attesting,
the shroud and napkin resting.
"Yes, Christ my hope is arisen;
to Galilee he goes before you."
Christ indeed from death is risen,
our new life obtaining;
have mercy, victor King, ever reigning!
Amen.
(Wipo, ca. 1030)
Monday, April 05, 2004
9:13 PM
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"LET ALL MORTAL FLESH KEEP SILENT..."
Okay, I'm oughta here for Holy Week. Everyone go pray.
God bless -
Okay, I'm oughta here for Holy Week. Everyone go pray.
God bless -
9:04 PM
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A BISHOP GETS IT
Here is a link to a new Pastoral Letter on Cinema from Most Rev. Michael Saltarelli to the People of the Diocese of Wilmington, Delaware. The document takes a strong stand in support of The Passion of the Christ among other movies, encouraging the People of God to look to works of cinema to see reflections of the Fact of Christ.
I actually was invited to give notes on the letter when it was being written, which I was pleased an honored to do.
Here's a snippet...
...the brutality of the film, which has been the center of so much controversy, is itself a visual device to express saving truths about the inconceivable horror of sin, and the boundless love of God. For every sin is truly an act of violence against God. And only Divine Love could have powered Jesus to his feet over and over through the torment of pain and suffering that was the journey to Golgotha.
The Passion of the Christ also offers some of the most striking Eucharistic imagery ever seen on the screen. One of the great themes of encyclical Ecclesia de Eucharistia is the Holy Father's emphasis on the sacrificial nature of the Mass: "The Eucharist is indelibly marked by the event of the Lord's passion and death, of which it is not only a reminder but the sacramental re-presentation. It is the sacrifice of the Cross perpetuated down the ages."(#11) The Holy Father has diagnosed that over the past few years, some in the Church have lost the sense of the reality that the Mass is the unbloody renewal of Christ's sacrifice on Calvary. Gibson’s film makes this point visually by interspersing scenes of The Last Supper with scenes of the Crucifixion. We cannot leave this film without understanding that the Mass is both a sacred meal and the unbloody renewal of Christ's sacrifice.
Here is a link to a new Pastoral Letter on Cinema from Most Rev. Michael Saltarelli to the People of the Diocese of Wilmington, Delaware. The document takes a strong stand in support of The Passion of the Christ among other movies, encouraging the People of God to look to works of cinema to see reflections of the Fact of Christ.
I actually was invited to give notes on the letter when it was being written, which I was pleased an honored to do.
Here's a snippet...
...the brutality of the film, which has been the center of so much controversy, is itself a visual device to express saving truths about the inconceivable horror of sin, and the boundless love of God. For every sin is truly an act of violence against God. And only Divine Love could have powered Jesus to his feet over and over through the torment of pain and suffering that was the journey to Golgotha.
The Passion of the Christ also offers some of the most striking Eucharistic imagery ever seen on the screen. One of the great themes of encyclical Ecclesia de Eucharistia is the Holy Father's emphasis on the sacrificial nature of the Mass: "The Eucharist is indelibly marked by the event of the Lord's passion and death, of which it is not only a reminder but the sacramental re-presentation. It is the sacrifice of the Cross perpetuated down the ages."(#11) The Holy Father has diagnosed that over the past few years, some in the Church have lost the sense of the reality that the Mass is the unbloody renewal of Christ's sacrifice on Calvary. Gibson’s film makes this point visually by interspersing scenes of The Last Supper with scenes of the Crucifixion. We cannot leave this film without understanding that the Mass is both a sacred meal and the unbloody renewal of Christ's sacrifice.
9:01 AM
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"A THING OF BEAUTY IS" AN ETERNAL SUNSHINE
I am going to take a hiatus from blogging for Holy Week, but because I saw Eternal Sunshine of the Spotless Mind this weekend, I am going to push the start of the hiatus until just after I can write a rave here for this film. I'll be quick because I have to get to the stupid gym which I hate before work.
The film - which will achieve cult status for its style and insight - slams the cinematic coffin on the Sexual Revolution. I was thinking to put together a talk based on three films from three different periods of the Sexual Revolution. (Good grief! Can't we come up with a more apt name for the last forty years of this hedonistic nightmare? How about the Sexual Devastation? Or if it has to be "revolution", how about "The Sexual French Revolution"? I mean, it was as big a mess as that travesty in the name of liberte egalite fraternite... "Monsieur, eh, can you make, eh, the amor and not the guerre, s'il vous plait? Or, eh, we will, eh, cut off your head, oui?")
Love Story starts the cycle with its sham requirement that "Love means never having to say you're sorry." The legacy of that piece of dialogue idiocy, is that a generation and a half of people went around killing their relationships whenever the inescapable need for "being sorry" came in to it. The deformed thinking seems to have run like this:
A) "Love means never having to say we're sorry." That is, when you meet "your perfect soul-mate" (ewwwwwwwww retch! retch!), it will be the person who never really offends you (such that, you know, repentance would be required), and whom you never offend (such that, you know, you should have to ask forgiveness).
B) My lover and I do nothing but end up sinning against each other.
C) We mustn't be in love....Let's end it.
The next movie in the cycle is The Ice Storm. This movie takes a look at people who are ravaged by being in the first decade of the Sexual French Revolution. Even in just ten years, it is already a failure, leaving people stripped and isolated, with nothing certain except their own isolation. The people in this movie are trapped like in an addiction - loving it and hating it, but basically not seeing any other way to live. So, they drug themselves and end up deadening every emotion except cynicism.
Flash forward to 2004, and we have Eternal Sunshine of the Spotless Mind - a new cinematic thesis for the folks who are stolidly rejecting the anti-life-style of the Baby Boomers. Prof. Mary Ann Glendon (HERO! HERO!) at Harvard has noted that the "Y" in Gen Y could stand for "Yearning." Played perfectly by perennially underestimated Jim Carrey, and the so much better than Titanic , Kate Winslet, the film follows a Gen Y couple who make it through the following syllogism:
A) I love you.
B) You hurt and bore me sometimes.
C) Maybe being hurt and bored is part of love? I forgive you. Let's stay together.
It's really, really astounding. The culture is working its way out of the pit, folks! I almost couldn't believe my eyes.
The film is about a couple who - taking their cue from thier Baby Boomer elders - futilely attempt to use a material method to root out/fix something in their spirits. How stunning is that?! Is there anything that has exemplified the Selfish Generation more than the way they have engaged and worshipped the material and ignored, subjugated, discounted and fled from the just as real reality of the spiritual?
All through the film I kept hearing in my head a line someone said to me once in high school, that because of my particular wounds, just stuck: "If you love something, let it go. If it comes back to you, it is yours. If it doesn't, it never was." I think this line is ultimately one more of the many stupid selfish creeds of the Sexual French Revolution. It is compelling because we are all infected with this age, but it is really a lie. Another way to say it is, "Hell, if somebody hurts you, screw them. Certainly don't make yourself vulnerable by going in search of them." Eternal Sunshine, instead, asks the question, is letting go of love even possible? Once it has you, you can't escape it...
There is a lot of great technical stuff in the film: great structure, emart writing, beautiful cinematography, wonderful acting. The supporting characters are also great - and all add something to the central theme. So, Kirsten Dunst, plays a Gen Y'er who, uncovering the lies and selfishness of her Boomer former boss and lover (played by Tom Wilkinson,...because, I guess, Bill Clinton, was unavailable to play himself), ends up rejecting nihilism and cynicism and makes a heroic truth-affirming choice.
It's a very smart and encouraging film, without any noticeable quantity of the crassness in which Boomer filmmakers generally couch (and so, obscure) their insights.
Two thumbs up for Eternal Sunshine. A must see for those who wait expectantly for the better Day.
I am going to take a hiatus from blogging for Holy Week, but because I saw Eternal Sunshine of the Spotless Mind this weekend, I am going to push the start of the hiatus until just after I can write a rave here for this film. I'll be quick because I have to get to the stupid gym which I hate before work.
The film - which will achieve cult status for its style and insight - slams the cinematic coffin on the Sexual Revolution. I was thinking to put together a talk based on three films from three different periods of the Sexual Revolution. (Good grief! Can't we come up with a more apt name for the last forty years of this hedonistic nightmare? How about the Sexual Devastation? Or if it has to be "revolution", how about "The Sexual French Revolution"? I mean, it was as big a mess as that travesty in the name of liberte egalite fraternite... "Monsieur, eh, can you make, eh, the amor and not the guerre, s'il vous plait? Or, eh, we will, eh, cut off your head, oui?")
Love Story starts the cycle with its sham requirement that "Love means never having to say you're sorry." The legacy of that piece of dialogue idiocy, is that a generation and a half of people went around killing their relationships whenever the inescapable need for "being sorry" came in to it. The deformed thinking seems to have run like this:
A) "Love means never having to say we're sorry." That is, when you meet "your perfect soul-mate" (ewwwwwwwww retch! retch!), it will be the person who never really offends you (such that, you know, repentance would be required), and whom you never offend (such that, you know, you should have to ask forgiveness).
B) My lover and I do nothing but end up sinning against each other.
C) We mustn't be in love....Let's end it.
The next movie in the cycle is The Ice Storm. This movie takes a look at people who are ravaged by being in the first decade of the Sexual French Revolution. Even in just ten years, it is already a failure, leaving people stripped and isolated, with nothing certain except their own isolation. The people in this movie are trapped like in an addiction - loving it and hating it, but basically not seeing any other way to live. So, they drug themselves and end up deadening every emotion except cynicism.
Flash forward to 2004, and we have Eternal Sunshine of the Spotless Mind - a new cinematic thesis for the folks who are stolidly rejecting the anti-life-style of the Baby Boomers. Prof. Mary Ann Glendon (HERO! HERO!) at Harvard has noted that the "Y" in Gen Y could stand for "Yearning." Played perfectly by perennially underestimated Jim Carrey, and the so much better than Titanic , Kate Winslet, the film follows a Gen Y couple who make it through the following syllogism:
A) I love you.
B) You hurt and bore me sometimes.
C) Maybe being hurt and bored is part of love? I forgive you. Let's stay together.
It's really, really astounding. The culture is working its way out of the pit, folks! I almost couldn't believe my eyes.
The film is about a couple who - taking their cue from thier Baby Boomer elders - futilely attempt to use a material method to root out/fix something in their spirits. How stunning is that?! Is there anything that has exemplified the Selfish Generation more than the way they have engaged and worshipped the material and ignored, subjugated, discounted and fled from the just as real reality of the spiritual?
All through the film I kept hearing in my head a line someone said to me once in high school, that because of my particular wounds, just stuck: "If you love something, let it go. If it comes back to you, it is yours. If it doesn't, it never was." I think this line is ultimately one more of the many stupid selfish creeds of the Sexual French Revolution. It is compelling because we are all infected with this age, but it is really a lie. Another way to say it is, "Hell, if somebody hurts you, screw them. Certainly don't make yourself vulnerable by going in search of them." Eternal Sunshine, instead, asks the question, is letting go of love even possible? Once it has you, you can't escape it...
There is a lot of great technical stuff in the film: great structure, emart writing, beautiful cinematography, wonderful acting. The supporting characters are also great - and all add something to the central theme. So, Kirsten Dunst, plays a Gen Y'er who, uncovering the lies and selfishness of her Boomer former boss and lover (played by Tom Wilkinson,...because, I guess, Bill Clinton, was unavailable to play himself), ends up rejecting nihilism and cynicism and makes a heroic truth-affirming choice.
It's a very smart and encouraging film, without any noticeable quantity of the crassness in which Boomer filmmakers generally couch (and so, obscure) their insights.
Two thumbs up for Eternal Sunshine. A must see for those who wait expectantly for the better Day.
8:55 AM
| |
SEE BARB SOMEWHERE ELSE IN DC!
I will be reprising my talk on The Art of The Passion of the Christ at the Catholic Information Center in downtown Washington on Wednesday, May 26th at 5:30pm. It will be open to the public.
For information, email books@cicdc.org.
I will be reprising my talk on The Art of The Passion of the Christ at the Catholic Information Center in downtown Washington on Wednesday, May 26th at 5:30pm. It will be open to the public.
For information, email books@cicdc.org.
8:51 AM
| |
EMILY MONDAY OF HOLY WEEK
561
I measure every Grief I meet
With narrow, probing, Eyes --
I wonder if It weighs like Mine --
Or has an Easier size.
I wonder if They bore it long --
Or did it just begin --
I could not tell the Date of Mine --
It feels so old a pain --
I wonder if it hurts to live --
And if They have to try --
And whether -- could They choose between --
It would not be -- to die --
I note that Some -- gone patient long --
At length, renew their smile --
An imitation of a Light
That has so little Oil --
I wonder if when Years have piled --
Some Thousands (of moments) on the Harm that hurt them early --
(If) such a lapse could give them any Balm --
Or would they go on aching still
Through Centuries of Nerve --
Enlightened to a larger Pain -
In Contrast with the Love --
The Grieved -- are many -- I am told --
There is the various Cause --
Death -- is but one -- and comes but once --
And only nails the eyes --
There's Grief of Want --
And Grief of Cold --
A sort they call "Despair" --
There's Banishment from native Eyes In sight of Native Air --
And though I may not guess the kind correctly --
Yet to me --
A piercing Comfort it affords
In passing Calvary --
To note the fashions -- of the Cross --
And how they're mostly worn --
Still fascinated to presume
That Some -- are like My Own --
561
I measure every Grief I meet
With narrow, probing, Eyes --
I wonder if It weighs like Mine --
Or has an Easier size.
I wonder if They bore it long --
Or did it just begin --
I could not tell the Date of Mine --
It feels so old a pain --
I wonder if it hurts to live --
And if They have to try --
And whether -- could They choose between --
It would not be -- to die --
I note that Some -- gone patient long --
At length, renew their smile --
An imitation of a Light
That has so little Oil --
I wonder if when Years have piled --
Some Thousands (of moments) on the Harm that hurt them early --
(If) such a lapse could give them any Balm --
Or would they go on aching still
Through Centuries of Nerve --
Enlightened to a larger Pain -
In Contrast with the Love --
The Grieved -- are many -- I am told --
There is the various Cause --
Death -- is but one -- and comes but once --
And only nails the eyes --
There's Grief of Want --
And Grief of Cold --
A sort they call "Despair" --
There's Banishment from native Eyes In sight of Native Air --
And though I may not guess the kind correctly --
Yet to me --
A piercing Comfort it affords
In passing Calvary --
To note the fashions -- of the Cross --
And how they're mostly worn --
Still fascinated to presume
That Some -- are like My Own --
Sunday, April 04, 2004
9:04 AM
| |
SEE BARB IN DC!
On May 22, 2004, Act One and Artists for a Renewed Society (ARS) are co-sponsoring a day long conference called Making a Good Writer Great, at the John Paul II Cultural Center in Washington, DC.
The day is in conjunction with the month-long Act One-DC program, but will be open to the general public. It will focus on the writer's craft in general, and will feature as our main speaker, the great and wonderful Dr. Linda Seger.
Dr. Seger, whose doctorate is in theology, is one of the most sought after script-doctors on the feature side of Hollywood. She is the best-selling author of many books on writing and filmmaking including: Making a Good Script Great, Webthinking, The Art of Adaptation, Creating Unforgettable Characters, When Women Call the Shots: The Developing Power and Influence of Women in Television and Film, Advanced Screenwriting: Raising Your Script to the Academy Award Level, and From Script to Screen: The Collaborative Art of Filmmaking. Linda will have three hours to do a talk and some exercises from her book, Making a Good Writer Great.
Also speaking at the event is screenwriter, and Flannery O'Connor afficionado Tom Provost. I knew Tom and I would be friends when I went to his house in Glendale for a party one night, and he had a pciture of Flannery O'Connor on his refrigerator....you know, where most people put their family photos.... Tom will do a talk using Flannery O'Connor as a case-study for Christian writers. What was she doing as a writer? How did she do it?
Finally, I will be giving a talk on the themes that should define a Christian writer.
If you are a writer anywhere East of the Mississippi, this will be a great day. For more info, email actone@fpch.org.
On May 22, 2004, Act One and Artists for a Renewed Society (ARS) are co-sponsoring a day long conference called Making a Good Writer Great, at the John Paul II Cultural Center in Washington, DC.
The day is in conjunction with the month-long Act One-DC program, but will be open to the general public. It will focus on the writer's craft in general, and will feature as our main speaker, the great and wonderful Dr. Linda Seger.
Dr. Seger, whose doctorate is in theology, is one of the most sought after script-doctors on the feature side of Hollywood. She is the best-selling author of many books on writing and filmmaking including: Making a Good Script Great, Webthinking, The Art of Adaptation, Creating Unforgettable Characters, When Women Call the Shots: The Developing Power and Influence of Women in Television and Film, Advanced Screenwriting: Raising Your Script to the Academy Award Level, and From Script to Screen: The Collaborative Art of Filmmaking. Linda will have three hours to do a talk and some exercises from her book, Making a Good Writer Great.
Also speaking at the event is screenwriter, and Flannery O'Connor afficionado Tom Provost. I knew Tom and I would be friends when I went to his house in Glendale for a party one night, and he had a pciture of Flannery O'Connor on his refrigerator....you know, where most people put their family photos.... Tom will do a talk using Flannery O'Connor as a case-study for Christian writers. What was she doing as a writer? How did she do it?
Finally, I will be giving a talk on the themes that should define a Christian writer.
If you are a writer anywhere East of the Mississippi, this will be a great day. For more info, email actone@fpch.org.
8:29 AM
| |
SEE BARB IN PITTSBURGH!
Because of an upcoming confluence of business engagements in the heartland, I will be able to squeeze in a speech at the St. David's Christian Writers Mini-Conference on April 17, 2004.
I used to do a lot more Christian Writers Conferences - they were the first ones who started inviting me to teach seminars and give speeches - but as my schedule has loaded up, I have had to pass offf most of these events every year. I miss them sometimes because they are generally such faith-filled, encouraging opportunities to meet other writers. I have made some great friends through the writer's conferences - Linda Seger, Jim Bell, Deidre Knight, Christy (put Married Name Here), Chip MacGregor, Carmen Leal, several of the Act One alumns - really, many more.
I am continually amazed at the large network of Christian (read: Evangelical) Writers Conferences that are happening all the time in every state. And then I start to muse as to why we Catholic writers don't have a similar network? Or, because I hate reinventing the wheel, why we Catholics don't make up a larger presence at the "Christian" Writers conferences.
Part of the reason is undoubtedly because the CBA (Christian Booksellers Association) drives a lot of the conferences - by sending publishers, reps. editors and sponsorships - and the CBA is 95% Evangelical. Another part of the reason might be the polarization in the Catholic Church would have most of the biggest Catholic publishers sitting out events because they are either too-rightwing or not rightwing enough. Protestants are able to work together with much less ideological verisimilitude. (Am I using that word right?)
