Lionsgate revenues roar

(June 1, 2009)  A Variety Magazine article by Dave McNary that talks about Lionsgate’s jump in revenue 1Q2009.  Interestingly enough, Tyler Perry’s “Madea Goes to Jail” helped boost the studios earnings.

(EXCERPT)  Driven by strong box office, homevid and library sales, Lionsgate reported its second-highest quarterly revenue of $463.2 million for its fourth quarter ended March 31 — but that wasn’t enough to save it from a $163 million loss for the fiscal year.

The 2009 revenues were up 8% but the loss was more than double the $74 million loss in fiscal 2008.

Lionsgate said the fiscal-year loss was due primarily to underperformance of its film slate during its second and third quarters and a $36.1 million charge taken on its DVD distribution of Hit Entertainment’s family entertainment titles.

"Tyler Perry's Madea Goes To Jail"

“We ended our fiscal year on a strong note, with record box office in the first calendar quarter,” Feltheimer said. “We are also pleased that we could drive library, home entertainment and television revenues to record levels in such a challenging market environment. We believe that continued strength in our core businesses coupled with meaningful contributions from many of our recent investments and lower theatrical marketing costs position us for strong positive metrics in fiscal 2010.”

For the 2009 fiscal year, motion picture revenue jumped 17% to $223.3 million, propelled by fourth-quarter titles including “Tyler Perry’s Madea Goes to Jail,” ”My Bloody Valentine” and “The Haunting in Connecticut.”

 

Read the full article at VARIETY

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INTERVIEW – Phil Cooke is the Billy Graham of Brand

Wired4Film takes a literary turn as we dive into Phil Cooke’s latest tome, The Last TV Evangelist.  Subtitled, Why The Next Generation Couldn’t Care Less About Religious Media and Why it Matters.  Sub-subtitled, After You’ve Read “Roaring Lambs” Read This Book Before You Attempt Media of any Kind or You Die!  

Okay, I admit, I made the last one up.  But it’s true.  Well, if by “you die” you mean “suffer public humiliations galore.” Anyway, there’s a short list of reads that film and media professionals should ingest before they begin their sojourn into media greatness.  This is one of those books.  That’s because as with anything, there’s a way to tell your story properly but there’s also a way to communicate it ineffectively.  

As filmmakers, therefore, this book is especially important because it inspects the past, it considers current shifting technology trends and the dilemma that presents us, and then casts a sentient eye to the future with predictions and advice.  It truly is a guide to the media revolution taking place.  A sherpa,  if you will.  A sherpa with a Garmin GPS Nav system.  What’s not to love?

Now I realize there are still many Christian Filmmakers and Broadcasters, etc. out there trying to put the Media in Mediacrity (oooh spell check’s not loving that one, but you know what?  I’m leaving it…just to underscore my point).    Again, that’s what Wired4Film is all about: educating to excellence, high production value, caring for your audience enough to elevate the art.

Phil Cooke is a globetrotter and a filmmaker.  He’s been to more than 40 countries practicing what he preaches.  He travels comfortably in both religious and secular circles.  But most of all he’s from Charlotte, NC where Billy Graham (yes THE Billy Graham) started out, so you know he’s picked up some of that mojo just by proximity.  And we caught up with him this week to talk about “The Last TV Evangelist” among other things…

WIRED4FILM:  Phil, thanks for taking time out to talk with Wired4Film about your new book, “The Last TV Evangelist.”  Feel free to not Tweet your answers at 140 Characters or less!  <GRIN>  First of all, I had no idea you had North Carolina roots.  That’s my neck of the woods.  And Charlotte, no less.  I guess that makes you the Billy Graham of Brand, right?  There’s been a lot of big ministries to come out of Charlotte, actually.  Were you around town for the rise and fall of the PTL days?  What notes did you take away from that experience?

PHIL COOKE:  I went to college in Oklahoma, and to be honest, I really think I was driving out of Charlotte as Jim Bakker was driving into town.  We might have passed on the highway.  Either way, it was a good thing for me.  The truth is, a few years later, I was graduating from college and actually sent them a job application.  They turned me down, which is a good lesson – not every job you lose is a bad thing.

 W4F:   PTL is important to the theme of your book because it represents a style of ministry and fund raising that you discuss in Chapter One that worked for a particular season in American/Religious Broadcasting, but not today.  Is the Age of the Televangelist (Radio-vangelist) really dead?  Because I still see people lining up in droves to launch a broadcast ministry.