Anyway, it would be very neat if we could muster at least a couple of annual Catholic Writers Conferences. (I have been to two only - one at St. Thomas Aquinas College and one at Franciscan University.) Someone, see to it, won't you?
Anyway, here is the info about the upcoming near-Pittsburgh conference:
Writing Success XIII
April 17, 2004
at
Bethany United Presbyterian Church
100 Venango Street, Mercer, PA
9:00 - 4:45
Keynote Address: "Five Things Christians Can Do to Fix the Culture Fast" by Barbara Nicolosi
Click here for more and then click on "Mini-conference."
Because of an upcoming confluence of business engagements in the heartland, I will be able to squeeze in a speech at the St. David's Christian Writers Mini-Conference on April 17, 2004.
I used to do a lot more Christian Writers Conferences - they were the first ones who started inviting me to teach seminars and give speeches - but as my schedule has loaded up, I have had to pass offf most of these events every year. I miss them sometimes because they are generally such faith-filled, encouraging opportunities to meet other writers. I have made some great friends through the writer's conferences - Linda Seger, Jim Bell, Deidre Knight, Christy (put Married Name Here), Chip MacGregor, Carmen Leal, several of the Act One alumns - really, many more.
I am continually amazed at the large network of Christian (read: Evangelical) Writers Conferences that are happening all the time in every state. And then I start to muse as to why we Catholic writers don't have a similar network? Or, because I hate reinventing the wheel, why we Catholics don't make up a larger presence at the "Christian" Writers conferences.
Part of the reason is undoubtedly because the CBA (Christian Booksellers Association) drives a lot of the conferences - by sending publishers, reps. editors and sponsorships - and the CBA is 95% Evangelical. Another part of the reason might be the polarization in the Catholic Church would have most of the biggest Catholic publishers sitting out events because they are either too-rightwing or not rightwing enough. Protestants are able to work together with much less ideological verisimilitude. (Am I using that word right?)
Anyway, it would be very neat if we could muster at least a couple of annual Catholic Writers Conferences. (I have been to two only - one at St. Thomas Aquinas College and one at Franciscan University.) Someone, see to it, won't you?
Anyway, here is the info about the upcoming near-Pittsburgh conference:
Writing Success XIII
April 17, 2004
at
Bethany United Presbyterian Church
100 Venango Street, Mercer, PA
9:00 - 4:45
Keynote Address: "Five Things Christians Can Do to Fix the Culture Fast" by Barbara Nicolosi
Click here for more and then click on "Mini-conference."
8:24 AM
| |
SEE BARB IN PHILLY!
BARB NICOLOSI ON MEL GIBSON'S THE PASSION OF THE CHRIST
On April 23, 2004 at 7:30 PM in Philadelphia, Pennsylvania, the International Institute for Culture is hosting a lecture on the significance of The Passion of The Christ. In terms of the climate of the entertainment industry, the film has the opportunity to usher in a new wave of projects that will present religious subjects in a positive light. The film also sets a new benchmark in terms of cinematic artistry, combining imagery, composition and editing to heighten its storytelling power. Ms. Barbara Nicolosi, Director of Act One, Inc. will discuss the film as a work of cinematic art and its implications for the broader entertainment and popular culture. Seating is limited, so reserve your seat today. For details click here.
BARB NICOLOSI ON MEL GIBSON'S THE PASSION OF THE CHRIST
On April 23, 2004 at 7:30 PM in Philadelphia, Pennsylvania, the International Institute for Culture is hosting a lecture on the significance of The Passion of The Christ. In terms of the climate of the entertainment industry, the film has the opportunity to usher in a new wave of projects that will present religious subjects in a positive light. The film also sets a new benchmark in terms of cinematic artistry, combining imagery, composition and editing to heighten its storytelling power. Ms. Barbara Nicolosi, Director of Act One, Inc. will discuss the film as a work of cinematic art and its implications for the broader entertainment and popular culture. Seating is limited, so reserve your seat today. For details click here.
Friday, April 02, 2004
8:38 AM
| |
ON "THE ECONOMY" OF ARTISTIC GRACE
Probably my favorite phrase from theology is "the economy of salvation." Referring to God's creation and management of the world, and particularly His plan for salvation accomplished through the Church, the word comes from the Greek oikonomia (economy), literally, "management of a household" or "stewardship."
I just like that metaphor of God, CEO, Universe, Inc., parsing out graces and private revelations, inspiring charisms and investing gifts of grace and nature inj them, folding other charisms as they have stopped being profitable for souls. He seems to me to be absolutely in the mold of venture capitalist with His personal power ideal sign hanging over His Office desk in heaven:
"To those who have, even more will be given. To those who do not have, even the little they have will be taken away." (Das Biblical)
There is also a risk whimsy about Him that seems to me to be predicable of most wildly successful investors. There is nothing Socialist about God. He isn't in the least interested in the fair distribution of gifts and graces. He does whatever He wills.
(To whining vineyard workers) "What does it matter to you how I spend my money? Or, are you envious because I am generous?
(To Peter who wanted to know whether John would get martyed painfully too...) "What business is it of yours what I dispose for Him? Your business is to follow me."
I met two billionaires last year and they both struck me as having this kind of risk-whimsy. Particualrly, Phil Anshutz, outlined his own philosophy of financing movies in Hollywood as, "And if I lose tens of millions of dollars, that's my business. I've got it to lose!"
As someone who instructs and works with artists, I come face to face with the "Divine economy of artistic talent" every day. It's one of the reasons running Act One has to be such a patient, deliberative, almost "twiddling the thumbs" kind of process. Because, ultimately, no matter how great our classes, mentorships, community and ongoing formation are, 'if God doesn't endow the artist, than in vain does the Act One programmer program.'
It's such a hard reality to have to engage - and all of us who work in the arts have to evolve a strategy to deal with it. Most of the people who come to us for guidance and help, just do not have the talent to make our efforts on their behalf worthwhile. The trick is, to still give help - but to give the kind of help that will actually be of use to the person really who only wants you to hand their screenplay off to Steven Spielberg.
What makes it all worthwhile is that every so often, when you are probably over-tired and really don't have the time or energy to 'sell everything you have and buy the field,' you come face to face with the Divine Economy in the arts. And it is such a rush.
I am an adjunct professor of screenwriting this year at Azusa Pacific University. My class of eight seniors and juniors just turned in their first drafts of the first acts of the screenplays they are writing for my class. So, the other day, I am plodding through their stack of projects, covering the white pages in red notes. Typos, grammatical errors, word usage problems, zzzzzzzzzzzzzzzzzzzzzzzz....oh, oh, where was I? Oh yes... formatting errors, style problems, unimaginative scenarios, tedious characterizations, stilted dialogue, wasted transitions, overall clunkiness of prose...You know, just what you expect to find in any stack of screenplays that ever land on my desk from beginners. I'm not picking on APU here. Ask anybody who has to read writing for a living - or audition actors - or supervise painters or sculptors....
So, in the few minutes before class started, I realized that I hadn't looked at one of the student's scripts. It had gotten lost in the bottom of "My bag with my APU stuff in it - the one with the large Indian elephant on it." While the students were shuffling in, I flipped open the draft and uncapped my red pen. And then it happened again. And suddenly I'm thinking of that Emily Dickinson poem...
#208
Beauty - be not caused - It Is.
Chase it, and it ceases -
Chase it not, and it abides.
[Try and] Overtake the Creases in the Meadow when the Wind Runs his fingers thro' it -
Deity will see to it -
That you never do it.
Took me only half a page to see it. One of my students has talent.
My students were throwing me greetings and questions while they settled in. All I wanted to do was duck under my desk and read. "LEAVE me alone! Can't you see I have a good writer here!?!"
I finally pulled myself back to my duties at the bottom of the second page. I looked the writer in the eye with the kind of suspicion that always follows when you find raw talent. (Dark voice from unhappy wounded center:) How many scripts have you written before?
The twenty-one year old, blinked back in confusion. "Three. I have a novel too. And other things..."
I immediately started a kind of Machiavellian planning as to how I could get this young person under the collective wing of people I know who could help her. It will be a joy for us all.
I'm not saying that my other students might not have the chops to make a go of it as writers. They might. They will have to sweat and work very hard and take every opportunity, and cultivate other skills alongside their writing talent to make up for the fact that the Divine Economy of Artistic Grace has not made a lavish investment in them. And sometimes, people make it on will -power because the Divinely gifted people frequently have other huge emotional/psycyhological/spiritual holes that God had to puncture in them to make them good vessels for what He wanted to say through them.
It's all so terribly unfair and wonderful.
Probably my favorite phrase from theology is "the economy of salvation." Referring to God's creation and management of the world, and particularly His plan for salvation accomplished through the Church, the word comes from the Greek oikonomia (economy), literally, "management of a household" or "stewardship."
I just like that metaphor of God, CEO, Universe, Inc., parsing out graces and private revelations, inspiring charisms and investing gifts of grace and nature inj them, folding other charisms as they have stopped being profitable for souls. He seems to me to be absolutely in the mold of venture capitalist with His personal power ideal sign hanging over His Office desk in heaven:
"To those who have, even more will be given. To those who do not have, even the little they have will be taken away." (Das Biblical)
There is also a risk whimsy about Him that seems to me to be predicable of most wildly successful investors. There is nothing Socialist about God. He isn't in the least interested in the fair distribution of gifts and graces. He does whatever He wills.
(To whining vineyard workers) "What does it matter to you how I spend my money? Or, are you envious because I am generous?
(To Peter who wanted to know whether John would get martyed painfully too...) "What business is it of yours what I dispose for Him? Your business is to follow me."
I met two billionaires last year and they both struck me as having this kind of risk-whimsy. Particualrly, Phil Anshutz, outlined his own philosophy of financing movies in Hollywood as, "And if I lose tens of millions of dollars, that's my business. I've got it to lose!"
As someone who instructs and works with artists, I come face to face with the "Divine economy of artistic talent" every day. It's one of the reasons running Act One has to be such a patient, deliberative, almost "twiddling the thumbs" kind of process. Because, ultimately, no matter how great our classes, mentorships, community and ongoing formation are, 'if God doesn't endow the artist, than in vain does the Act One programmer program.'
It's such a hard reality to have to engage - and all of us who work in the arts have to evolve a strategy to deal with it. Most of the people who come to us for guidance and help, just do not have the talent to make our efforts on their behalf worthwhile. The trick is, to still give help - but to give the kind of help that will actually be of use to the person really who only wants you to hand their screenplay off to Steven Spielberg.
What makes it all worthwhile is that every so often, when you are probably over-tired and really don't have the time or energy to 'sell everything you have and buy the field,' you come face to face with the Divine Economy in the arts. And it is such a rush.
I am an adjunct professor of screenwriting this year at Azusa Pacific University. My class of eight seniors and juniors just turned in their first drafts of the first acts of the screenplays they are writing for my class. So, the other day, I am plodding through their stack of projects, covering the white pages in red notes. Typos, grammatical errors, word usage problems, zzzzzzzzzzzzzzzzzzzzzzzz....oh, oh, where was I? Oh yes... formatting errors, style problems, unimaginative scenarios, tedious characterizations, stilted dialogue, wasted transitions, overall clunkiness of prose...You know, just what you expect to find in any stack of screenplays that ever land on my desk from beginners. I'm not picking on APU here. Ask anybody who has to read writing for a living - or audition actors - or supervise painters or sculptors....
So, in the few minutes before class started, I realized that I hadn't looked at one of the student's scripts. It had gotten lost in the bottom of "My bag with my APU stuff in it - the one with the large Indian elephant on it." While the students were shuffling in, I flipped open the draft and uncapped my red pen. And then it happened again. And suddenly I'm thinking of that Emily Dickinson poem...
#208
Beauty - be not caused - It Is.
Chase it, and it ceases -
Chase it not, and it abides.
[Try and] Overtake the Creases in the Meadow when the Wind Runs his fingers thro' it -
Deity will see to it -
That you never do it.
Took me only half a page to see it. One of my students has talent.
My students were throwing me greetings and questions while they settled in. All I wanted to do was duck under my desk and read. "LEAVE me alone! Can't you see I have a good writer here!?!"
I finally pulled myself back to my duties at the bottom of the second page. I looked the writer in the eye with the kind of suspicion that always follows when you find raw talent. (Dark voice from unhappy wounded center:) How many scripts have you written before?
The twenty-one year old, blinked back in confusion. "Three. I have a novel too. And other things..."
I immediately started a kind of Machiavellian planning as to how I could get this young person under the collective wing of people I know who could help her. It will be a joy for us all.
I'm not saying that my other students might not have the chops to make a go of it as writers. They might. They will have to sweat and work very hard and take every opportunity, and cultivate other skills alongside their writing talent to make up for the fact that the Divine Economy of Artistic Grace has not made a lavish investment in them. And sometimes, people make it on will -power because the Divinely gifted people frequently have other huge emotional/psycyhological/spiritual holes that God had to puncture in them to make them good vessels for what He wanted to say through them.
It's all so terribly unfair and wonderful.
Thursday, April 01, 2004
5:22 PM
| |
TPOTC: MEGA-HIT PERSPECTIVE
In four weeks and five days, The Passion of the Christ had racked up domestic box-office total of $315,152,778. Just to put that in perspective, the elfen mega-hit Return of the King racked up $374,556,572 domestic in 14 weeks and 5 days.
If TPOTC has a huge week next week, as it seems like it will, it will surpass ROTK in half the time it took ROTK to rack up its once unbelievable numbers.
Just in case it wasn't in your local newspaper... TPOTC has racked up international box-office so far of $58.7 million. It opened number one this past weekend inthe UK, Argentina ("smashing record set by Titannic"), Venezuala ("outgunning previous industry high Matrix Reloaded"), South Africa, Norway, Finland and Hungary.
It continued as the number one picture in Mexico (now up to "a stellar $11 million"), Brazil, Australia and Poland.
Just lovin' the view from here...
In four weeks and five days, The Passion of the Christ had racked up domestic box-office total of $315,152,778. Just to put that in perspective, the elfen mega-hit Return of the King racked up $374,556,572 domestic in 14 weeks and 5 days.
If TPOTC has a huge week next week, as it seems like it will, it will surpass ROTK in half the time it took ROTK to rack up its once unbelievable numbers.
Just in case it wasn't in your local newspaper... TPOTC has racked up international box-office so far of $58.7 million. It opened number one this past weekend inthe UK, Argentina ("smashing record set by Titannic"), Venezuala ("outgunning previous industry high Matrix Reloaded"), South Africa, Norway, Finland and Hungary.
It continued as the number one picture in Mexico (now up to "a stellar $11 million"), Brazil, Australia and Poland.
Just lovin' the view from here...
8:19 AM
| |
AND JUST WHO CALLED YOU YESTERDAY?
So, there I am yesterday, shouldering my daily office burden of basically trying to see if there is indeed a wood surface under all of the papers that are piled on my desk. My assistant, Anthony, has taken to putting "really important" phone messages and reminders on neon yellow and hot pink post-its and sticking them to my computer monitor. So, everyday, my computer looks more and more like a spring flower blossoming into Easter color...just lovely....
The phone rings, and Anthony buzzes in to my office, "Um, I know you said you aren't here for anyone but the Pope or, well, Emma Thompson, but how about the Chairman of the National Endowment for the Arts?"
[See Barbara lunge for the phone!!!!!!!!!]
Our Chairman: Hello, Barbara. This is Dana Gioia.
Barbara: (oh so suave and cool) Yes! Yes! I know! How cool! You calling me!
OC: How are you?
Barbara: (not used to being excited, so becoming weird) Hey, well. Right now? Great! (here comes the weird part) But you know make it quick, I've got the Pope on the other line!
OC: Well, then...
(Barbara crumpling to ground in mortified horror.)
OC: I wanted to call you personally to inform you that Act One has been selected to receive a National Endowment Grant.
Barbara: (much glibber than it sounds) Thank you! Thank you so much!
OC: I am personally delighted to welcome Act One as one of our Endowment funded projects, and I wanted to call you personally to give you the good news.
Barbara: (Even more wit this time) THANK YOU! Thank you SO much.
Have I mentioned before that Dana Gioia is a wonderful and brilliant man? It is such an honor for the program to have his support and good wishes. He will be giving our Closing banquet address in Washington, DC on June 3rd. It will be open to the public if any of you want to come and hear him.
Overall, this Nat'l Endowment grant is very cool news for Act One. The grant isn't large, but it does give us a lot of credibility to be listed right there along with American Masters, the Metropolitan Opera and Public Radio International, as a recipient of NEA funding.
So, there I am yesterday, shouldering my daily office burden of basically trying to see if there is indeed a wood surface under all of the papers that are piled on my desk. My assistant, Anthony, has taken to putting "really important" phone messages and reminders on neon yellow and hot pink post-its and sticking them to my computer monitor. So, everyday, my computer looks more and more like a spring flower blossoming into Easter color...just lovely....
The phone rings, and Anthony buzzes in to my office, "Um, I know you said you aren't here for anyone but the Pope or, well, Emma Thompson, but how about the Chairman of the National Endowment for the Arts?"
[See Barbara lunge for the phone!!!!!!!!!]
Our Chairman: Hello, Barbara. This is Dana Gioia.
Barbara: (oh so suave and cool) Yes! Yes! I know! How cool! You calling me!
OC: How are you?
Barbara: (not used to being excited, so becoming weird) Hey, well. Right now? Great! (here comes the weird part) But you know make it quick, I've got the Pope on the other line!
OC: Well, then...
(Barbara crumpling to ground in mortified horror.)
OC: I wanted to call you personally to inform you that Act One has been selected to receive a National Endowment Grant.
Barbara: (much glibber than it sounds) Thank you! Thank you so much!
OC: I am personally delighted to welcome Act One as one of our Endowment funded projects, and I wanted to call you personally to give you the good news.
Barbara: (Even more wit this time) THANK YOU! Thank you SO much.
Have I mentioned before that Dana Gioia is a wonderful and brilliant man? It is such an honor for the program to have his support and good wishes. He will be giving our Closing banquet address in Washington, DC on June 3rd. It will be open to the public if any of you want to come and hear him.
Overall, this Nat'l Endowment grant is very cool news for Act One. The grant isn't large, but it does give us a lot of credibility to be listed right there along with American Masters, the Metropolitan Opera and Public Radio International, as a recipient of NEA funding.
8:06 AM
| |
LAP-TOP HELL
The continuing saga.... I have spent the last month seriously flirting with the idea of apostasizing from PC's and becoming a MAC-ford Wife. I actually got myself into an Apple dealer - although one in Santa Monica so no one from my neighborhood might see me going in, and then spent an hour or so trying to decide if I could be happy with a computer with a cover that looks like standard kitchen appliance. And then came the slow scary realization that if I went this way, I would be letting go foreer of the right click button. What is THAT about?
So, then I decided that I like the look of the Powerbook better, but I can't afford it. And if I did spring for the stupid thing, every time I powered it up I would feel guilty for buying a thiing that could feed a family in Mexico for six months. But I also know that if I bought the ibook, every lousy time I would power-up that piece of Tupperware, I would sit there hating it and wishing it was titanium covered instead.
And then the guy tells me that I will need to buy a whole $300 pack of Microsoft software for the MAC, "if you really can't let Word go." He sneered further, "Bill Gates doesn't give anything away, you know." The implication was I should spend the money somehow just to stick it to Gates. But I can't help feeling that he wins wither way.
So, I came home, and in a frenzy of penitent fear, I bid on a Dell on eBay and won. I felt a surge of relief. It was over.
But just now, I get a message from eBay that the seller is not legit or something, so they cancelled the transaction. Is this a sign from God? Am I being moved not so gently toward the MAC? Why don't I feel good about it?
The continuing saga.... I have spent the last month seriously flirting with the idea of apostasizing from PC's and becoming a MAC-ford Wife. I actually got myself into an Apple dealer - although one in Santa Monica so no one from my neighborhood might see me going in, and then spent an hour or so trying to decide if I could be happy with a computer with a cover that looks like standard kitchen appliance. And then came the slow scary realization that if I went this way, I would be letting go foreer of the right click button. What is THAT about?
So, then I decided that I like the look of the Powerbook better, but I can't afford it. And if I did spring for the stupid thing, every time I powered it up I would feel guilty for buying a thiing that could feed a family in Mexico for six months. But I also know that if I bought the ibook, every lousy time I would power-up that piece of Tupperware, I would sit there hating it and wishing it was titanium covered instead.
And then the guy tells me that I will need to buy a whole $300 pack of Microsoft software for the MAC, "if you really can't let Word go." He sneered further, "Bill Gates doesn't give anything away, you know." The implication was I should spend the money somehow just to stick it to Gates. But I can't help feeling that he wins wither way.
So, I came home, and in a frenzy of penitent fear, I bid on a Dell on eBay and won. I felt a surge of relief. It was over.
But just now, I get a message from eBay that the seller is not legit or something, so they cancelled the transaction. Is this a sign from God? Am I being moved not so gently toward the MAC? Why don't I feel good about it?
Tuesday, March 30, 2004
7:00 PM
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AYUP.. SO LIKE I WAS SAYIN', YOU CAN TAKE THE SCREENWRITAH OUTA NEW ENGLAND, BUT...
Take the quiz: "Which American City Are You?"
Boston
You are under-world power and old-world tradition. You get the job done and it's better if nobody asks how.
Take the quiz: "Which American City Are You?"
Boston
You are under-world power and old-world tradition. You get the job done and it's better if nobody asks how.
3:20 PM
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LATIN AMERICA TPOTC WATCH
From yesterday's Hollywood Reporter...
"Passion" was playing in 15 markets - having debuted in five this weekend - and was No. 1 in every market, grossing a robust $8.8 million. 20th Century Fox is distributing "Passion" in Latin AMerica and has reaped an estimated $25.1 million so far."
The Reporter also predicted that the movie would see a "significant boost" during the upcoming Easter holidays. Let us hope so. I know we here in the Church in Hollywood asked you normal Christians to all go the opening week to "send a message to Hollywood." And the message was received and is shaking things up. But now, how about sending another message? How about everybody plodding back to the theaters for Holy Week, so we can have everybody in Hollywood asking "Holy, week? What the hell is that?!" It could be a nice teachable moment...or else just another little stinging fly indication that this movie is not going to just go away like a bad dream.
From yesterday's Hollywood Reporter...
"Passion" was playing in 15 markets - having debuted in five this weekend - and was No. 1 in every market, grossing a robust $8.8 million. 20th Century Fox is distributing "Passion" in Latin AMerica and has reaped an estimated $25.1 million so far."
The Reporter also predicted that the movie would see a "significant boost" during the upcoming Easter holidays. Let us hope so. I know we here in the Church in Hollywood asked you normal Christians to all go the opening week to "send a message to Hollywood." And the message was received and is shaking things up. But now, how about sending another message? How about everybody plodding back to the theaters for Holy Week, so we can have everybody in Hollywood asking "Holy, week? What the hell is that?!" It could be a nice teachable moment...or else just another little stinging fly indication that this movie is not going to just go away like a bad dream.
7:38 AM
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MEMO TO COEN BROTHERS: CRIME HAS PAID ENOUGH ALREADY
I am a fan of the Coen brothers films. Several of their movies have touches of brilliance in them - Barton Fink, Hudsucker Proxy, Raising Arizona - and Fargo is on my list of greatest films ever. But somebody has to say it. They have finished for a decade or so with crime doesn't pay movies. They keep rehashing the same story, without adding anything new to it.
People can get stuck on the same story for a variety of reasons. Sometimes it's because somebody dropped them on their head in childhood. Sometimes, a fixation like this can be a saving mercy of God which can also help the world..."YOU in particular need to brood over THIS in public, A LOT."
When artists get stuck on a story, it can mean some profound art, and then a lot of trivial art as they basically return to their same side of "the story" and end up repeating themselves. To anyone who doesn't love them, witnessing this exercise can be annoying. To do this in filmmaking borders on a failing in charity towards the audience.
Just the facts...
Crimewave - Hiring hitmen to do your dirty work doesn't pay
Millers Crossing - Mediating between mob bosses doesn't pay
Raising Arizona - Stealing babies doesn't pay
Hudsucker Proxy - Insider trading doesn't pay
Barton Fink - Selling your soul to Hollywood doesn't pay
Stay with me here...
The Big Lebowski - Hiring idiots to impersonate you doesn't pay
Fargo - Greed, betrayal, kidnapping and murder, don't pay, don't pay, don't pay, don't pay, don't pay
The Man Who Wasn't There - Crime doesn't pay in black and white either
The Naked Man - Revenge doesn't pay
O Brother Where Art Thou - Crime doesn't pay, y'all
Intolerable Cruelty - Being a blood-sucking attorney and greedy opportunist don't pay
And now...
Ladykillers - F*ckin' Crime doesn't F*ckin' Pay
Ladykillers is a stylish waste from some very talented people. Or, to borrow some of the subtle dialogue from the film, it's a F*ckin' two F*ckin' thumbs down f*ckin' waste. Tom Hanks, fails again, as he did in The Road to Perdition, to plumb and then sustain the real creepiness of his character, who ends up coming across as inconsistent.
Generally, I love the Coen brothers theme that criminals are basically bunglers, but they don't add anything new to that here and so it all feels tired and cheap. We've seen all this from them before, and much better. MAJOR f*ckin' PASS.
On getting stuck on a theme...
Once, when I was younger, somebody did me wrong. A very bad wrong. In a shocked and horrified stupor for the next several years, I processed the wrong in my brooding, in my writing and in my conversations. Friends, strangers, family - anybody who would listen go the story over and over.
Some of my friends got bored with it after awhile and started saying things to me like, "You're going to have to let this go."
[Pastoral strategy note: What the hell kind of help is that? Honestly, it's like telling someone without a ladder in the bottom of a 100 foot well to "Just get out of there!"]
Anyway, one day after I had rehashed the story with one of my holy friends, I ended up saying, "I am so sick of this story! How many more times do I have to go over it?!"
She looked at me with compassion and said, "You'll have to say it over and over until you are done with it." I knew in that moment, she would be willing to listen to me as many times as it took.
The cool thing was, her saying that to me, got me past the whole story. In that minute, it lost all its power. I never "needed" to tell that story again. Something about encountering a love that was greater than the hurt was bad, was a fix for me.
Just throwing that out there if you know any people who are "stuck on a story."
I am a fan of the Coen brothers films. Several of their movies have touches of brilliance in them - Barton Fink, Hudsucker Proxy, Raising Arizona - and Fargo is on my list of greatest films ever. But somebody has to say it. They have finished for a decade or so with crime doesn't pay movies. They keep rehashing the same story, without adding anything new to it.
People can get stuck on the same story for a variety of reasons. Sometimes it's because somebody dropped them on their head in childhood. Sometimes, a fixation like this can be a saving mercy of God which can also help the world..."YOU in particular need to brood over THIS in public, A LOT."
When artists get stuck on a story, it can mean some profound art, and then a lot of trivial art as they basically return to their same side of "the story" and end up repeating themselves. To anyone who doesn't love them, witnessing this exercise can be annoying. To do this in filmmaking borders on a failing in charity towards the audience.
Just the facts...
Crimewave - Hiring hitmen to do your dirty work doesn't pay
Millers Crossing - Mediating between mob bosses doesn't pay
Raising Arizona - Stealing babies doesn't pay
Hudsucker Proxy - Insider trading doesn't pay
Barton Fink - Selling your soul to Hollywood doesn't pay
Stay with me here...
The Big Lebowski - Hiring idiots to impersonate you doesn't pay
Fargo - Greed, betrayal, kidnapping and murder, don't pay, don't pay, don't pay, don't pay, don't pay
The Man Who Wasn't There - Crime doesn't pay in black and white either
The Naked Man - Revenge doesn't pay
O Brother Where Art Thou - Crime doesn't pay, y'all
Intolerable Cruelty - Being a blood-sucking attorney and greedy opportunist don't pay
And now...
Ladykillers - F*ckin' Crime doesn't F*ckin' Pay
Ladykillers is a stylish waste from some very talented people. Or, to borrow some of the subtle dialogue from the film, it's a F*ckin' two F*ckin' thumbs down f*ckin' waste. Tom Hanks, fails again, as he did in The Road to Perdition, to plumb and then sustain the real creepiness of his character, who ends up coming across as inconsistent.
Generally, I love the Coen brothers theme that criminals are basically bunglers, but they don't add anything new to that here and so it all feels tired and cheap. We've seen all this from them before, and much better. MAJOR f*ckin' PASS.
On getting stuck on a theme...
Once, when I was younger, somebody did me wrong. A very bad wrong. In a shocked and horrified stupor for the next several years, I processed the wrong in my brooding, in my writing and in my conversations. Friends, strangers, family - anybody who would listen go the story over and over.
Some of my friends got bored with it after awhile and started saying things to me like, "You're going to have to let this go."
[Pastoral strategy note: What the hell kind of help is that? Honestly, it's like telling someone without a ladder in the bottom of a 100 foot well to "Just get out of there!"]
Anyway, one day after I had rehashed the story with one of my holy friends, I ended up saying, "I am so sick of this story! How many more times do I have to go over it?!"
She looked at me with compassion and said, "You'll have to say it over and over until you are done with it." I knew in that moment, she would be willing to listen to me as many times as it took.
The cool thing was, her saying that to me, got me past the whole story. In that minute, it lost all its power. I never "needed" to tell that story again. Something about encountering a love that was greater than the hurt was bad, was a fix for me.
Just throwing that out there if you know any people who are "stuck on a story."
Monday, March 29, 2004
8:42 AM
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IT'S ANOTHER EMILY MONDAY!
#105
He fumbles at your Soul
as Players at the Keys, before they drop full Music on -
He stuns you by degrees!
Prepares your brittle nature for the Ethereal Blow -
By fainter Hammers - further heard -
Then nearer -
Then so slow your Breath has time to straighten -
Your Brain to bubble Cool -
(Then) Deals One imperial Thunderbolt -
That scalps your naked Soul!
When winds take Forests in their Paws -
The Universe - is still.
#105
He fumbles at your Soul
as Players at the Keys, before they drop full Music on -
He stuns you by degrees!
Prepares your brittle nature for the Ethereal Blow -
By fainter Hammers - further heard -
Then nearer -
Then so slow your Breath has time to straighten -
Your Brain to bubble Cool -
(Then) Deals One imperial Thunderbolt -
That scalps your naked Soul!
When winds take Forests in their Paws -
The Universe - is still.
Sunday, March 28, 2004
6:36 PM
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DON'T WAIT FOR THE MOVIE!
Act One has just completed negotiations with Baker Books who will be publishing our very first book. Special thanks to Deidre Knight our amazing agent and to Chad Allen at Baker for staying after me to get a book proposal together. Actually, all I did was hire Act One alumn Spencer Lewerenz ('02) to get the thing together. Smarrrrrt.
Anyway, we're excited. This will be some good promotion for Act One, and will help us get the insghts of our wonderful faculty a much broader platform.
Here is the announcement from Publishers Marketplace today:
NON-FICTION
Barbara R. Nicolosi and Spencer Lewerenz's edited collection GREETINGS FROM THE CHURCH IN HOLLYWOOD, essays by Christians working in the entertainment industry -- including Ralph Winter, Janet Scott Batchler, and Scott Derrickson -- that explain how Christians need to change if they want to have a bigger presence in the entertainment industry and a louder voice in the media, to Chad Allen at Baker Books, by Deidre Knight at The Knight Agency (world).
Act One has just completed negotiations with Baker Books who will be publishing our very first book. Special thanks to Deidre Knight our amazing agent and to Chad Allen at Baker for staying after me to get a book proposal together. Actually, all I did was hire Act One alumn Spencer Lewerenz ('02) to get the thing together. Smarrrrrt.
Anyway, we're excited. This will be some good promotion for Act One, and will help us get the insghts of our wonderful faculty a much broader platform.
Here is the announcement from Publishers Marketplace today:
NON-FICTION
Barbara R. Nicolosi and Spencer Lewerenz's edited collection GREETINGS FROM THE CHURCH IN HOLLYWOOD, essays by Christians working in the entertainment industry -- including Ralph Winter, Janet Scott Batchler, and Scott Derrickson -- that explain how Christians need to change if they want to have a bigger presence in the entertainment industry and a louder voice in the media, to Chad Allen at Baker Books, by Deidre Knight at The Knight Agency (world).
9:27 AM
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THE MOVIES I WANT TO WRITE
If only Act One would fire me, I would have no excuse NOT to be the screenwriter I originally set out to be when I went to film school and then moved from New "land of Emily Dickinson" England to Los "land of the Osbornes" Angeles. Just to keep the dream alive, I keep collecting project ideas that I am going to write as soon as I can get out from under, you know, saving the planet.
Most of my projects are based on previously existing stories. I am not an original storyteller. I always marvel at the people I meet who seem to be an endless font of original characters and story ideas. (Although, I should note that MOST people who think they have a good story sense do not...at least not a good movie story sense...still, I think it is wondrous that people actually come up with original stories at all.) I am very good at finding a movie in an existing story, that is, if you hand me a book or a piece of history, I can pretty much "find" four or five movies in it. So, most of the scripts I want to write are based on books.
It is worth noting that not every book is going to be the stuff of a good movie. Frankly, in so far as a novelist has created a masterful work that utilizes all the power of the novelist's palette, it won't work on screen in the same way. You just can't dump one art form into another.
What you can preserve from one art form to another is the sweep of the story and what some scholars call the "distributional elements" of character, place, plot. In taking a book to the screen, you can also preserve one or two themes.
Now, a great novel is characterized by the fact that it has several themes, possibly many themes. A great movie can usually only handle one or two. It is the job of the adaptation to pull out the theme that is the most important in the novel, and build the movie around that. (I say all this with the codicil that fleshing out the theme is a polish phase stage in cinematic storytelling. Story and character have to come first.)
So, what I am saying is, this isn't a list of my favorite books, because my taste in books runs toward the psychological epic, and brilliant psychological novels that play out over sixty years almost never work on screen. Books that have defined my life - like pretty much anything by a 19th Century Russian (The Brothers Karamazov and Anna Karenina), and most of what Taylor Caldwell was best at (A Pillar of Iron, Dynasty of Death), Don Quixote, anything Homeric - none of these are going to "work" on film. That is, they might work as something else, but they won't work as themselves because their complexity will be lost in the translation.
Secondly, I am very aware that most of the things I want to write are not commercial enough in the contemporary Hollywood studio landscape. They would all be tough to impossible sells, and the industry would have no idea how to market them. But I don't tend to get really excited about commercial movies as a matter of taste, so it makes sense that i wouldn't want to write them either. Of course, this mainly means that I probably would ridicule any of my students who wanted to write any of the following.
1) With God in Russia - I have wanted to do this movie since I read the book back in high school. Fr. Ciszek's Gulag story in this book, and then in the companion book He Leadeth Me which details his psychological/spiritual journey, has had me brooding for years. I see the main drama - and the industry necessary "universal" - in the piece revolving around how a man who wants to do God's will, keeps ending up in messes because of his inability to discern God's will. And then, he finally realizes that (to state the theme directly) "God's will isn't out there somewhere in the great things beyond the obstacles in our way today. God's Will is in the obstacles."
I also have a strong compulsion to tell some stories of the other sufferings that happened in the 20th Century, besides just those connected to Hitler. The fact is, communism a la Stalin, and Lenin and Mao and Castro -- and face it - EVERY SINGLE FRICKIN PLACE IT HAS BEEN TRIED! - is just as evil as Nazism and has ended up killing tens of millions more people. The attrocities of the Gulag - the hugest part of the "pile of corpses" (JPII) that defined the 20th Century - have been unexplored territory in Hollywood cinema. And we desperately NEED to hear the stories of the failed promises of Marxism. We need to have it driven into our collective brains, that alongside the Holocaust, "Never again Atheistic Communism! Evil! BAD, BAD, BAD!"
This story also has some kind of commerical hook in that it is an American story - albeit an underground American Jesuit who eventually gets freed from the Gulag by his family back here.
2) A Severe Mercy - by Sheldden Vanauken - I came to Hollywood thinking that this was the movie that I was supposed to see get made. Very cool and very cinematic love story based on two real pagans who met each other in the wake of WWII and then met C.S. Lewis and Jesus at Oxford. The woman dies, offering her life for the guy in such a way that his being saved is "a severe mercy" for him. Lovely stuff.
The main stories here would be the two main character's respective journeys toward God. Davy, the woman, makes her way to God because of her experience of sin. Van, on the other hand, has an aestethic and intellectual attraction for Christianity. In the end, Davy's way is the more real, and ends up saving them both.
3) Till We Have Faces - I don't care what all of you think, this work dwarfs the Narnia chronicles, and is arguably, the greatest thing C.S. Lewis ever wrote. I know that, because it is the one thing he wrote that makes me nuts because I just can't understand it -- the way there are poems of Emily Dickinson's that I don't understand. That is, great art announces itself with the disconcerting certainty that it is measuring you, and not you it.
Whatever. This work is all about how the journey to identity is bound up in our openness to love. And that our ability to see the world correctly is all bound up in whether we look at the world with love or fear. I think anyway. Today...
This story - based as it is on a mythical ancient Greekish kind of kingdom - would probably best be told in animation. It would either be great, or very silly. I don't think there would be any in between.
4) Silence, by Shushaka Endo. Again, this is one of those fabulous pro-Jesus stories, that - like The Mission - could end up seeming to be anti-Catholic in the wrong hands.