Phil Cooke - Media Guru

PHIL COOKE:  In the same way the 3 networks splintered with the advent of cable TV in the seventies and eighties, church based TV programs are doing something similar today.  In the early years of religious broadcasting, there were only a handful of preachers on TV – Billy Graham, Oral Roberts, Rex Humbard, and Jimmy Swaggart.  But today, every city in America has 5 or 6 churches on TV in their local market.  As long as you can sustain your program in a local market, that’s great.  But it’s becoming a lot more challenging to expand to a national platform.  That’s not to say it can’t be done – especially if you have a unique voice – but it’s just more difficult than it used to be.

 W4F:  You grew up as a PK, right?  A preacher’s kid.  And that usually turns out one of two ways…wizened, successful Agent of the Lord…or demon spawn.  Might be too early to tell, but it appeeeeeeears you’ve gone the wizened successful route.  Why is that?  What made the difference for you?

PHIL COOKE:  Being a Christian is really all I’ve ever known.  I tell people I came to Christ through the stage door.  There’s no question that I’ve seen a lot of junk, but at the same time I’ve always had a real sense that we’re all fallen human beings.  Cynicism has never been an option for me, because I can’t find any organization in America that doesn’t have hypocrites or jerks.  It’s all part of being human.  At least in the church we have something significant to aspire to.

 W4F:   I see your book as a very instrumental followup to where Bob Briner left off in “Roaring Lambs” about being salt and light in the world.  Or as I like to say, getting the church out of the church.  We’ve become pretty insulated behind our four walls haven’t we?  Talk about that.

PHIL COOKE:  I call it the “Christian bubble.”  We actually used to take the Great Commission seriously, until about 30 years ago when we discovered the Christian audience is a “buying” audience.  So we changed our focus from reaching the world, to preaching to the choir.  I’m all for providing media to believers, but there’s no question we need to get out of the bubble more often and get back to the business of engaging the culture.

 W4F:  You mentioned the concept of the Christian Bubble — that we stopped preaching to the world and started preaching to each other.  But is preaching to the choir all bad?  I mean, Jesus said to “feed my sheep” after all, not the goats!  Or is that just a lame attempt by people to protect the ghetto?

PHIL COOKE:  Absolutely not.  At our company – Cooke Pictures in Burbank, California – we have a large number of clients who focus on reaching the Christian audience.  As long as we do it without being cheesy or corny, that’s fine.  There’s absolutely nothing wrong with creating content for Christians.  But we also create TV specials for PBS, and we’re developing a reality show right now based on a Christian humanitarian organization.  So we feel very strongly about balancing what we do. 

 W4F:   I think one of the walls we keep running into with the Christian Film Industry is talked about in a concept you mentioned in the Book’s Intro where Christians are willing to financially support the mission of Christian Broadcasting (and films) because they like the idea of it, even though they disliked the results.  Does that mean they’re willing to put out programming that they won’t watch, but they feel like non-Christians need?  Isn’t that kind of absurd thinking?  I mean we’ve been taught to distrust the Chef who won’t eat his own cooking, right?

PHIL COOKE:   That’s an interesting question.  One of the most fascinating things about producing faith-driven programming is the realization that we need to entertain, but also provoke, confront, and enlighten.  It’s more than just giving people what they want – it’s giving them what they need.  The issue is doing it under the radar.  To be successful, we have to cloak what they need in the guise of what they want.  That’s where art begins.  

 W4F:    Filmmaker Ingmar Bergman was quoted as saying that “Movies are the church of the 20th century” which was a dig at religion being replaced by film, but isn’t there some truth to that, though?  I mean, as the modern church continues to evolve we’re seeing more and more people “called” to the film industry as much as to Pastoral or Missions Work.  Is it one or the other?  Or can it be both?

PHIL COOKE:  I’m a huge Bergman fan, because he was one of the first filmmakers to see the “death of God” in our culture.  He showed us an unflinching view of what our lives would be without God, and it wasn’t pretty.  He’s right in that when I go to a movie theater in LA on a Friday night, I recognize that’s “church” for a generation of young people.  That’s where they get their morals, behavior, and principles for living.  That’s why it’s so critical that we have a voice in that arena.  Now we can criticize that, or follow the example of Jesus.  He spent his time where the people were – the Temple square, the marketplace, or social gatherings like weddings.  Today, the media is where people are.  If we’re going to reach them, that’s where we need to be.