Set in 17th Century Japan, it tells the misadventures of a group of Jesuit missionaries who are sent to evangelize, two of whom apostasize against a background of many peasant martyrdoms. The theme of the peice has to do with the problem of pain: basically, the book argues that it isn't that God stays silent in the face of evil, but rather that God only falls silent after all his warnings to us have been ignored.
It's an amazing piece. Somebody has to do it. Please let it be me.
5) One Day in the Life of Ivan Denisovich, by Solzhenitsyn. I know, I know. Imposssible sale in the U.S. But I have long loved this book. Another Gulag story, but digestible because it goes close in on one man in one day.
The story basically shows that the sacrifice of even just one person's individuality "for the good of the State" is just too big a price too pay. A brilliant, compassionate piece that has some strong spiritual themes in it as well -- as do all the Gulag stories.
6) Memoirs, by Cardinal Mindzenty - Yet another Communism story, this time set in Hungary. Tells the true story of the Cardinal who lived for nine years in the U.S. Embassy because the Communists had him on their hit-list. For nine years he ran the church, exiled from his See, and having to avoid any windows lest the ever-present government snipers picked him off. It's a cool, true Cold War story with lots of terror, murder, faith, intrigue and oh, yes, an American angle.
7) Kristin Lavransdatter, Sigrid Undset - Just starting this one, but it surely seems to me to be doable. The ideas, while profound, come through in the parable - not alongside as in the Russians. I think it could be translated to the screen - although in three movies like the three books, eh?
After these, I think I could die happy.
If only Act One would fire me, I would have no excuse NOT to be the screenwriter I originally set out to be when I went to film school and then moved from New "land of Emily Dickinson" England to Los "land of the Osbornes" Angeles. Just to keep the dream alive, I keep collecting project ideas that I am going to write as soon as I can get out from under, you know, saving the planet.
Most of my projects are based on previously existing stories. I am not an original storyteller. I always marvel at the people I meet who seem to be an endless font of original characters and story ideas. (Although, I should note that MOST people who think they have a good story sense do not...at least not a good movie story sense...still, I think it is wondrous that people actually come up with original stories at all.) I am very good at finding a movie in an existing story, that is, if you hand me a book or a piece of history, I can pretty much "find" four or five movies in it. So, most of the scripts I want to write are based on books.
It is worth noting that not every book is going to be the stuff of a good movie. Frankly, in so far as a novelist has created a masterful work that utilizes all the power of the novelist's palette, it won't work on screen in the same way. You just can't dump one art form into another.
What you can preserve from one art form to another is the sweep of the story and what some scholars call the "distributional elements" of character, place, plot. In taking a book to the screen, you can also preserve one or two themes.
Now, a great novel is characterized by the fact that it has several themes, possibly many themes. A great movie can usually only handle one or two. It is the job of the adaptation to pull out the theme that is the most important in the novel, and build the movie around that. (I say all this with the codicil that fleshing out the theme is a polish phase stage in cinematic storytelling. Story and character have to come first.)
So, what I am saying is, this isn't a list of my favorite books, because my taste in books runs toward the psychological epic, and brilliant psychological novels that play out over sixty years almost never work on screen. Books that have defined my life - like pretty much anything by a 19th Century Russian (The Brothers Karamazov and Anna Karenina), and most of what Taylor Caldwell was best at (A Pillar of Iron, Dynasty of Death), Don Quixote, anything Homeric - none of these are going to "work" on film. That is, they might work as something else, but they won't work as themselves because their complexity will be lost in the translation.
Secondly, I am very aware that most of the things I want to write are not commercial enough in the contemporary Hollywood studio landscape. They would all be tough to impossible sells, and the industry would have no idea how to market them. But I don't tend to get really excited about commercial movies as a matter of taste, so it makes sense that i wouldn't want to write them either. Of course, this mainly means that I probably would ridicule any of my students who wanted to write any of the following.
1) With God in Russia - I have wanted to do this movie since I read the book back in high school. Fr. Ciszek's Gulag story in this book, and then in the companion book He Leadeth Me which details his psychological/spiritual journey, has had me brooding for years. I see the main drama - and the industry necessary "universal" - in the piece revolving around how a man who wants to do God's will, keeps ending up in messes because of his inability to discern God's will. And then, he finally realizes that (to state the theme directly) "God's will isn't out there somewhere in the great things beyond the obstacles in our way today. God's Will is in the obstacles."
I also have a strong compulsion to tell some stories of the other sufferings that happened in the 20th Century, besides just those connected to Hitler. The fact is, communism a la Stalin, and Lenin and Mao and Castro -- and face it - EVERY SINGLE FRICKIN PLACE IT HAS BEEN TRIED! - is just as evil as Nazism and has ended up killing tens of millions more people. The attrocities of the Gulag - the hugest part of the "pile of corpses" (JPII) that defined the 20th Century - have been unexplored territory in Hollywood cinema. And we desperately NEED to hear the stories of the failed promises of Marxism. We need to have it driven into our collective brains, that alongside the Holocaust, "Never again Atheistic Communism! Evil! BAD, BAD, BAD!"
This story also has some kind of commerical hook in that it is an American story - albeit an underground American Jesuit who eventually gets freed from the Gulag by his family back here.
2) A Severe Mercy - by Sheldden Vanauken - I came to Hollywood thinking that this was the movie that I was supposed to see get made. Very cool and very cinematic love story based on two real pagans who met each other in the wake of WWII and then met C.S. Lewis and Jesus at Oxford. The woman dies, offering her life for the guy in such a way that his being saved is "a severe mercy" for him. Lovely stuff.
The main stories here would be the two main character's respective journeys toward God. Davy, the woman, makes her way to God because of her experience of sin. Van, on the other hand, has an aestethic and intellectual attraction for Christianity. In the end, Davy's way is the more real, and ends up saving them both.
3) Till We Have Faces - I don't care what all of you think, this work dwarfs the Narnia chronicles, and is arguably, the greatest thing C.S. Lewis ever wrote. I know that, because it is the one thing he wrote that makes me nuts because I just can't understand it -- the way there are poems of Emily Dickinson's that I don't understand. That is, great art announces itself with the disconcerting certainty that it is measuring you, and not you it.
Whatever. This work is all about how the journey to identity is bound up in our openness to love. And that our ability to see the world correctly is all bound up in whether we look at the world with love or fear. I think anyway. Today...
This story - based as it is on a mythical ancient Greekish kind of kingdom - would probably best be told in animation. It would either be great, or very silly. I don't think there would be any in between.
4) Silence, by Shushaka Endo. Again, this is one of those fabulous pro-Jesus stories, that - like The Mission - could end up seeming to be anti-Catholic in the wrong hands.
Set in 17th Century Japan, it tells the misadventures of a group of Jesuit missionaries who are sent to evangelize, two of whom apostasize against a background of many peasant martyrdoms. The theme of the peice has to do with the problem of pain: basically, the book argues that it isn't that God stays silent in the face of evil, but rather that God only falls silent after all his warnings to us have been ignored.
It's an amazing piece. Somebody has to do it. Please let it be me.
5) One Day in the Life of Ivan Denisovich, by Solzhenitsyn. I know, I know. Imposssible sale in the U.S. But I have long loved this book. Another Gulag story, but digestible because it goes close in on one man in one day.
The story basically shows that the sacrifice of even just one person's individuality "for the good of the State" is just too big a price too pay. A brilliant, compassionate piece that has some strong spiritual themes in it as well -- as do all the Gulag stories.
6) Memoirs, by Cardinal Mindzenty - Yet another Communism story, this time set in Hungary. Tells the true story of the Cardinal who lived for nine years in the U.S. Embassy because the Communists had him on their hit-list. For nine years he ran the church, exiled from his See, and having to avoid any windows lest the ever-present government snipers picked him off. It's a cool, true Cold War story with lots of terror, murder, faith, intrigue and oh, yes, an American angle.
7) Kristin Lavransdatter, Sigrid Undset - Just starting this one, but it surely seems to me to be doable. The ideas, while profound, come through in the parable - not alongside as in the Russians. I think it could be translated to the screen - although in three movies like the three books, eh?
After these, I think I could die happy.
Friday, March 26, 2004
7:42 PM
| |
PART II, WHAT CLARE SAID
Zenit just posted the second part of its interview with our Act One alumn, screenwriter, Clare Sera.
HOLLYWOOD, California, MARCH 26, 2004 (Zenit.org).- John Paul II exhorts parents to be pro-active about the media in his message for World Communications Day 2004.
"Families should be outspoken in telling producers, advertisers and public authorities what they like and dislike," he advises.
Clare Sera, an alumna of Act One: Writing for Hollywood who is collaborating on the "Curious George" screenplay, echoes the Pope's words. She encourages Christians to be not afraid of engaging those who generate the media.
Sera shared with ZENIT how Christians can use their voice and their money to support what is uplifting and decry what is offensive in the media. Part 1 of this interview appeared Thursday.
Q: Recently, a federal agency initially ruled that a particularly offensive word is OK on TV. Is the medium getting better or worse?
Sera: It's getting worse and I don't know why those in charge are not admitting it. I'm sure that even the hardest of TV executives does not want his or her children watching most of what's on daytime and prime-time TV.
I swing alternately between thinking, "Let the culture crash -- we Christians should turn off the TV anyway and participate in our communities instead of sitting in front of the tube," and then thinking, "I miss the days when my whole family could sit and laugh together at Mary Tyler Moore and Carol Burnett."
As I mentioned earlier, writing letters to TV stations when you find the programming offensive carries a lot of weight. Encourage them when you like the programs, discourage them when you don't. No need to be offensive or rude or fearful about it.
We have great strength and power, spiritually and, well, in our wallets. And it is much more powerful to be on the offensive by writing, calling, letting your voice be heard, supporting those who are making a difference, whose writing or directing is uplifting or beautiful -- both believers and nonbelievers in the industry.
You also can support programs such as Act One: Writing For Hollywood, which is training Christian writers to be a part of this industry and be the leaven.
In fact, I want to challenge everyone who reads this to not say another good or bad word about a movie or TV show they've seen without doing something about it -- calling or writing the network or studio and letting them know.
Stop talking about them behind their back. Put it in writing. Good or bad. Just a postcard -- you have so much power, you'd be surprised. If we all did that just once or twice, it would make a difference. Just state your opinion.
And now you can even visit the Web sites and send an e-mail. Google up a show or two that you find offensive and send off an e-mail. Then do the same with a show you feel has value.
Q: Have you detected any changes in Hollywood or in how parents and families are coping with the media?
Sera: I might say it's an exciting time for families, because unlike the '50s, they can't pretend that the culture is just fine because it's presented in an unthreatening package.
We used to include "inoffensive" as a Christian attribute. Not really true, if you're living like Christ -- you're going to be going against culture, which in itself is an "offensive" move.
Today, parents have an opportunity at every turn to explain, "This is what Christ call us to," and "This is how the culture differs from Christ's call." And to show the difference between what looks pretty and what is truly beautiful -- between immediate gratification and depth of soul. Between Britney Spears and Mother Teresa. Of course, that all takes energy.
In the '50s, parents didn't have to expend that kind of energy for their kids to live reasonably moral lives. But is that what Christ asking of us -- a reasonably moral life? I guess we could say the polarization of the culture and Christianity could be an opportunity for deeper lives in him.
I don't have kids. If I did, I like to think I would be constantly alerting them to the lies of the media, especially advertising media. Then at least they could be aware of it. There's no escaping advertising, but again, we don't have to fear it. We just have to be vigilant in the fight for our hearts.
Check out the magazine Adbusters -- it's pretty extreme, but it's a great eye-opener -- written by current and ex-ad executives; it helps you remember just how much lying is being hurled at you daily. And when you see it as lies, it's easier to dismiss. We can't just sit back and pour the media down our throats without chewing.
Q: How should Christians respond to and combat Hollywood and its films?
Sera: Let's also remember, that, like Soylent Green, Hollywood is people. A lot of them work hard to bring movies and TV shows that are highly entertaining, thought provoking and uplifting to America. To lump them all into one evil pile is convenient, but just not true -- or dare I say, Christian.
I work in Hollywood, right there in the middle of it. I love the people I work with. They work so hard. They believe in what they're writing about, what they're saying, how they're saying it.
They are passionate in their pursuit of fame and fortune. They're fierce because they know what they want. They want riches and glory. They want to be creators -- they want to be God. And they put in the hours -- and hours and hours -- to prove it. What do we do with our hours?
Hollywood is winning because it is more passionate in its pursuit of its religion. We have so much to say, so much beauty and aching truth to bring to the table. Where are we hiding?
I look around the table at work -- at those who decide which stories get the green light to get made -- and I don't see many passionate Christians, bleary-eyed from midnight hours of writing or directing or working at being a studio executive. Where are we?
Combat Hollywood with love. Uphold what's good. Encourage the few -- believers and nonbelievers -- who are struggling in the fight for true and challenging or delightful and uplifting stories. Empower beauty.
Zenit just posted the second part of its interview with our Act One alumn, screenwriter, Clare Sera.
HOLLYWOOD, California, MARCH 26, 2004 (Zenit.org).- John Paul II exhorts parents to be pro-active about the media in his message for World Communications Day 2004.
"Families should be outspoken in telling producers, advertisers and public authorities what they like and dislike," he advises.
Clare Sera, an alumna of Act One: Writing for Hollywood who is collaborating on the "Curious George" screenplay, echoes the Pope's words. She encourages Christians to be not afraid of engaging those who generate the media.
Sera shared with ZENIT how Christians can use their voice and their money to support what is uplifting and decry what is offensive in the media. Part 1 of this interview appeared Thursday.
Q: Recently, a federal agency initially ruled that a particularly offensive word is OK on TV. Is the medium getting better or worse?
Sera: It's getting worse and I don't know why those in charge are not admitting it. I'm sure that even the hardest of TV executives does not want his or her children watching most of what's on daytime and prime-time TV.
I swing alternately between thinking, "Let the culture crash -- we Christians should turn off the TV anyway and participate in our communities instead of sitting in front of the tube," and then thinking, "I miss the days when my whole family could sit and laugh together at Mary Tyler Moore and Carol Burnett."
As I mentioned earlier, writing letters to TV stations when you find the programming offensive carries a lot of weight. Encourage them when you like the programs, discourage them when you don't. No need to be offensive or rude or fearful about it.
We have great strength and power, spiritually and, well, in our wallets. And it is much more powerful to be on the offensive by writing, calling, letting your voice be heard, supporting those who are making a difference, whose writing or directing is uplifting or beautiful -- both believers and nonbelievers in the industry.
You also can support programs such as Act One: Writing For Hollywood, which is training Christian writers to be a part of this industry and be the leaven.
In fact, I want to challenge everyone who reads this to not say another good or bad word about a movie or TV show they've seen without doing something about it -- calling or writing the network or studio and letting them know.
Stop talking about them behind their back. Put it in writing. Good or bad. Just a postcard -- you have so much power, you'd be surprised. If we all did that just once or twice, it would make a difference. Just state your opinion.
And now you can even visit the Web sites and send an e-mail. Google up a show or two that you find offensive and send off an e-mail. Then do the same with a show you feel has value.
Q: Have you detected any changes in Hollywood or in how parents and families are coping with the media?
Sera: I might say it's an exciting time for families, because unlike the '50s, they can't pretend that the culture is just fine because it's presented in an unthreatening package.
We used to include "inoffensive" as a Christian attribute. Not really true, if you're living like Christ -- you're going to be going against culture, which in itself is an "offensive" move.
Today, parents have an opportunity at every turn to explain, "This is what Christ call us to," and "This is how the culture differs from Christ's call." And to show the difference between what looks pretty and what is truly beautiful -- between immediate gratification and depth of soul. Between Britney Spears and Mother Teresa. Of course, that all takes energy.
In the '50s, parents didn't have to expend that kind of energy for their kids to live reasonably moral lives. But is that what Christ asking of us -- a reasonably moral life? I guess we could say the polarization of the culture and Christianity could be an opportunity for deeper lives in him.
I don't have kids. If I did, I like to think I would be constantly alerting them to the lies of the media, especially advertising media. Then at least they could be aware of it. There's no escaping advertising, but again, we don't have to fear it. We just have to be vigilant in the fight for our hearts.
Check out the magazine Adbusters -- it's pretty extreme, but it's a great eye-opener -- written by current and ex-ad executives; it helps you remember just how much lying is being hurled at you daily. And when you see it as lies, it's easier to dismiss. We can't just sit back and pour the media down our throats without chewing.
Q: How should Christians respond to and combat Hollywood and its films?
Sera: Let's also remember, that, like Soylent Green, Hollywood is people. A lot of them work hard to bring movies and TV shows that are highly entertaining, thought provoking and uplifting to America. To lump them all into one evil pile is convenient, but just not true -- or dare I say, Christian.
I work in Hollywood, right there in the middle of it. I love the people I work with. They work so hard. They believe in what they're writing about, what they're saying, how they're saying it.
They are passionate in their pursuit of fame and fortune. They're fierce because they know what they want. They want riches and glory. They want to be creators -- they want to be God. And they put in the hours -- and hours and hours -- to prove it. What do we do with our hours?
Hollywood is winning because it is more passionate in its pursuit of its religion. We have so much to say, so much beauty and aching truth to bring to the table. Where are we hiding?
I look around the table at work -- at those who decide which stories get the green light to get made -- and I don't see many passionate Christians, bleary-eyed from midnight hours of writing or directing or working at being a studio executive. Where are we?
Combat Hollywood with love. Uphold what's good. Encourage the few -- believers and nonbelievers -- who are struggling in the fight for true and challenging or delightful and uplifting stories. Empower beauty.
9:32 AM
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EVERYBODY, WHAT CLARE SAYS!
Act One alumn, Clare Sera, was interviewed for a two part series on Zenit about being a Christian in Hollywood. Clare is one of the writers on Curious George for Universal Pictures/Imagine Entertainment. Clare is also an actor and can be seen in the Princess Diary movies. Here is the interview.
Here is a snippet to get you to click on the above...
Q: How can Christians gauge how much Hollywood influences their lives? What are questions that people, and especially parents, can ask themselves in order to determine its pervasiveness?
Sera: Again, ask yourself: "What is my heart investing in?" That is the question. To truly live your life, there's a constant re-evaluation -- and unpleasant as it sounds -- thinking that's necessary.
You have to ask, "What do I want? What does my soul ache for?" Then take stock to see if what you say you want is lining up with what you are doing and pursuing. And do this every night.
Ours is an inward journey and it takes vigilance to guard it. Hollywood is most interested in the outward journey -- status, looks and instant gratification. Its stories claim to take us on a journey of the heart, but Hollywood is most often wrong about what's true and what's good for the heart.
Unfortunately, Hollywood doesn't know any better. It thinks sex equals intimacy and that by encouraging you to make sure you "get yours" -- in regard to career, status, whatever -- that you're guarding your "self." Hollywood really doesn't know how wrong it is.
But think about it -- we do know and we can barely believe it. Sacrifice brings joy? Intimacy means vulnerability and honesty? That's tough stuff. That's why Christ was a radical -- nobody likes the "s" word. Sacrifice yourself for others who aren't even worthy of it. And of course the movies that really move us all, both nonbelievers and believers, are the ones with a message of great sacrifice. "Braveheart" springs immediately to mind.
So how do we guard our hearts and remain alert? You ask questions. Become Socratic with yourself and your friends. Seek peace of heart and pursue it. Work at it. Look for [the Holy Spirit], for his ways in the stories you watch and hear.
You watch "Big Fish" and walk away saying, "So what is 'truth'? What's at the heart of truth? What details are important? Why did God give us a story of a seven-day creation, a man in the belly of a whale, a tower of Babel? Why isn't the Bible an encyclopedia of fact?"
I found "Big Fish" to be the most exciting movie theologically that I've seen in years -- it caused me to really question what's legalistic as opposed to what's true.
You watch a movie like "Love Actually" and when you walk away you say, "OK, they represented love as a pretty and shallow experience. Do I want to invest in that? Do I want to start fantasizing about having relationships like that?"
If I find I am being drawn to pretty, shallow relationships, I need to run from the theater to the cross to reindoctrinate myself to what real love is. It requires prayerful thought in order to survive unscathed in a culture that is this in-your-face.
By the way, a well-established, fellow screenwriter in Hollywood pointed out to me the "truth" of the movie "Love Actually." He is a nonreligious fellow who was sad at this movie's portrayal of love -- this can't be love actually, he mourned. And it's not, actually. It's really not.
Ah! The exhilerated impulse to shout out, "Yippie, it's NOT me!" Yes, Virginia, there are lots of other Christians in Hollywood. Great ones. Go Clare! Just in time for me to disappear into my doctorate...
Act One alumn, Clare Sera, was interviewed for a two part series on Zenit about being a Christian in Hollywood. Clare is one of the writers on Curious George for Universal Pictures/Imagine Entertainment. Clare is also an actor and can be seen in the Princess Diary movies. Here is the interview.
Here is a snippet to get you to click on the above...
Q: How can Christians gauge how much Hollywood influences their lives? What are questions that people, and especially parents, can ask themselves in order to determine its pervasiveness?
Sera: Again, ask yourself: "What is my heart investing in?" That is the question. To truly live your life, there's a constant re-evaluation -- and unpleasant as it sounds -- thinking that's necessary.
You have to ask, "What do I want? What does my soul ache for?" Then take stock to see if what you say you want is lining up with what you are doing and pursuing. And do this every night.
Ours is an inward journey and it takes vigilance to guard it. Hollywood is most interested in the outward journey -- status, looks and instant gratification. Its stories claim to take us on a journey of the heart, but Hollywood is most often wrong about what's true and what's good for the heart.
Unfortunately, Hollywood doesn't know any better. It thinks sex equals intimacy and that by encouraging you to make sure you "get yours" -- in regard to career, status, whatever -- that you're guarding your "self." Hollywood really doesn't know how wrong it is.
But think about it -- we do know and we can barely believe it. Sacrifice brings joy? Intimacy means vulnerability and honesty? That's tough stuff. That's why Christ was a radical -- nobody likes the "s" word. Sacrifice yourself for others who aren't even worthy of it. And of course the movies that really move us all, both nonbelievers and believers, are the ones with a message of great sacrifice. "Braveheart" springs immediately to mind.
So how do we guard our hearts and remain alert? You ask questions. Become Socratic with yourself and your friends. Seek peace of heart and pursue it. Work at it. Look for [the Holy Spirit], for his ways in the stories you watch and hear.
You watch "Big Fish" and walk away saying, "So what is 'truth'? What's at the heart of truth? What details are important? Why did God give us a story of a seven-day creation, a man in the belly of a whale, a tower of Babel? Why isn't the Bible an encyclopedia of fact?"
I found "Big Fish" to be the most exciting movie theologically that I've seen in years -- it caused me to really question what's legalistic as opposed to what's true.
You watch a movie like "Love Actually" and when you walk away you say, "OK, they represented love as a pretty and shallow experience. Do I want to invest in that? Do I want to start fantasizing about having relationships like that?"
If I find I am being drawn to pretty, shallow relationships, I need to run from the theater to the cross to reindoctrinate myself to what real love is. It requires prayerful thought in order to survive unscathed in a culture that is this in-your-face.
By the way, a well-established, fellow screenwriter in Hollywood pointed out to me the "truth" of the movie "Love Actually." He is a nonreligious fellow who was sad at this movie's portrayal of love -- this can't be love actually, he mourned. And it's not, actually. It's really not.
Ah! The exhilerated impulse to shout out, "Yippie, it's NOT me!" Yes, Virginia, there are lots of other Christians in Hollywood. Great ones. Go Clare! Just in time for me to disappear into my doctorate...
9:04 AM
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KRISTIN'S ROCKING MY WORLD
Back in my undergraduate days at Magdalen College, there was a moment when the book Kristin Lavransdatter was sweeping the female side of the campus. I remember making a mental note to read it some day, but I just didn't feel that inner tug to take it on then.
I found a copy in a second hand bookstore the other day, and suddenly knew the time had come.
It's totally rocking my world. Has anybody else read these books?! Why don't we talk about Singrid Undset more, Church? I think this book holds so much help for the "ravaged by the lies of the Sexual Revolution "moment we are in just now.... It's so weirdly modern.
I think next year, instead of teaching RCIA, I am going to do a year long thing just reading this book with a group. It is certainly a kind of "literary mystagogy."
Here's a snippet. Kristin, who has fallen into secret sin with a man, is starting to experience life outside of grace. She is experiencing all kinds of new fears that she had never known before. She likes her sin still, but, it's different this new life...
"Now, she was truly frightened. Something might happen and she might never see him again. She was separated from everything she had been bound to in the past, and the bond between her and Erlend was such a fragile one....
Sometimes, she would think about her parents and sisters. She longed for them, but with the feeling that she had lost them for good.
And occasionally in church, and at other times as well, she would feel a fervent yearning to be part of it all again, this community with God. It had always been a part of her life, and now, she stood outside with her unconfessed sin.
She told herself that this separation from her home and family and Christianity was only temporary...
She began looking for evidence that other people, like herself, were not without sin. She paid more attention to gossip, and she took note of the little things around her which indicated that not even the sisters in the convent were completely holy and unworldly...Kristin developed an alert ear for all the small disturbances within the convent's walls: little complaints and jealousies and vanities..."
Fabulous.
Back in my undergraduate days at Magdalen College, there was a moment when the book Kristin Lavransdatter was sweeping the female side of the campus. I remember making a mental note to read it some day, but I just didn't feel that inner tug to take it on then.
I found a copy in a second hand bookstore the other day, and suddenly knew the time had come.
It's totally rocking my world. Has anybody else read these books?! Why don't we talk about Singrid Undset more, Church? I think this book holds so much help for the "ravaged by the lies of the Sexual Revolution "moment we are in just now.... It's so weirdly modern.
I think next year, instead of teaching RCIA, I am going to do a year long thing just reading this book with a group. It is certainly a kind of "literary mystagogy."
Here's a snippet. Kristin, who has fallen into secret sin with a man, is starting to experience life outside of grace. She is experiencing all kinds of new fears that she had never known before. She likes her sin still, but, it's different this new life...
"Now, she was truly frightened. Something might happen and she might never see him again. She was separated from everything she had been bound to in the past, and the bond between her and Erlend was such a fragile one....
Sometimes, she would think about her parents and sisters. She longed for them, but with the feeling that she had lost them for good.
And occasionally in church, and at other times as well, she would feel a fervent yearning to be part of it all again, this community with God. It had always been a part of her life, and now, she stood outside with her unconfessed sin.
She told herself that this separation from her home and family and Christianity was only temporary...
She began looking for evidence that other people, like herself, were not without sin. She paid more attention to gossip, and she took note of the little things around her which indicated that not even the sisters in the convent were completely holy and unworldly...Kristin developed an alert ear for all the small disturbances within the convent's walls: little complaints and jealousies and vanities..."
Fabulous.
8:28 AM
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TOO MANY COOKS, NOT ENOUGH BROTH
So part of the fallout of The Passion is that many more people are calling me from all over who want to put out a shingle and start their own production company. "God has told us that we should make a movie." Generally, these people are collecting a couple of million dollars and are eager and willing to put it all on the red of filmmaking and spin that reel.
Few people have any real idea of what kind of projects they want to make. There is a vague sense in many religious people that we need “quality movies” but few people can really define what that means. Some religious people say they want movies without profanity, sex and violence. Others want films that “the whole family can watch together.” Most of the time, these small production companies end up making movies that are bland, overly sentimental and only slightly entertaining. Few of the projects end up finding theatrical distribution and so they end up being very expensive home movies. Examples are multitudinous.... How many of you saw The Amati Girls? To End All Wars? Children on Their Birthdays? Joshua? Damien of Molokai? Luther? And now there is the ill-fated Therese.
Production companies get in to trouble because they come to the business with a few million dollars, a gleam in their eye, and a lot of promises to the family and investors back in Ypsilanti. They reduce the all important significane of the script and seize on something way to soon in a frenzy of wanting to get something – ANYTHING! – into production. They pick up projects that are half there and then start casting and shooting, hoping with a kind of maniacal fervor that “God” is going to make a great film for them in the edit room. [Wryly] We have to remember that God is after all, only Divine.
I can not tell you how many bad screenplays I have read that are put into production by good people, basically because they just want to do something. There is a new project coming out that I saw recently that clearly was two or three drafts away from being ready to shoot. The producer is a fellow who has asked me to read several projects in the past, but this one he never sent to me. I asked him why and he shrugged, "Well, you didn't like the first three that we sent over to you. We got tired of you telling us scripts weren't ready."
Gotcha. And now you have a film that wil be an almost good, because the second act problems make it drag, all of which might have been fixed on the script stage.
Production companies need to have a clear brand in their mind before they hit the streets waving cash at all the hungry free-lancers who will execute any old vision at all just because it pays the bills this month. Christian production companies especially need to know what kind of end project they want and then stick to that even if it takes five years to find the right vehicle.
So, what is it that we should be trying to do in Hollywood? I have my own vague standard as a model for producers who are Christians: we want to make professional, artistic films that move people toward connection with God, others and themselves, and do this without violating the viewer’s freedom or innocence.
So part of the fallout of The Passion is that many more people are calling me from all over who want to put out a shingle and start their own production company. "God has told us that we should make a movie." Generally, these people are collecting a couple of million dollars and are eager and willing to put it all on the red of filmmaking and spin that reel.
Few people have any real idea of what kind of projects they want to make. There is a vague sense in many religious people that we need “quality movies” but few people can really define what that means. Some religious people say they want movies without profanity, sex and violence. Others want films that “the whole family can watch together.” Most of the time, these small production companies end up making movies that are bland, overly sentimental and only slightly entertaining. Few of the projects end up finding theatrical distribution and so they end up being very expensive home movies. Examples are multitudinous.... How many of you saw The Amati Girls? To End All Wars? Children on Their Birthdays? Joshua? Damien of Molokai? Luther? And now there is the ill-fated Therese.
Production companies get in to trouble because they come to the business with a few million dollars, a gleam in their eye, and a lot of promises to the family and investors back in Ypsilanti. They reduce the all important significane of the script and seize on something way to soon in a frenzy of wanting to get something – ANYTHING! – into production. They pick up projects that are half there and then start casting and shooting, hoping with a kind of maniacal fervor that “God” is going to make a great film for them in the edit room. [Wryly] We have to remember that God is after all, only Divine.
I can not tell you how many bad screenplays I have read that are put into production by good people, basically because they just want to do something. There is a new project coming out that I saw recently that clearly was two or three drafts away from being ready to shoot. The producer is a fellow who has asked me to read several projects in the past, but this one he never sent to me. I asked him why and he shrugged, "Well, you didn't like the first three that we sent over to you. We got tired of you telling us scripts weren't ready."
Gotcha. And now you have a film that wil be an almost good, because the second act problems make it drag, all of which might have been fixed on the script stage.
Production companies need to have a clear brand in their mind before they hit the streets waving cash at all the hungry free-lancers who will execute any old vision at all just because it pays the bills this month. Christian production companies especially need to know what kind of end project they want and then stick to that even if it takes five years to find the right vehicle.
So, what is it that we should be trying to do in Hollywood? I have my own vague standard as a model for producers who are Christians: we want to make professional, artistic films that move people toward connection with God, others and themselves, and do this without violating the viewer’s freedom or innocence.
Thursday, March 25, 2004
9:22 AM
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IT'S WORKING....
We started training Christian writers for mainstream Hollywood careers back in August of 1999. Since then, those of us on the faculty, staff, Boards and donor end of the program have been nervously brooding over our program alumni, tweeking and mentoring, advising and praying, waiting to see if the program will actually yield any results. We know it has created a supportive community of friends and aspiring filmmakers, but we have been waiting to see if it actually helps people DO something here in Hollywood. Well, it seems clearly we are just starting to hit the Tipping Point as more and more cool success stories are coming to us from the alumni who have been doggedly plugging away here on the front lines.
I was thinking to maybe write this for Crisis magazine as the whole program started after an article I wrote for Crisis back in 1998 whining about the fact that the writing coming into Hollywood from Christians was dreadful. Here's me gathering some notes about Act One success stories for an article...
* October 2003 - Act One '99 alumn, Clare Sera lands a job on the writing staff of Universal Pictures/Imagen Entertainment Curious George. This is huge as it is the first major studio release for an Act One alumn.
* November 2003 - Act One alumn '00, Amy Snow wins the Disney Fellowship. Only eight writers annually are chosen for this honor out a pool of 2000 applicants. Amy, who developed her winning script for the Fellowship at our Advanced Writers Seminar and Act Two, will spend the next year or so writing at Disney expanding her skills and her network of contacts in the biz.
* March 2004 - Screening of first Act One alum co-produced feature length film. Called The Gleam of Dawn, this film stars Kelly Overton (All My Children, The Practice), and James Haven (Monsters Ball). The project was co-produced by Sodium Entertainment, which is a collaboration of Act One '99 alumns Shane Gilbert and Andrea Nasfell. Also working on the project were Act One alumns Kurt Schemper ('00) as Associate Producer (Post-Production), Cheryl McKay ('99) as script supervisor, Ian Eyre ('01) as effects co-ordinator, Nick Weber ('03) as a production assistant, and Kitty Bucholtz ('99) as production accountant. Shane also did the casting. The film is okay - some storytelling flaws, but overall well and professionally produced.
*March 2004 - Act Oners shoot a commercial TV pilot. Supervising a cast and crew of mainly secular talent, a group of Act One alumns just wrote, executive produced and shot a high caliber, broadcast quality television pilot that has already attracted the interest of several networks. Act One alumn Kurt Schemper ('00) who is a Senior Post-Production Coordinator at Carsey-Werner, executive produced the comedy script which was written by Act One alumns Dan Ewald ('99) and Rajeev Sigamoney ('02). The cast features established television actors including, Debra Jo Rupp (That 70's Show), Tim Bagley (Will and Grace, According to Jim), Tony Hale (Arrested Development), Debra Wilson, (MAD TV), and Act One alumns Marianne Savell ('00) and Clare Sera ('99) also shared acting duties. Oh and Act One alumn Greg Schemper ('02) supervised the craft services...which I heard were stellar!
*March 2004 - Act One alumn Lorna Clarke ('02) lands a job as a Production Assistant on Bernie Mac. Lorna joins Act One television laboring alumns Elaina Satti ('00) who is some kind of Coordinator on King of the Hill, Dan Ewald ('99) who is a writer's assistant on Whoopie, and Kurt Schemper ('00) at Carsey-Werner. There is also Act One alumn Nina Shelton ('99) who recently left a job producing HBO-NYC to run the PBS affiliate in Indiana. (I know I'm foregetting some others...somebody help?)
There is, of course, a lot more going on with the alumns who are doing writing and producing jobs for small production entities all over, but these projects are particularly auspicious because they are collaboration with the mainstrem industry...which is the point of Act One. It warms my heart when my little chickens reach out to each other to work together. Nunc Dimittis...
We started training Christian writers for mainstream Hollywood careers back in August of 1999. Since then, those of us on the faculty, staff, Boards and donor end of the program have been nervously brooding over our program alumni, tweeking and mentoring, advising and praying, waiting to see if the program will actually yield any results. We know it has created a supportive community of friends and aspiring filmmakers, but we have been waiting to see if it actually helps people DO something here in Hollywood. Well, it seems clearly we are just starting to hit the Tipping Point as more and more cool success stories are coming to us from the alumni who have been doggedly plugging away here on the front lines.
I was thinking to maybe write this for Crisis magazine as the whole program started after an article I wrote for Crisis back in 1998 whining about the fact that the writing coming into Hollywood from Christians was dreadful. Here's me gathering some notes about Act One success stories for an article...
* October 2003 - Act One '99 alumn, Clare Sera lands a job on the writing staff of Universal Pictures/Imagen Entertainment Curious George. This is huge as it is the first major studio release for an Act One alumn.
* November 2003 - Act One alumn '00, Amy Snow wins the Disney Fellowship. Only eight writers annually are chosen for this honor out a pool of 2000 applicants. Amy, who developed her winning script for the Fellowship at our Advanced Writers Seminar and Act Two, will spend the next year or so writing at Disney expanding her skills and her network of contacts in the biz.
* March 2004 - Screening of first Act One alum co-produced feature length film. Called The Gleam of Dawn, this film stars Kelly Overton (All My Children, The Practice), and James Haven (Monsters Ball). The project was co-produced by Sodium Entertainment, which is a collaboration of Act One '99 alumns Shane Gilbert and Andrea Nasfell. Also working on the project were Act One alumns Kurt Schemper ('00) as Associate Producer (Post-Production), Cheryl McKay ('99) as script supervisor, Ian Eyre ('01) as effects co-ordinator, Nick Weber ('03) as a production assistant, and Kitty Bucholtz ('99) as production accountant. Shane also did the casting. The film is okay - some storytelling flaws, but overall well and professionally produced.
*March 2004 - Act Oners shoot a commercial TV pilot. Supervising a cast and crew of mainly secular talent, a group of Act One alumns just wrote, executive produced and shot a high caliber, broadcast quality television pilot that has already attracted the interest of several networks. Act One alumn Kurt Schemper ('00) who is a Senior Post-Production Coordinator at Carsey-Werner, executive produced the comedy script which was written by Act One alumns Dan Ewald ('99) and Rajeev Sigamoney ('02). The cast features established television actors including, Debra Jo Rupp (That 70's Show), Tim Bagley (Will and Grace, According to Jim), Tony Hale (Arrested Development), Debra Wilson, (MAD TV), and Act One alumns Marianne Savell ('00) and Clare Sera ('99) also shared acting duties. Oh and Act One alumn Greg Schemper ('02) supervised the craft services...which I heard were stellar!