 W4F:   Technology can be overwhelming, if only because you barely get accustomed to the newest greatest thing, YouTube perhaps and then Facebook comes along, and then Twitter…do you ever just want to go become Amish?  Raise a barn and make some noodles and get away from it all?

PHIL COOKE:  I “Twittered” yesterday that media never dies – but the tools do.  Yes, we’re experiencing change at the greatest rate in history.  But I don’t see any scriptural basis for following the Amish.  Everything about the Bible is about engagement.  Look at old testament characters like Joseph, Daniel, Shadrach, Meshach, and Abendego.   They rose to the highest levels of leadership in very hostile cultures.  They made trade-offs on a daily basis.  But it allowed them to have enormous influence.

  W4F:   Your book obviously embraces technology and the useful ways it can get your church or company’s story out there with surprising immediacy.  But what has that got to do with AIDS orphans in Africa?  Or starving Romany Gypsies in Ukraine?  Or most of these 3rd world countries that wouldn’t know a Tweet from a Blogroll?

PHIL COOKE:  It has everything to do with these issues, because it’s about mobilizing influence.  You can’t solve AIDS or hunger in Africa if nobody cares.  Twitter, Facebook, and other apps are about connecting and motivating people to make change happen.

 W4F:    Tough question alert.  I was surprised in the book that you hold the opinion that there will always be a place in Christian Media for great preaching…is that just throwing a bone to the NRB and its rather large constituency or do you firmly believe that? After all, on the next page you reiterate that this generation wants a discussion, not a lecture.

PHIL COOKE:  Have you ever listened to T.D. Jakes at the peak of one of his sermons?  That rocks.  Great preaching is an art, and I love to hear people with that gift.  There’s no question that shooting a talking head sermon isn’t the best use of TV, but why shouldn’t we have a platform for great preachers?  There are plenty of follow up platforms for conversations that are created by great preaching.  I say cut ‘em loose.

 W4F:    You’ve tended to hang your shingle on the Broadcast side of things, but as a Director, is there a feature film you would like to Direct?  Is that some place you’d like to be one day or is that not even on the radar?  Left Behind part 7 perhaps?

PHIL COOKE:  If I ever sign on to direct “Left Behind 7″ I give you permission to shoot me in the head.  The truth is, all I ever really wanted to do was direct movies.  It’s always been my passion.  But somehow, I kept getting dragged kicking and screaming into the bigger picture of media.  As a result, we’ve been helping clients on a global basis discover their voice and find the greatest possible audience for their message.  We’ve produced programming in more than 40 countries around the world, and worked in both the religious and secular media.  We’ve been involved in a couple of movies, and I’m certainly open to more, should the right door open.

 W4F:  Bear with me on this question because I’m interested in your response but I want to make sure I frame the thought clearly.  At Wired4Film we’ve used your chapter about the Christian Music industry and Charlie Peacock’s assessment that it is dying as a springboard for a forecast into the gloomy future of the Christian Film industry.  But it’s not a “death” so much as an “evolution” isn’t it?  Just like with Web 2.0 which refers to this 2nd generation web development, design that facilitates communication, information sharing and collaboration….perhaps we’re looking at an advancement.  Christian Film 2.0!  What does that idea look like to you?  Christian film in the 21st century?

PHIL COOKE:  I hope it won’t be called “Christian film.”  I think that’s a huge obstacle in finding an audience.  I’m seeing more and more young Christians move into the secular, mainstream film industry and I think that’s a good thing.  I would also encourage young filmmakers who are believers to study the independent film movement in America.  I attend the Sundance Film Festival and others each year, and I’d like to follow that model.  They find the young, unproven talent, and create really innovative projects.  I’m tired of Christian filmmakers using yesterday’s stars.  Let’s get innovative for a change. 

 W4F:  Hey and while we’re dwelling on the tough questions, what’s your take on Christian nepotism (from a production standpoint, not a ministry standpoint)?  Seeking to fill production positions with only other Christians.

PHIL COOKE:  My favorite still photographer isn’t a Christian, and neither is my favorite DP.  I love it when I can staff a project with believers, but my goal is to create the greatest project possible.  Do it when you can, but please don’t get hung up on it.  

 W4F:  Have you ever had to decline a project on Moral grounds?  And that goes for Secular or Religious clients.

PHIL COOKE:  Sure.  Moral, religious, financial, wacky – I turn down all kinds of projects.  It certainly gets tough when you’re desperate for work, but it’s important to know how your projects reflect who you are.  But the truth is, I’ve turned down more projects from TV evangelists I thought were theologically wacky than anything else.