*March 2004 - Act One alumn Lorna Clarke ('02) lands a job as a Production Assistant on Bernie Mac. Lorna joins Act One television laboring alumns Elaina Satti ('00) who is some kind of Coordinator on King of the Hill, Dan Ewald ('99) who is a writer's assistant on Whoopie, and Kurt Schemper ('00) at Carsey-Werner. There is also Act One alumn Nina Shelton ('99) who recently left a job producing HBO-NYC to run the PBS affiliate in Indiana. (I know I'm foregetting some others...somebody help?)
There is, of course, a lot more going on with the alumns who are doing writing and producing jobs for small production entities all over, but these projects are particularly auspicious because they are collaboration with the mainstrem industry...which is the point of Act One. It warms my heart when my little chickens reach out to each other to work together. Nunc Dimittis...
8:34 AM
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"Art lost its basic creative drive the moment it was separated from worship." Filmamker, Ingmar Bergman
8:33 AM
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HOPE FOR THE RICH YOUNG MAN?
I am getting emails from friends of the aspiring young filmmaker who I wrote about below in "People Not Projects." They are telling me he is seriously committed to being part of the film industry, and did not "go away sad" from my challenge at all, but has his face firmly set into the wind.
Cool. I live to be wrong about such things.
Go West, Young Man!
I am getting emails from friends of the aspiring young filmmaker who I wrote about below in "People Not Projects." They are telling me he is seriously committed to being part of the film industry, and did not "go away sad" from my challenge at all, but has his face firmly set into the wind.
Cool. I live to be wrong about such things.
Go West, Young Man!
Tuesday, March 23, 2004
11:00 PM
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PEOPLE NOT PROJECTS
Here's the intro to my next column for National Catholic Register. I like it...
At a recent talk in Washington, DC, a devout young Catholic raised his hand and asked me what he should do to enter into the world of Hollywood filmmaking. He wants to be part of producing many more Passions of the Christ on the screens of the future. I felt a little like Jesus to the rich young man, in answering him, “Give away every thing that you have and are now doing so that you can throw yourself into mastering the art form. Go to a top film school. Study philosophy and theology so that you have something real to say. Read lots of classic novels and write thousands of pages so that you achieve command of the language as a creative tool. Get your spiritual and moral act together. Then, come and follow us by moving to Los Angeles. And in ten or fifteen years, maybe you’ll see your name on the screen appended to a movie of lasting value.” When I was through, I looked with hope at the eager young aspiring filmmaker, but his face fell, and he pretty much went away sad.
The Passion of the Christ did not come out of nowhere. It came thirty years into Mel Gibson’s filmmaking experience mainly at the top levels of the industry. It came almost a decade after he produced his Oscar winning film, Braveheart. It came fifteen years after his profound conversion and the reorienting of his life to Christ. The film itself took ten years of a brooding, devastating creative journey. Many people in the Church have been asking me if in the wake of The Passion’s success, Hollywood will produce many more such movies. “Hollywood” can’t! There will be no ‘other Passions’ without ‘other Mel’s to bring them into being.
In terms of renewing culture, however, even a string of movies like The Passion of the Christ will ultimately be insufficient. The industry needs people, and then projects. The ability to produce movies like The Passion is only the bait that God will use to draw more Christians to the business. He doesn’t care about movies. He cares about moviemakers.
Here's the intro to my next column for National Catholic Register. I like it...
At a recent talk in Washington, DC, a devout young Catholic raised his hand and asked me what he should do to enter into the world of Hollywood filmmaking. He wants to be part of producing many more Passions of the Christ on the screens of the future. I felt a little like Jesus to the rich young man, in answering him, “Give away every thing that you have and are now doing so that you can throw yourself into mastering the art form. Go to a top film school. Study philosophy and theology so that you have something real to say. Read lots of classic novels and write thousands of pages so that you achieve command of the language as a creative tool. Get your spiritual and moral act together. Then, come and follow us by moving to Los Angeles. And in ten or fifteen years, maybe you’ll see your name on the screen appended to a movie of lasting value.” When I was through, I looked with hope at the eager young aspiring filmmaker, but his face fell, and he pretty much went away sad.
The Passion of the Christ did not come out of nowhere. It came thirty years into Mel Gibson’s filmmaking experience mainly at the top levels of the industry. It came almost a decade after he produced his Oscar winning film, Braveheart. It came fifteen years after his profound conversion and the reorienting of his life to Christ. The film itself took ten years of a brooding, devastating creative journey. Many people in the Church have been asking me if in the wake of The Passion’s success, Hollywood will produce many more such movies. “Hollywood” can’t! There will be no ‘other Passions’ without ‘other Mel’s to bring them into being.
In terms of renewing culture, however, even a string of movies like The Passion of the Christ will ultimately be insufficient. The industry needs people, and then projects. The ability to produce movies like The Passion is only the bait that God will use to draw more Christians to the business. He doesn’t care about movies. He cares about moviemakers.
6:52 PM
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INTERNATIONAL TPOTC NEWS
Mexico - The Passion of the Christ made $5.2 million in Mexico in its opening weekend. This makes it the second biggest debut in Mexico after only Spiderman. Note that this opening was despite the fact that the movie was illegal for anyone under 18.
Brazil - Opening this weekend on 472 screens, the movie made $1.8 million which is the seventh biggest opening in Brazilian history.
Chile - $668,000 on 42 screens which is the biggest opening of any movie ever there according to FOX which is distributing the film in Latin America
Columbia - $606,000 on 114 screens for the third biggest opening ever behind Spidey and ROTK
Altogether, TPOTC made $10.2 million in nine Latin countries. Notes FOX exec VP Paul Hanneman, "Those numbers are astronomical."
Germany - opened second with $2.3 million behind Brother Bear
Mexico - The Passion of the Christ made $5.2 million in Mexico in its opening weekend. This makes it the second biggest debut in Mexico after only Spiderman. Note that this opening was despite the fact that the movie was illegal for anyone under 18.
Brazil - Opening this weekend on 472 screens, the movie made $1.8 million which is the seventh biggest opening in Brazilian history.
Chile - $668,000 on 42 screens which is the biggest opening of any movie ever there according to FOX which is distributing the film in Latin America
Columbia - $606,000 on 114 screens for the third biggest opening ever behind Spidey and ROTK
Altogether, TPOTC made $10.2 million in nine Latin countries. Notes FOX exec VP Paul Hanneman, "Those numbers are astronomical."
Germany - opened second with $2.3 million behind Brother Bear
6:11 PM
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[EDITORIAL NOTE: Rats... Here is the post again. Note that I have altered the part about the young woman who was chastened for genuflecting before Communion. It turns out that happened not at St. Charles, but recently at a church in Chicago. The young woman involved related the story to me while we were discussing the weird kneeling disorder going on here at St. Charles and in my horror, I thought she said it had just happened at Mass. I feel terrible about spreading this particular story about the pastor of St. Charles. As bad as things are with our parish, they don't seem to be as bad as I have spread all over the blogosphere these last two days. And again, it isn't that this incident did not occur. It did in fact occur. It just didn't occur in our house. It happened in a GIRM infected parish in Chicago.]
GIRM WARFARE
I think I am done with my beloved St. Charles. They have driven me to God knows where next.
Honestly, nobody on the outside could do to us what we do to ourselves in the Church. Talk about rearranging the deck chairs on the Titanic, the Archdiocese of Los Angeles seems pathologically driven to - in the words of Voltaire - "stamp out the damned thing!" - referring in this case to the last vestiges of bleating piety on the part of the faithful.
All the while shielding homosexual predators in the priesthood from prosecution, Powers that Rule the Archdiocese are pursuing with a vengeance the REAL enemies of God in Los Angeles: people who kneel after Communion! Egads the villany of it!!!
Starting the Sunday before Ash Wednesday, we were instructed by our pastor that in obedience to the Great and Powerful GIRM (that's General Instruction on the Roman Missal to all of you non-insane-non-Catholic Christians who are deluded by thinking that religious ignorance, international terrorism, galumphing materialism and all around rampant hedonism are what's really wrong with the world...) everyone in our HUGE crowded parish must now stand for the fifteen minutes of Communion time, bobbing and weaving and looking around before and after receiving the Eucharist. "Because," he chastened patronizingly, "Mass is NOT, NOT, NOT the time for your personal prayer."
The Church bulletin also went on to declare that the practice after the morning daily Mass of groups of people saying the rosary out loud and/or saying the prayer to St. Michael the Archangel, also constitute grave and scary abuses of public piety and will no longer be tolerated in our faith community. Phew! I know I feel safer.....God in heaven! Leave the old people alone! Haven't they suffered enough? Let them have their little small group devotions.
Well, watching the sheep shuffle around awkwardly during Mass last night, leaning and then talking while waiting for the other 800 people to get their share of Jesus, it seemed to me that the Rite of Communion at Mass has very little of public prayer left to it either. The choir always runs out of songs after two or three and then we all just stand around people-watching.
One young friend, who was visiting from Washington, DC last week - where apparently the GIRM has not been applied with all the pastoral delicacy of a fleet of surging Mack trucks - didn't know that to kneel during Communion was a sign of the most dreadful and dangerous heinousness. We tried to whisper to her that she should stand up when she was kneeling before Communion, but she looked at us like we were crazed and insane.
After Mass, she told us that recently she went up to Communion at a GIRM church in Chicago, and, as is her practice, made a quick genuflection when she was next in line to receive.
Oh, the inhumanity!
The priest, holding Eucharistic Jesus in front of his face says in a loud voice, "No! We don't do that kind of thing here any more! No more!" Everybody froze in horror. He then angrily handed off God into our friend's stunned, and thoroughly mortified face. As she made her way back to the pew, it was like she was a waiter in a restaurant who had just dropped a plate. Everybody stared at the evil woman.
AHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!
Now, I ask you, priests of God! What are you doing!!!!!????? This woman was a visitor. And she was doing something that she understood to be devout. And she gets a public humiliation?! Talk about substituting the laws of men for the love of God!
[Taking a breath.]
There are exactly two pews in which I have found I can kneel for a few seconds after receiving Communuion without giving the scandal of disobedience. Honestly, conflicted over obeying man instead of honoring God, I decided that if I sit in the back two pews that are on the extreme sides of the Church, no one will see me slip to my knees long enough to say the Anima Christi as my personal Thanksgiving.
Well, oh no. Clearly, the forces of saving the Church from my personal prayer have anticipated folks like me. Two lines into my thanksgiving, the lady in front of me wearing her Eucharistic minister badge caught my eye and leaned towards me saying, "We don't kneel here at Communion time." And then added with meaning, "We ARE one Body."
In his homily last night, our Pastor told a story of a woman coming to a priest and expressing confusion over the fact that a woman she knows who is living in sin has been routinely receiving Communion. She wanted to know from the priest, how she should speak to this other woman. Our pastor pointed his finger at us all and warned, "No one is worthy of receiving Communion! I am much more worried about any one who is worried about other people, and thinks she herself is worthy!"
Good Lord. I sat there steaming, "OBJECTIVELY, Father, of course, no one is worthy of Communion. But the Church teaches, Father, that there is a SUBJECTIVE unworthiness known as being in a state of mortal sin, that renders the receiving of Communion a sacrilege. What is your problem, Father?!" I spent the rest of the homily wondering if it is that he doesn't like being a priest, or if he really hates all of us his sheep, or if he is just stupidly ignorant of basic catechism. Such a nice reflection for a Sunday Liturgy.
This is the same pastor who used the occasion of the Feast of Corpus Christi last year to make the point to us that the Feast was a reminder of those olden times days when people used to make a big deal about Eucharistic adoration, but that NOW we know that the point of the Feast isn't Jesus in the Host, but rather Jesus in each person.
Truly, truly, I say unto you, the lunatics are running the pasture. Diehard Church. With. A. Vengeance.
GIRM WARFARE
I think I am done with my beloved St. Charles. They have driven me to God knows where next.
Honestly, nobody on the outside could do to us what we do to ourselves in the Church. Talk about rearranging the deck chairs on the Titanic, the Archdiocese of Los Angeles seems pathologically driven to - in the words of Voltaire - "stamp out the damned thing!" - referring in this case to the last vestiges of bleating piety on the part of the faithful.
All the while shielding homosexual predators in the priesthood from prosecution, Powers that Rule the Archdiocese are pursuing with a vengeance the REAL enemies of God in Los Angeles: people who kneel after Communion! Egads the villany of it!!!
Starting the Sunday before Ash Wednesday, we were instructed by our pastor that in obedience to the Great and Powerful GIRM (that's General Instruction on the Roman Missal to all of you non-insane-non-Catholic Christians who are deluded by thinking that religious ignorance, international terrorism, galumphing materialism and all around rampant hedonism are what's really wrong with the world...) everyone in our HUGE crowded parish must now stand for the fifteen minutes of Communion time, bobbing and weaving and looking around before and after receiving the Eucharist. "Because," he chastened patronizingly, "Mass is NOT, NOT, NOT the time for your personal prayer."
The Church bulletin also went on to declare that the practice after the morning daily Mass of groups of people saying the rosary out loud and/or saying the prayer to St. Michael the Archangel, also constitute grave and scary abuses of public piety and will no longer be tolerated in our faith community. Phew! I know I feel safer.....God in heaven! Leave the old people alone! Haven't they suffered enough? Let them have their little small group devotions.
Well, watching the sheep shuffle around awkwardly during Mass last night, leaning and then talking while waiting for the other 800 people to get their share of Jesus, it seemed to me that the Rite of Communion at Mass has very little of public prayer left to it either. The choir always runs out of songs after two or three and then we all just stand around people-watching.
One young friend, who was visiting from Washington, DC last week - where apparently the GIRM has not been applied with all the pastoral delicacy of a fleet of surging Mack trucks - didn't know that to kneel during Communion was a sign of the most dreadful and dangerous heinousness. We tried to whisper to her that she should stand up when she was kneeling before Communion, but she looked at us like we were crazed and insane.
After Mass, she told us that recently she went up to Communion at a GIRM church in Chicago, and, as is her practice, made a quick genuflection when she was next in line to receive.
Oh, the inhumanity!
The priest, holding Eucharistic Jesus in front of his face says in a loud voice, "No! We don't do that kind of thing here any more! No more!" Everybody froze in horror. He then angrily handed off God into our friend's stunned, and thoroughly mortified face. As she made her way back to the pew, it was like she was a waiter in a restaurant who had just dropped a plate. Everybody stared at the evil woman.
AHHHHHHHHHHHHHHHHHH!!!!!!!!!!!!!!!!!!!!
Now, I ask you, priests of God! What are you doing!!!!!????? This woman was a visitor. And she was doing something that she understood to be devout. And she gets a public humiliation?! Talk about substituting the laws of men for the love of God!
[Taking a breath.]
There are exactly two pews in which I have found I can kneel for a few seconds after receiving Communuion without giving the scandal of disobedience. Honestly, conflicted over obeying man instead of honoring God, I decided that if I sit in the back two pews that are on the extreme sides of the Church, no one will see me slip to my knees long enough to say the Anima Christi as my personal Thanksgiving.
Well, oh no. Clearly, the forces of saving the Church from my personal prayer have anticipated folks like me. Two lines into my thanksgiving, the lady in front of me wearing her Eucharistic minister badge caught my eye and leaned towards me saying, "We don't kneel here at Communion time." And then added with meaning, "We ARE one Body."
In his homily last night, our Pastor told a story of a woman coming to a priest and expressing confusion over the fact that a woman she knows who is living in sin has been routinely receiving Communion. She wanted to know from the priest, how she should speak to this other woman. Our pastor pointed his finger at us all and warned, "No one is worthy of receiving Communion! I am much more worried about any one who is worried about other people, and thinks she herself is worthy!"
Good Lord. I sat there steaming, "OBJECTIVELY, Father, of course, no one is worthy of Communion. But the Church teaches, Father, that there is a SUBJECTIVE unworthiness known as being in a state of mortal sin, that renders the receiving of Communion a sacrilege. What is your problem, Father?!" I spent the rest of the homily wondering if it is that he doesn't like being a priest, or if he really hates all of us his sheep, or if he is just stupidly ignorant of basic catechism. Such a nice reflection for a Sunday Liturgy.
This is the same pastor who used the occasion of the Feast of Corpus Christi last year to make the point to us that the Feast was a reminder of those olden times days when people used to make a big deal about Eucharistic adoration, but that NOW we know that the point of the Feast isn't Jesus in the Host, but rather Jesus in each person.
Truly, truly, I say unto you, the lunatics are running the pasture. Diehard Church. With. A. Vengeance.
5:01 PM
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DELETION INSANITY
In a moment of editorial insanity, an overzealous assistant of mine accidentally deleted the post "GIRM WARFARE" about the no kneeling directives being enforced here in the church in Los Angeles. I apologise especially to those people who are being linked here from parts all over the blogosphere. We are going to try to recover the post and hopefully the 68 comments that had piled up around it. Stay tuned....
In a moment of editorial insanity, an overzealous assistant of mine accidentally deleted the post "GIRM WARFARE" about the no kneeling directives being enforced here in the church in Los Angeles. I apologise especially to those people who are being linked here from parts all over the blogosphere. We are going to try to recover the post and hopefully the 68 comments that had piled up around it. Stay tuned....
7:49 AM
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"WHO DO YOU SAY THAT I AM?"
Here's a piece from Catholic News Service....
European church leaders mixed on 'Passion'; Other Bishops Praise it
By Jonathan Luxmoore
WARSAW, Poland (CNS) -- Church leaders in Eastern and Central Europe voiced mixed reactions to Mel Gibson's "The Passion of the Christ," while in Mexico and the Philippines bishops praised the movie.
Warsaw Cardinal Jozef Glemp described the movie as a "great, decisive film" and predicted it would assist better knowledge and comprehension of Christ's mission.
"This film speaks about overcoming hatred with love for one's enemies -- about struggling with an evil which is cruel and cynical, which can jeer and then wash its hands," the cardinal told Poland's Catholic information agency, KAI.
The editor of Poland's leading Catholic weekly, Tygodnik Powszechny, said "The Passion" suggested "the secret of redemption consists in Christ's suffering as much as possible."
Editor Father Tadeusz Boniecki told Poland's mass-circulation Gazeta Wyborcza March 8: "The Romans here are even more sadistic than the Jews, although the mechanism of hatred is set in motion by the Jews. Although this conforms with the Gospel, the Gospel also shows the drama of the archpriest who, facing a real dilemma, defended the religious reality he believed in. That this isn't shown here could fuel the kind of anti-Semitic stereotypes the church has been distancing itself from for 2000 years."
The movie opened March 5 in Poland.
Bishops in neighboring Germany criticized the film's excessive violence and warned against its use "as an instrument of anti-Semitism."
"With its drastic portrayal of atrocities, the film reduces the Bible's message in a problematic way," the bishops' conference said in a March 4 statement. "Since this could lead to misunderstandings by viewers not familiar with Christianity, we believe accompanying information is needed."
On March 18, the day the film opened in Germany, Cardinal Karl Lehmann of Mainz, head of the German bishops' conference, issued a statement with Protestant and Jewish officials that criticized the film for its excessive violence.
The joint statement also said the film could promote "anti-Semitic propaganda." It said the film was particularly dangerous "at a time when an increase of anti-Semitism can be seen in Europe."
In Scotland, Bishop Joseph Devine of Motherwell, president of the Scottish bishops' communications commission, said "The Passion" was "the most powerful (film) I have ever seen."
In a letter to Scottish pastors, Bishop Devine said they should promote the film and urge Catholics to see it when it opens March 26.
Catholic bishops in Austria warned the film could leave non-Christians with a "total misunderstanding of the Christian faith's foundations."
The secretary-general of the Hungarian bishops' conference, Bishop Andras Veres of Eger, called the film accurate and "infinitely enriching."
"The film permits a profound sympathy toward the bloodied and martyred figure of Christ, presented in a very -- perhaps even excessively -- naturalistic way," the bishop told Hungary's MTI news agency March 5.
"I didn't find it anti-Semitic," he added.
Several prominent Mexican bishops praised "The Passion," and one even recommended his parishioners see it.
The film was to open in Mexico March 19 and was expected to be a blockbuster in the predominantly Catholic nation.
"This is very well done and of great artistic value," Mexico City Cardinal Norberto Rivera Carrera told reporters March 11 after a special screening of the movie for church officials.
Saltillo Bishop Raul Vera Lopez said the film's graphic depiction of Jesus being brutally beaten probably would not shock many in Mexico, where figures of a bloodied Christ are found in most churches.
"All of us are familiar with the iconography of Jesus' suffering, above all in small towns where the his body appears practically destroyed," Bishop Vera said at a March 10 press conference.
Monterrey Archbishop Francisco Robles Ortega liked the movie so much he called on the public to see it, though he expressed reservations about children seeing so much violence.
"I have doubts about whether children should see it -- I think not, because it's exceedingly violent," Archbishop Robles told the Milenio newspaper March 14.
Mexican regulators have given "The Passion" a rating that restricts viewing to adults.
Other Latin American countries have not been so strict. Argentina allows viewers age 16 and older to see the movie, while 14-year-olds can see it in Brazil, Chile and Peru.
Philippine bishops who watched advance screenings of the movie recommended the film to Filipinos of all faiths, reported UCA News, an Asian church news agency based in Thailand.
Archbishop Gaudencio Rosales of Manila said the film shows "the reality of evil and the triumph of good" and said he hoped it would awaken Filipino spiritually.
"As part of the history of Jesus, I would like all Filipinos to watch the film because it holds a promise for us," Archbishop Rosales said. "The suffering of Jesus is meaningful for us today, as we see in the suffering of the poor that calls us to respond."
Archbishop Fernando Capalla of Davao, president of the Philippine bishops' conference, told reporters the movie "makes us look at our faith" and realize "our sins are the reason for the pain and suffering of Jesus."
The archbishop, convener of a bishops' dialogue forum with Islamic scholars in the southern Philippines, recommended the movie to Christians and Muslims so both groups "could learn how Jesus died on the cross just to save people from sin."
In Agana, Guam, Capuchin Father Randy Nowak looked shaken as he walked out of one of the earliest screenings of the film.
"It was so, it was so stirring you know. I couldn't believe that ... ." He could not finish his sentence.
Father Nowak told The Pacific Voice, newspaper of the Agana Archdiocese, that the movie did not have a lot of conversation, "but what was there was very powerful."
"The Passion of the Christ" was the leading U.S. box-office attraction in each of its first three weekends of release and through March 14 had tallied an estimated $264 million, nearing the record for the largest-grossing R-rated movie of all time.
- - -
Contributing to this story were Jason Lange in Mexico, Michael Lawton in Germany and Tony C. Diaz in Guam.
Here's a piece from Catholic News Service....
European church leaders mixed on 'Passion'; Other Bishops Praise it
By Jonathan Luxmoore
WARSAW, Poland (CNS) -- Church leaders in Eastern and Central Europe voiced mixed reactions to Mel Gibson's "The Passion of the Christ," while in Mexico and the Philippines bishops praised the movie.
Warsaw Cardinal Jozef Glemp described the movie as a "great, decisive film" and predicted it would assist better knowledge and comprehension of Christ's mission.
"This film speaks about overcoming hatred with love for one's enemies -- about struggling with an evil which is cruel and cynical, which can jeer and then wash its hands," the cardinal told Poland's Catholic information agency, KAI.
The editor of Poland's leading Catholic weekly, Tygodnik Powszechny, said "The Passion" suggested "the secret of redemption consists in Christ's suffering as much as possible."
Editor Father Tadeusz Boniecki told Poland's mass-circulation Gazeta Wyborcza March 8: "The Romans here are even more sadistic than the Jews, although the mechanism of hatred is set in motion by the Jews. Although this conforms with the Gospel, the Gospel also shows the drama of the archpriest who, facing a real dilemma, defended the religious reality he believed in. That this isn't shown here could fuel the kind of anti-Semitic stereotypes the church has been distancing itself from for 2000 years."
The movie opened March 5 in Poland.
Bishops in neighboring Germany criticized the film's excessive violence and warned against its use "as an instrument of anti-Semitism."
"With its drastic portrayal of atrocities, the film reduces the Bible's message in a problematic way," the bishops' conference said in a March 4 statement. "Since this could lead to misunderstandings by viewers not familiar with Christianity, we believe accompanying information is needed."
On March 18, the day the film opened in Germany, Cardinal Karl Lehmann of Mainz, head of the German bishops' conference, issued a statement with Protestant and Jewish officials that criticized the film for its excessive violence.
The joint statement also said the film could promote "anti-Semitic propaganda." It said the film was particularly dangerous "at a time when an increase of anti-Semitism can be seen in Europe."
In Scotland, Bishop Joseph Devine of Motherwell, president of the Scottish bishops' communications commission, said "The Passion" was "the most powerful (film) I have ever seen."
In a letter to Scottish pastors, Bishop Devine said they should promote the film and urge Catholics to see it when it opens March 26.
Catholic bishops in Austria warned the film could leave non-Christians with a "total misunderstanding of the Christian faith's foundations."
The secretary-general of the Hungarian bishops' conference, Bishop Andras Veres of Eger, called the film accurate and "infinitely enriching."
"The film permits a profound sympathy toward the bloodied and martyred figure of Christ, presented in a very -- perhaps even excessively -- naturalistic way," the bishop told Hungary's MTI news agency March 5.
"I didn't find it anti-Semitic," he added.
Several prominent Mexican bishops praised "The Passion," and one even recommended his parishioners see it.
The film was to open in Mexico March 19 and was expected to be a blockbuster in the predominantly Catholic nation.
"This is very well done and of great artistic value," Mexico City Cardinal Norberto Rivera Carrera told reporters March 11 after a special screening of the movie for church officials.
Saltillo Bishop Raul Vera Lopez said the film's graphic depiction of Jesus being brutally beaten probably would not shock many in Mexico, where figures of a bloodied Christ are found in most churches.
"All of us are familiar with the iconography of Jesus' suffering, above all in small towns where the his body appears practically destroyed," Bishop Vera said at a March 10 press conference.
Monterrey Archbishop Francisco Robles Ortega liked the movie so much he called on the public to see it, though he expressed reservations about children seeing so much violence.
"I have doubts about whether children should see it -- I think not, because it's exceedingly violent," Archbishop Robles told the Milenio newspaper March 14.
Mexican regulators have given "The Passion" a rating that restricts viewing to adults.
Other Latin American countries have not been so strict. Argentina allows viewers age 16 and older to see the movie, while 14-year-olds can see it in Brazil, Chile and Peru.
Philippine bishops who watched advance screenings of the movie recommended the film to Filipinos of all faiths, reported UCA News, an Asian church news agency based in Thailand.
Archbishop Gaudencio Rosales of Manila said the film shows "the reality of evil and the triumph of good" and said he hoped it would awaken Filipino spiritually.
"As part of the history of Jesus, I would like all Filipinos to watch the film because it holds a promise for us," Archbishop Rosales said. "The suffering of Jesus is meaningful for us today, as we see in the suffering of the poor that calls us to respond."
Archbishop Fernando Capalla of Davao, president of the Philippine bishops' conference, told reporters the movie "makes us look at our faith" and realize "our sins are the reason for the pain and suffering of Jesus."
The archbishop, convener of a bishops' dialogue forum with Islamic scholars in the southern Philippines, recommended the movie to Christians and Muslims so both groups "could learn how Jesus died on the cross just to save people from sin."
In Agana, Guam, Capuchin Father Randy Nowak looked shaken as he walked out of one of the earliest screenings of the film.
"It was so, it was so stirring you know. I couldn't believe that ... ." He could not finish his sentence.
Father Nowak told The Pacific Voice, newspaper of the Agana Archdiocese, that the movie did not have a lot of conversation, "but what was there was very powerful."
"The Passion of the Christ" was the leading U.S. box-office attraction in each of its first three weekends of release and through March 14 had tallied an estimated $264 million, nearing the record for the largest-grossing R-rated movie of all time.
- - -
Contributing to this story were Jason Lange in Mexico, Michael Lawton in Germany and Tony C. Diaz in Guam.
Monday, March 22, 2004
6:55 AM
| |
EMILY MONDAY
#49
Our lives are Swiss,
- So Still - so cool --
Till some odd afternoon
The Alps neglect their curtains, and we look further o.
ITALY stands on the other side!
But like a guard between - the solemn Alps -
The siren Alps forever intervene.
#49
Our lives are Swiss,
- So Still - so cool --
Till some odd afternoon
The Alps neglect their curtains, and we look further o.
ITALY stands on the other side!
But like a guard between - the solemn Alps -
The siren Alps forever intervene.
Sunday, March 21, 2004
8:11 PM
| |
REALLY TRYING TO LIMIT THE BLOG TO RELEVANT QUIZZES...REALLY
which art movement are you?
this quiz was made by Caitlin
which art movement are you?
this quiz was made by Caitlin
3:00 PM
| |
SORRY BLOGGING HAS BEEN LIGHT...
...but I'm just back today from gallavanting on the East coast for a few days. I took a 6am flight out of DC which meant me getting up at 1am L.A. time. I am just typing here to keep myself awake for the 5pm Mass at St. Charles and then I am going to slither home and collapse. No Alias tonight for sure. A few tid-bits from my trip...
- I had the honor again on Friday of being in the presence of the man whom I will hereafter refer to as Our Chairman, Dana Gioia. Dana is the Chairman of the National Endowment for the Arts, and is doing amazing things there for the whole country. Again, the man has one of those brains that you might encounter two or three times in a lifetime. He has amazing things to say about the role of the arts in a free society, and specifically how the Nat'l Endowment should serve the broad population of Americans. He actually remembered Act One and asked me for an update about the program and what the program is currently working on. Amazing man. I'm not a joiner, but I would feel pretty comfortable following Mr. Gioia's lead in pretty much any direction. Anyway, in addition to giving us a quick run-down of the agency's impressive list of projects for the coming year, he recited some of his poetry for us, and in honor of the Endowment's new Shakespeare project, also recited the great speech "Sweet are the Uses of Adversity" from As You Like It. You gotta love a fellow who can spontaneously reel off 60 lines of Shakespeare. I know I do.
- The Healing the Sexual Revolution seminar day was fascinating and exhausting. So much information for one day. Being in L.A. for seven years now, I am a bit out of practice as far as spending fourteen hours in intense theorizing and the digestion of the multiplicity of statistics. Artists tend to spend one hour on theory and then thirteen hours on the emotions that a particular theory has stirred in them.... I always come away from these meetings with the Christians who work on Capital Hill feeling really good about the Church which is in Washington. The day was a very, very smart and prayerful consideration on how the culture got where it is in terms of becoming sex-centered, and how it might be led back to a more authentically human emphasis.
- My friend Laura and her group ARS in DC, organized a "little speech" opportunity for me and Fr. Jack Riley on The Passion of the Christ on Saturday at the Pope John Paul II Cultural Center. (Thanks to everyone who brought it off so fast! Yeoman's labor!) I thought maybe ten or fifteen people would show up. Astoundingly, somewhere around 160 showed up! Maybe more, it was hard to tell. Clearly, the sheep are not done with this film. They want to talk about it -- why it moved them, what it has done for them spiritually. So impressive to have people tell their stories of the film. EARTH TO CATHOLIC CLERGY. COME IN CATHOLIC CLERGY. There is still time to be late on this one....
- After the Passion event, a group of us sat at a Thai restaurant for three hours, talking strategy about how to serve artists so they can better fulfill their role as mediators of God's ongoing creativity. Everybody is on board with the idea of a center for the arts (I insist on it being here in Hollywood) that would have a Chapel that would be a place of pilgrimage for artists and families of artists. We can decorate with all the great artists and saints of faith - Gregory the Great Chant Guy! Hildegarde the Composer nun! Bernard the Honeysweet Poet! Canvas Man, Fra Angelico! Dante the Comedian! Francis the Canticleer! Cecilia the Martyr Musician! Flannery the Great! (Anybody I left out?)
The center would also offer religious instruction, spiritual direction, family and career counseling, ethical formation and practical mentorships and training.
Oh, and a huge, cool theater to host and premiere films -- and, I think, to house the next generation Actors Co-op productions.
This place will be at the center of what God is doing in Hollywood.
Face it, He's doing something with or without us. If we get on board, we can save some years off His new thing, and maybe find some more salvation for ourselves too....
...but I'm just back today from gallavanting on the East coast for a few days. I took a 6am flight out of DC which meant me getting up at 1am L.A. time. I am just typing here to keep myself awake for the 5pm Mass at St. Charles and then I am going to slither home and collapse. No Alias tonight for sure. A few tid-bits from my trip...
- I had the honor again on Friday of being in the presence of the man whom I will hereafter refer to as Our Chairman, Dana Gioia. Dana is the Chairman of the National Endowment for the Arts, and is doing amazing things there for the whole country. Again, the man has one of those brains that you might encounter two or three times in a lifetime. He has amazing things to say about the role of the arts in a free society, and specifically how the Nat'l Endowment should serve the broad population of Americans. He actually remembered Act One and asked me for an update about the program and what the program is currently working on. Amazing man. I'm not a joiner, but I would feel pretty comfortable following Mr. Gioia's lead in pretty much any direction. Anyway, in addition to giving us a quick run-down of the agency's impressive list of projects for the coming year, he recited some of his poetry for us, and in honor of the Endowment's new Shakespeare project, also recited the great speech "Sweet are the Uses of Adversity" from As You Like It. You gotta love a fellow who can spontaneously reel off 60 lines of Shakespeare. I know I do.
- The Healing the Sexual Revolution seminar day was fascinating and exhausting. So much information for one day. Being in L.A. for seven years now, I am a bit out of practice as far as spending fourteen hours in intense theorizing and the digestion of the multiplicity of statistics. Artists tend to spend one hour on theory and then thirteen hours on the emotions that a particular theory has stirred in them.... I always come away from these meetings with the Christians who work on Capital Hill feeling really good about the Church which is in Washington. The day was a very, very smart and prayerful consideration on how the culture got where it is in terms of becoming sex-centered, and how it might be led back to a more authentically human emphasis.
- My friend Laura and her group ARS in DC, organized a "little speech" opportunity for me and Fr. Jack Riley on The Passion of the Christ on Saturday at the Pope John Paul II Cultural Center. (Thanks to everyone who brought it off so fast! Yeoman's labor!) I thought maybe ten or fifteen people would show up. Astoundingly, somewhere around 160 showed up! Maybe more, it was hard to tell. Clearly, the sheep are not done with this film. They want to talk about it -- why it moved them, what it has done for them spiritually. So impressive to have people tell their stories of the film. EARTH TO CATHOLIC CLERGY. COME IN CATHOLIC CLERGY. There is still time to be late on this one....
- After the Passion event, a group of us sat at a Thai restaurant for three hours, talking strategy about how to serve artists so they can better fulfill their role as mediators of God's ongoing creativity. Everybody is on board with the idea of a center for the arts (I insist on it being here in Hollywood) that would have a Chapel that would be a place of pilgrimage for artists and families of artists. We can decorate with all the great artists and saints of faith - Gregory the Great Chant Guy! Hildegarde the Composer nun! Bernard the Honeysweet Poet! Canvas Man, Fra Angelico! Dante the Comedian! Francis the Canticleer! Cecilia the Martyr Musician! Flannery the Great! (Anybody I left out?)
The center would also offer religious instruction, spiritual direction, family and career counseling, ethical formation and practical mentorships and training.
Oh, and a huge, cool theater to host and premiere films -- and, I think, to house the next generation Actors Co-op productions.
This place will be at the center of what God is doing in Hollywood.
Face it, He's doing something with or without us. If we get on board, we can save some years off His new thing, and maybe find some more salvation for ourselves too....
Friday, March 19, 2004
7:55 PM
| |
HA!
I swear I only took this quiz once. What can I say?
You are Emily Dickinson! Not all that much is
known about Emily Dickinson, probably because
she holed herself up in her room and wrote
poetry. She didn't have very many connections
with the world outside her house, and her
poetry is very introspective and
compartmentalized. You need to get out more.
Which famous poet are you? (pictures and many outcomes)
brought to you by Quizilla
I swear I only took this quiz once. What can I say?
You are Emily Dickinson! Not all that much is
known about Emily Dickinson, probably because
she holed herself up in her room and wrote
poetry. She didn't have very many connections
with the world outside her house, and her
poetry is very introspective and
compartmentalized. You need to get out more.
Which famous poet are you? (pictures and many outcomes)
brought to you by Quizilla
Thursday, March 18, 2004
8:46 AM
| |
EL ODIO LE HACE LOCO
So, Mexican "officials" gave The Passion of the Christ an X-rating, as a way to suppress the film's impact.
Hmmmm... talk about an 'estrategia suicida'. Yeah. that's reeeeeeeeeal smart. And then maybe next week, just to nail it down in a coffin forever, why don't you accuse the film of being anti-Semitic!
[Cue Mexican Officials dancing around the State film office, shrieking with glee with mush gnashing of teeths]
"HAHAHAHAHA!!!! YES, YES! TRIUMPH!! The dastardly genius of it all!
Wormwood! Where is my pen?!!"
Somebody call Gameliel.
So, Mexican "officials" gave The Passion of the Christ an X-rating, as a way to suppress the film's impact.
Hmmmm... talk about an 'estrategia suicida'. Yeah. that's reeeeeeeeeal smart. And then maybe next week, just to nail it down in a coffin forever, why don't you accuse the film of being anti-Semitic!