 W4F:  You’ve built a life and career and raised a family in L.A.  What’s your take on being a Christian in Hollywood?  How much do you wave the “Christian” flag?  I mean, St. Francis said “Preach always and if necessary, use words.”  But some detractors call this “covert christianity” and being ashamed of the Gospel.  What is the view from the inside?

PHIL COOKE:  I’m not very judgmental about people’s decisions in this area.  Obviously, for a believer to lose a great job because he made people uncomfortable with his Christianity is stupid.  That’s not what Christianity is all about.  Don’t be a bone-head.  But at the same time, I don’t hide it.  People know I’m a Christian and I’ve gotten very little push back because of it.  Hey – in Hollywood people worship rocks and hug trees.  Being a Christian just isn’t as weird as you might think.  On the other hand, I don’t question those at the highest levels who don’t make a public deal about their faith.  I trust that they can make a greater  influence under the radar, so I let them and the Lord work it out.

 W4F:  There are still two warring Evangelical views on Tinsel town.  It’s perceived either as a Sodom&Gemorrah or else it’s Ninevah.  That’s a huge difference.  Talk about that.

PHIL COOKE:  Honestly, I could care less about those arguments.  Hollywood is a mission field.  In fact, it should be our greatest mission field because what comes out of Hollywood influences the world.  When was the last time you prayed for Hollywood?  When was the last time your church commissioned young filmmakers or artists to come to Hollywood as missionaries?  You don’t change things by boycotting.  You change things by engaging.   Check out the Hollywood Prayer Network.  It will help you see this industry in a different light.

 W4F:    Ninevah it is, then.  Okay, here’s a fun little exercise.  Fun for me anyway.  One of the films out today is the Zach Ephron vehicle “17 Again” about a 30-something man who gets another crack at being 17 years old and hilarity ensues.  So, Phil, it’s 2009.  You suddenly find yourself 17 again graduating from High School.  You’re a film/tv guy.  What do you do?  What’s your plan?

PHIL COOKE:  I would mortgage the farm to make my own film.  When I started, there wasn’t an independent film movement like there is today.  The unions had a lock on the industry, and breaking in was almost impossible.  But today, technology has made producing movies available to anyone.  Make a film.  Tell your story.  Connect with an audience.  Change the world.

 W4F:    Well, thank you so much, Phil.  I’m off to mortgage my farm, tear up my Amish application and buy a Daisy Air Rifle for your Left Behind 7 premiere.  Lots to do.  Lots to do.

_______________________________

You can purchase a copy of “The Last TV Evangelist” at Amazon.com

Phil Cooke, Ph.D., is a media consultant to ministries and churches worldwide. He publishes a free monthly e-mail newsletter, “Ideas for Real Change.”

Find out more at www.philcooke.com

 

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Top 17 Biola Media Conf 09 Tweets

Did you feel the earth move on Saturday?  Me neither.  Prolly cause I’m wayyyyyy out on the East Coast.  But from the sounds of things, the Biola Media Conference had a massive impact on attendees and speakers alike.  As usual at Wired4Film, we’ve plumbed the news and gossip wires and pulled feedback from blogs and tweets and twubs and Facebook…I know, I know…I had you at Twub.

Anyway, let’s hop into the mind of Phil Cooke and peek through his eyes for a moment as he observes on his blog (PhilCooke.com):

Short of receiving the final numbers, it appears this weekend’s Biola Media Conference was the best yet. Great speakers, fantastic attendance (even in this financial crisis), fabulous sponsors, and a great program all added up to a really eventful day. Co-director’s Kathleen Cooke and Peggy Rupple did a remarkable job organizing the event. We started out with an incredible performance from the “Groovaloos,” who won this year’s Superstars of Dance competition. Then I interviewed Mark Zoradi – President of the Walt Disney Studios Motion Pictures Group. After a 29 year career at Disney, rising to the top of the industry, Mark had a lot to say about his personal faith, his commitment to excellence, the Disney brand, and advice for others in the industry. Memorable quote: “Always over-deliver. If you consistently over-deliver in your work and expectations, people will want you on their team.” 

Then we had a talent panel led by Kim Dorr, that explored how important the talent factor is in putting projects together. Writer and actress Susan Issacs sent us to lunch with a sobering and challenging thought: “So many people are “called” to Hollywood, but what if God called you there for only 3 good years out of 30? What if you had to struggle 27 of the 30 years? Would you still go?” 

We broke up into numerous workshops on issues like legal, marketing, new media, alternative financing, ethics and ambition, and more. Memorable quote: When an attendee asked that as a Christian, is Ralph Winter (Producer of X-Men) films, concerned about the violence in his films? Ralph replied, “There’s no question that Wolverine has claws and uses them, but ultimately, I’m not as worried that God is pleased with my movies, as I am that God is pleased with me.” 

When pressed further about that last comment, Ralph Winter explains: “It is more about who we are becoming on the journey of life.  That is what journey of faith is about in following Christ.”

He also added, “The Biola Conference was great.  Our seminars were well attended, lots of comments on my page. Probably the largest conference ever for Biola.  And Joe E. was terrific – an inspiring message.”

Cooke filled in a few more details on the mysteriously inspirational Joe E.

In the afternoon, our keynote speaker was Joe Eszterhas, legendary Hollywood Animal (as his biography states), who has written films like Jade, Sliver, Flashdance, and Basic Instinct. He was paid $3 million for the script to Basic Instinct, and his movies have made more than a billion dollars at the box office. Joe smoked hard, drank hard, and lived hard. But in 2001, after a battle with throat cancer, he experienced a powerful encounter with God, and it transformed his life. His talk was frank, honest, rough, filled with grace, and brilliant. During my interview afterwards, he was very vulnerable and human. He shared from his heart on the change in his life, how it impacted his marriage and family, and how it has impacted his perception in the industry. He also gave us some great advice. Memorable quote: “If you’re a writer, protect your vision. Don’t be too quick to let others change your work. Fight for it. It all starts with you.”

Along the way, a handful of those on the inside were Twittering away to keep those of us on the outside, in the loop.  Here now are this year’s Top 17 Tweets in order of ceremony.  

TOP 17  #BMC09 TWEETS

1.  JeremiahDaws: On the CBS Radford Lot for the Biola Media Conference. In line to register. Lots of people here. #bmc09

2.  PhilCooke: #bmc09 pres. of Disney: “I repeat to myself “do nothing out of ambition or conceit” try and act genuinly an consider others.”

3.  DanaTwichell: Film is just as much a battleground of relevance as any other field. #bmc09

4.  TheGroveCenter: #bmc09 When you drink from the well, remember the well-digger.

5.  mattwarren: Howard Kazanjian, producer: we need more Christians in law, finance, exec positions, not just the arts. #bmc09

6.  JoshDaws: If you want to influence Culture, come here (L.A.). #bmc09

7.  mattwarren: Interesting mix of both indie & studio execs here today. It’s nice 2 hear both $5m & $100m perspectives #bmc09

8.  ryanwfitzgerald: Two ways Christians should conduct themselves in the industry: 1. Do excellent work. 2. Do it with integrity. #bmc09

9.  CharlieMatz: At #bmc09 great stuff so far. Our whole team on our next film is here. Good to see positive connections to move our larger project forward.

10. mattwarren: Guy in the room asked what he should do if he has $ to spend on a project 4 his friend to which 3 of us replied “call us” LOL #bmc09

11. dhepburn: Where your passion meets need is most likely where God is calling you. #bmc09

12. globalshortfilm: There are many ways to win. You may have 80 pitches before 1 gets picked. #bmc09

13. larissalamchiu: al kasha award winning compser ”study the word, study the masters” to improve your craft

14. JoshDaws: An agent assumed the cross Joe E. wore was just jewelry. His response: “Bullsh*t. It’s the symbol of Christ’s suffering and shame.” #bmc09

15. TheGroveCenter: Joe Eszterhas interview, screenwrtiter of Basic Instinct, Jagged Edge, 16 films…1billion in sales…from throat cancer to God…wow

16. katwoman327: Just because God calls you somewhere doesn’t mean it’s going to be easy. Look at the life of Jesus and Paul. #bmc09

17. hkenshin89: I was sad that #BMC09 had to end can not wait till next year!!! When does registration open BMC10!

Thanks all for the comments and feedback!  

For those who want to learn more about this crazy little thing called Twitter:  http://tinyurl.com/c5ep92

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Christian Music Industry is Dying, Will Film Follow?

by S. David Acuff

I think it’s time we checked in with the CCM industry because as I’ve stated in ourChristian Film Wakeup Call – as it goes with the Christian music industry, so it will be with the Christian film industry.  It’s just that they are 20 years up the road from us along the journey.

But before I do that, I wanted to clarify one thing that separates Wired4Film from other Christian Filmmaking sites: We are not promoting the Christian Film Industry.