[Cue Mexican Officials dancing around the State film office, shrieking with glee with mush gnashing of teeths]
"HAHAHAHAHA!!!! YES, YES! TRIUMPH!! The dastardly genius of it all!
Wormwood! Where is my pen?!!"
Somebody call Gameliel.
Tuesday, March 16, 2004
2:46 PM
| |
THE WORDS OF THE DAY FROM THE CHURCH WHICH IS IN HOLLYWOOD...
Back to back quotes in today's Hollywood Reporter:
"Christian is the new gay. Maybe for the first time since Billy Graham started his Crusades, Christians are involved in something significant in pop culture." -- Jonathan Bock, Christian and PR guy to the studios
"I don't know where it's going to fall. And quite frankly... you want to hear something? I don't give a flying f**k!" -- Mel Gibson, on Passion's "place in history"
Sent to me from Jan the Maven.
Back to back quotes in today's Hollywood Reporter:
"Christian is the new gay. Maybe for the first time since Billy Graham started his Crusades, Christians are involved in something significant in pop culture." -- Jonathan Bock, Christian and PR guy to the studios
"I don't know where it's going to fall. And quite frankly... you want to hear something? I don't give a flying f**k!" -- Mel Gibson, on Passion's "place in history"
Sent to me from Jan the Maven.
11:23 AM
| |
A FUNNY FESTIVAL
This event comes from the US Bishops Office for Film and Broadcasting in NYC. They (Gerri Pare, Anne Navarro and David DiCerto) collectively consistently offer one of the most thoughtful and reliable perspectives on cinema. They had invited me to be at this event but I will be in DC instead this weekend. Too bad - it will certainly be a great weekend. Check it out...
Faith on Film 2004
A Three Day Film Festival Celebrating "The Blessings of Laughter"
Directors Guild of America
110 W. 57th St. NYC
Friday March 19 - Sunday March 21
Films to be screened include: Heaven Can Wait, Sullivan's Travels, A Night At The Opera, Heavens Above!, Yours, Mine and Ours, Babe
Screenings will be followed by panel discussion with noted movie critics, clergy and film scholars.
Join us in exploring cinema's relationship to the God-given gift of mirth in our lives.
Reservations: 866 348 3456 or visit www.faithonfilm.com
Sponsored by the Catholic Communication Campaign.
This event comes from the US Bishops Office for Film and Broadcasting in NYC. They (Gerri Pare, Anne Navarro and David DiCerto) collectively consistently offer one of the most thoughtful and reliable perspectives on cinema. They had invited me to be at this event but I will be in DC instead this weekend. Too bad - it will certainly be a great weekend. Check it out...
Faith on Film 2004
A Three Day Film Festival Celebrating "The Blessings of Laughter"
Directors Guild of America
110 W. 57th St. NYC
Friday March 19 - Sunday March 21
Films to be screened include: Heaven Can Wait, Sullivan's Travels, A Night At The Opera, Heavens Above!, Yours, Mine and Ours, Babe
Screenings will be followed by panel discussion with noted movie critics, clergy and film scholars.
Join us in exploring cinema's relationship to the God-given gift of mirth in our lives.
Reservations: 866 348 3456 or visit www.faithonfilm.com
Sponsored by the Catholic Communication Campaign.
8:08 AM
| |
ON LINE REVELATION
Thanks to Jeff over at The Revealer for his extravagant praise for my little Ice Storm-Sexual Revolution musing below. In recognition of Jeff's great work making The Revealer an exhaustive site on religion and culture, Church of the Masses hereby bestows our blogostolic blessing, and adds The Revealer to the blog roll. Check it out.
Thanks to Jeff over at The Revealer for his extravagant praise for my little Ice Storm-Sexual Revolution musing below. In recognition of Jeff's great work making The Revealer an exhaustive site on religion and culture, Church of the Masses hereby bestows our blogostolic blessing, and adds The Revealer to the blog roll. Check it out.
Monday, March 15, 2004
5:50 PM
| |
ANOTHER EMILY MONDAY
840
I cannot buy it -- 'tis not sold --
There is no other in the World --
Mine was the only one
I was so happy I forgot to shut the Door
And it went out
And I am all alone --
If I could find it Anywhere
I would not mind the journey there
Though it took all my store
But just to look it in the Eye --
"Did'st thou?"
"Thou did'st not mean," to say,
Then, turn my Face away.
840
I cannot buy it -- 'tis not sold --
There is no other in the World --
Mine was the only one
I was so happy I forgot to shut the Door
And it went out
And I am all alone --
If I could find it Anywhere
I would not mind the journey there
Though it took all my store
But just to look it in the Eye --
"Did'st thou?"
"Thou did'st not mean," to say,
Then, turn my Face away.
10:00 AM
| |
THE SEXUAL ICE REVOLUTION STORM
"Waves of freezing rain amassed layer upon layer of crystal chaos -- as destructive as it was beautiful. Ottawa was a city of ice. Tens of thousands of homes were cast into darkness and left without heat as hydro poles snapped like toothpicks. It was the storm of the century. Damage topped $1 billion. Crippled communities shivered in sub-zero temperatures that numbed even the hardiest." (Katthleen Harris, The Ottawa Sun, January 1998)
As I noted below, I'm getting together notes for a talk I am giving Friday in DC about the Sexual Revolution. We are using Ang Lee's film The Ice Storm as a jumping off point for our discussions. Here's me gathering my thoughts....
Great art is found in the combination of mastery of craft and lyrical/poetic imagery. A piece "works" in so far as its imagery speaks "thousands of words" to the receiver, by combining with their past experience to lead them to new or deeper truths.
Unraveling the meaning of art can often be as simple as taking its central images at face value. People struggling with what a painting or a poem or a film mean, too quickly abandon the literal meaning of the images to start struggling with the meanings to whcih they might be pointing.
A sign of a great work of art is that its central metaphors are so carefully chosen, that the more a viewer plumbs the literal meaning of the metaphor, the more the lyrical meaning is manifest.
So, the central metaphor in The Ice Storm, is an ice storm. The film is about two families, basically being ravaged by the Sexual Revolution. I am going to build my talk around the image of an ice storm, drawing heavily from a fabulous three-part account of Canada's "Great Ice Storm of 1997" written by Kathleen Harris, that appeared in the Ottawa Sun - love that it was the Sun here! - in January of 1998.
"First drizzle, then rain fell from the sky. Chilly temperatures quickly transformed the liquid to a glass-like ice which coated everything it touched.
A day earlier, people were pre-occupied about how the weather forecast would affect skating conditions on the Rideau Canal. Soon, roads became slippery and treacherous, killing a 36-year-old Toronto man and his 61-year-old mother. Both were driving to a local funeral service. Yet people stood transfixed at the beauty of crystallized trees and growing layers of icicles pointing down from rooftops like silvery daggers.
Few realized then what price we would pay for that glorious, dazzling beauty. "
Do I even need to comment here? The parallels to the causes, experience of and the effects of the Sexual Revolution become so amazingly clear when you substitute it for the disaster being described in Harris' piece. I'm afraid to ruin the effect of the metaphor by saying too much....Really too fun and fascinating...
On the impact of sexual activity without a moral context. How, contrary to the Gospel of contemporary culture, sexual license doesn't free, but ends up sapping energy....
"As ice layers continued to thicken, tree branches began to weaken under the weight.
Within days, they began to snap off like toothpicks, bringing down anything in their path.
Power lines and poles followed, leaving more and more people in a blackout."
Where did the Sexual Revolution come from?....
"Was it El Nino? Global warming? Or a freakish event that signals the dawn of a new millenium. Paul Delannoy, manager of Environment Canada's regional weather centre in Ottawa, isn't willing to dabble in theories of the dawn of a new millennium; he quickly dismisses those thoughts as 'quack science.' Delannoy prefers the simple explanation to what caused the ice storm: Mother Nature. 'I don't believe any man-made measure of time has anything to do with it," said Delannoy. "How does Mother Nature know it isn't 2010 or 2020?' "
All of the government officials and bureaucrats in the Canada ice storm story stand in for all the culture makers and social pundits who for forty years have been telling us what a good thing the Sexual Revolution is. They keep offering strategies, adjustments and excuses to deal with the storm. It's like rearranging deck chairs on the Titanic...
As temperatures plunged, some tempers rose in rural areas still without power.
And much of the frustration was directed at Ontario Hydro. As power outages dragged on, the provincial utility faced growing criticism that it had done a poor job of informing people about progress. People were left in the dark in more ways than one.
Earl Davison, a design engineer for Ontario Hydro, admits there were flaws in response procedures. "We did lots of things right, but we did some things wrong," he said.
Workers were more sharply focused on the immediate task of restoring power than on updating customers on progress. Ontario Hydro responded to criticism by launching a public relations program, which included visits to shelters to give reports to storm victims and placing full-page advertisements in newspapers and on radios.
Yes, what we need is more explicit sex education in schools...oh, and an abundance of colorful free condoms! And then we need stars from ABC television shows to tell us to talk to our kids about how to have sex without getting AIDS! That will fix everything!
How living through the Sexual Revolution has felt to most of the good, simple people who have been flung around in the last forty years, like sheep without shepherds...
Most storm victims did an admirable job of keeping chins up, but fatigue and frustration took their toll on some. Physical signs of weariness became evident as one day without power tortuously followed another. People walked around shelters with bags under eyes and sallow complexions. Some were brought to tears by fatigue.
But most tried to keep at least the appearance of staying upbeat. One woman at a Kemptville shelter said she went into the bathroom and wept alone.
Another resourceful resident managed to keep a positive attitude even though she was forced to move her family to an emergency shelter. But she cracked once, and all it took was a cut lip to trigger it. "Do you ever watch a movie while something is really bothering you and it doesn't take much for tears to come?" Diane Bartlett asked. "That's what happened. It wasn't one feeling. It was overwhelming."
Dr. Robert Cushman, Ottawa Carleton's medical officer of health, said stress levels rise each day for those without power and normal routine. "Either way, they're stressed," he said. "They don't want to stay at home and they don't want to leave."
Some storm victims suffered sleeplessness, anxiety and mood fluctuations. Disruption was particularly hard on the frail, the fiesty and the elderly. Many became fearful and teary.
While some storm victims began to feel a sense of despair, volunteers and emergency workers drew on an amazing source of adrenalin which allowed them to work long hours to help people.
"In some ways, it's a case of the strong getting stronger and the weak getting weaker," Cushman said.
But even the most strong-willed can only work full tilt for so long before they become weary and worn down, he said.
On how people of classical virtue who have authentic spirituality to sustain them weather the Sexual Revolution, and naturally become a beacon in the darkness...
Ken Grahame probably never dreamed his century-old oven would help get Kemptville's 2,500 people through a week-long power outage. But that's exactly what happened when the baker and his family opened up their business to anyone wanting to use their 113-year-old wood-burning brick oven.
"It's the last commercial wood fire brick oven operating in Ontario that we know of," explained Grahame, whose family has been involved with the bakery for nearly 60 years.
For eight days, Grahame, 63, his wife Rose, his mother Lila, and their daughters Debbie Wilson and Cindy Colfe, were putting in 16- to 18-hour days at the bakery, cooking hundreds of pounds of ham, beef, pork and turkey that had been donated and then delivered to area emergency shelters.
In one day alone, Grahame estimates the 18x18-ft. stove -- built in 1885 when the bakery was erected -- cooked about 200 lbs. of turkey, 100 lbs. of beef, 80 lbs. of pork and 50 dozen muffins.
Over the course of the week, the family also whipped up about 80 dozen cookies and heated about 150 frozen dinners.
Besides broiling up goods for other people -- with the help of countless volunteers -- the Grahames also made the oven available to up to 20 people a day who cooked their own hot meals to take home to their families.
Gotta go to work...stay tuned for the long-term effects of the ice-storm, and how people recover from it.
"Waves of freezing rain amassed layer upon layer of crystal chaos -- as destructive as it was beautiful. Ottawa was a city of ice. Tens of thousands of homes were cast into darkness and left without heat as hydro poles snapped like toothpicks. It was the storm of the century. Damage topped $1 billion. Crippled communities shivered in sub-zero temperatures that numbed even the hardiest." (Katthleen Harris, The Ottawa Sun, January 1998)
As I noted below, I'm getting together notes for a talk I am giving Friday in DC about the Sexual Revolution. We are using Ang Lee's film The Ice Storm as a jumping off point for our discussions. Here's me gathering my thoughts....
Great art is found in the combination of mastery of craft and lyrical/poetic imagery. A piece "works" in so far as its imagery speaks "thousands of words" to the receiver, by combining with their past experience to lead them to new or deeper truths.
Unraveling the meaning of art can often be as simple as taking its central images at face value. People struggling with what a painting or a poem or a film mean, too quickly abandon the literal meaning of the images to start struggling with the meanings to whcih they might be pointing.
A sign of a great work of art is that its central metaphors are so carefully chosen, that the more a viewer plumbs the literal meaning of the metaphor, the more the lyrical meaning is manifest.
So, the central metaphor in The Ice Storm, is an ice storm. The film is about two families, basically being ravaged by the Sexual Revolution. I am going to build my talk around the image of an ice storm, drawing heavily from a fabulous three-part account of Canada's "Great Ice Storm of 1997" written by Kathleen Harris, that appeared in the Ottawa Sun - love that it was the Sun here! - in January of 1998.
"First drizzle, then rain fell from the sky. Chilly temperatures quickly transformed the liquid to a glass-like ice which coated everything it touched.
A day earlier, people were pre-occupied about how the weather forecast would affect skating conditions on the Rideau Canal. Soon, roads became slippery and treacherous, killing a 36-year-old Toronto man and his 61-year-old mother. Both were driving to a local funeral service. Yet people stood transfixed at the beauty of crystallized trees and growing layers of icicles pointing down from rooftops like silvery daggers.
Few realized then what price we would pay for that glorious, dazzling beauty. "
Do I even need to comment here? The parallels to the causes, experience of and the effects of the Sexual Revolution become so amazingly clear when you substitute it for the disaster being described in Harris' piece. I'm afraid to ruin the effect of the metaphor by saying too much....Really too fun and fascinating...
On the impact of sexual activity without a moral context. How, contrary to the Gospel of contemporary culture, sexual license doesn't free, but ends up sapping energy....
"As ice layers continued to thicken, tree branches began to weaken under the weight.
Within days, they began to snap off like toothpicks, bringing down anything in their path.
Power lines and poles followed, leaving more and more people in a blackout."
Where did the Sexual Revolution come from?....
"Was it El Nino? Global warming? Or a freakish event that signals the dawn of a new millenium. Paul Delannoy, manager of Environment Canada's regional weather centre in Ottawa, isn't willing to dabble in theories of the dawn of a new millennium; he quickly dismisses those thoughts as 'quack science.' Delannoy prefers the simple explanation to what caused the ice storm: Mother Nature. 'I don't believe any man-made measure of time has anything to do with it," said Delannoy. "How does Mother Nature know it isn't 2010 or 2020?' "
All of the government officials and bureaucrats in the Canada ice storm story stand in for all the culture makers and social pundits who for forty years have been telling us what a good thing the Sexual Revolution is. They keep offering strategies, adjustments and excuses to deal with the storm. It's like rearranging deck chairs on the Titanic...
As temperatures plunged, some tempers rose in rural areas still without power.
And much of the frustration was directed at Ontario Hydro. As power outages dragged on, the provincial utility faced growing criticism that it had done a poor job of informing people about progress. People were left in the dark in more ways than one.
Earl Davison, a design engineer for Ontario Hydro, admits there were flaws in response procedures. "We did lots of things right, but we did some things wrong," he said.
Workers were more sharply focused on the immediate task of restoring power than on updating customers on progress. Ontario Hydro responded to criticism by launching a public relations program, which included visits to shelters to give reports to storm victims and placing full-page advertisements in newspapers and on radios.
Yes, what we need is more explicit sex education in schools...oh, and an abundance of colorful free condoms! And then we need stars from ABC television shows to tell us to talk to our kids about how to have sex without getting AIDS! That will fix everything!
How living through the Sexual Revolution has felt to most of the good, simple people who have been flung around in the last forty years, like sheep without shepherds...
Most storm victims did an admirable job of keeping chins up, but fatigue and frustration took their toll on some. Physical signs of weariness became evident as one day without power tortuously followed another. People walked around shelters with bags under eyes and sallow complexions. Some were brought to tears by fatigue.
But most tried to keep at least the appearance of staying upbeat. One woman at a Kemptville shelter said she went into the bathroom and wept alone.
Another resourceful resident managed to keep a positive attitude even though she was forced to move her family to an emergency shelter. But she cracked once, and all it took was a cut lip to trigger it. "Do you ever watch a movie while something is really bothering you and it doesn't take much for tears to come?" Diane Bartlett asked. "That's what happened. It wasn't one feeling. It was overwhelming."
Dr. Robert Cushman, Ottawa Carleton's medical officer of health, said stress levels rise each day for those without power and normal routine. "Either way, they're stressed," he said. "They don't want to stay at home and they don't want to leave."
Some storm victims suffered sleeplessness, anxiety and mood fluctuations. Disruption was particularly hard on the frail, the fiesty and the elderly. Many became fearful and teary.
While some storm victims began to feel a sense of despair, volunteers and emergency workers drew on an amazing source of adrenalin which allowed them to work long hours to help people.
"In some ways, it's a case of the strong getting stronger and the weak getting weaker," Cushman said.
But even the most strong-willed can only work full tilt for so long before they become weary and worn down, he said.
On how people of classical virtue who have authentic spirituality to sustain them weather the Sexual Revolution, and naturally become a beacon in the darkness...
Ken Grahame probably never dreamed his century-old oven would help get Kemptville's 2,500 people through a week-long power outage. But that's exactly what happened when the baker and his family opened up their business to anyone wanting to use their 113-year-old wood-burning brick oven.
"It's the last commercial wood fire brick oven operating in Ontario that we know of," explained Grahame, whose family has been involved with the bakery for nearly 60 years.
For eight days, Grahame, 63, his wife Rose, his mother Lila, and their daughters Debbie Wilson and Cindy Colfe, were putting in 16- to 18-hour days at the bakery, cooking hundreds of pounds of ham, beef, pork and turkey that had been donated and then delivered to area emergency shelters.
In one day alone, Grahame estimates the 18x18-ft. stove -- built in 1885 when the bakery was erected -- cooked about 200 lbs. of turkey, 100 lbs. of beef, 80 lbs. of pork and 50 dozen muffins.
Over the course of the week, the family also whipped up about 80 dozen cookies and heated about 150 frozen dinners.
Besides broiling up goods for other people -- with the help of countless volunteers -- the Grahames also made the oven available to up to 20 people a day who cooked their own hot meals to take home to their families.
Gotta go to work...stay tuned for the long-term effects of the ice-storm, and how people recover from it.