Gasp!  I know, let me explain.

Bob Briner is the author of a seminal piece of writing that is one of the first books any Christian Professional needs to read called Roaring Lambs.  It is simply a call to action for the Christian Community and explains how to be Salt and Light in the Secular world.  In it he chides us:

“We have created a phenomenal subculture with our own media, entertainment, educational system, and political hierarchy so that we have the sense that we’re doing a lot.  But what we’ve really done is created a ghetto that is easily dismissed by the rest of society.”

Today, there are some well intentioned voices out there calling Christian filmmakers to arms to build a Christian Film Media Empire or “Replacement Industry” which will in the end serve to broaden the Christian ghetto that Briner speaks of.  

Wired4Film is not about funneling filmmakers into the Christian Film industry.

Wired4Film is a movement to create paths out of the “ghetto” or what Phil Cooke calls the “Christian Bubble” and into the marketplace to be that salt and light that Christ has called us to be.  

To acknowledge that we are wired for a purpose: Filmmaking.  And that purpose is not to preach to the choir.  As Jesus said in Matthew 9:12, “It is not the healthy who need a doctor, but the sick.”  So it’s not to preach to the secular world either.  It’s to heal them and tend to them and make them whole.

In early 2007, during Fox’s “On The Lot” series, this convo was overheard (and recorded) in a chatroom:

Member #1:  Hope you enjoy [my film]!  And let me know what you think.  I am a Christian Film  maker from Liberty University

Member #2: what is a christian filmmaker?

Member #3: If it’s anything like Christian Rock, it’s a film maker that sucks.

I don’t know about you, but I had to laugh at that one.  Because I know exactly where Member #3 — who went by the screen name “bocephus” — was coming from.

So is Christian Film going to be the answer to our cinematic woes?  Or will it be part of the problem?  Well, here is where we look to the Christian Music Industry. 

Currently, I’m in the process of reviewing Phil Cooke’s book,The Last Televangelist: Why the next generation could care less about religious media  – I haven’t finished it, but even so, it’s already on my top 5 list of books along with Bob Briner’s that Christian Filmmakers need to grab hold of, read, and fully comprehend.

Here is an excerpt called “What About Christian Music?”:

In the July/Aug 2008 issue of Collide Magazine, Scott McClellan wrote a feature story based on music producer Charlie Peacock’s assessment that the Christian music industry is dying.  According to Peacock, the five most important issues are:

1) The major labels aren’t in danger of going under anytime soon, but they’ll be forced to depend on dwindling revenue from their song catalogues

2) The term CCM, or Contemporary Christian Music, will go away.

3)  Christian music that matters won’t have any affiliation with the Christian Music industry but instead will be written, recorded and released in the mainstream.

4) Worship music serves a purpose within the church, which guarantees its survival

5) The big names from CCM’s glory days (Michael W. Smith, Amy Grant, Steven Curtis Chapman, etc.) will survive but many artists from the last decade will be left looking for a reason, roaming through the night to find their place in the world.

While, as McClellan states, the charges aren’t exactly blasphemy, they did set off quite the controversy within the industry.

David Sessions, editor of Patrol, an online music and media magazine (patrolmag.com) agreed: “The best thing that can happen is for people to forget entirely that they once specified whether their music was ‘Christian’ or ‘mainstream.’ That divide has been the single most damaging idea to Christianity in the modern world.”

Peacock echoed that indictment: “Anyone who has studied CCM knows that it’s front-loaded with a very specious strategy that is, the creation of a youth-oriented music to counteract the undesirable youth-oriented music of the culture at large. [That strategy] probably looked righteous in the beginning but proved very flawed.”

If it didn’t work for Christian Music, why would it ever work for Christian Film?  This section continues…

McClellan covers both sides of the issue, but the article does point to a deep divide in the world of Christian Music.  Should it continue to exist as a niche industry?  Should Christians move more into mainstream music?  Can the business model hold up – should it?

In a feature story in Christianity Today magazine on the issue, music marketing consultant Mark Joseph points out:

“…Think of it this way: Would a plumber advertise himself as a ‘Christian plumber’ if he wanted to serve both believers and non-believers?  Perhaps, but then many non-Christians with clogged toilets might not hire him because of that designation.  But if he simply presents himself as a “plumber” — still intending to do a great job and prepared to discuss his faith with any interested clients — he’s likely to get more business, earn a better living, and interact with more non-believers.  Using ‘Christian’ as an adjective – whether you’re a plumber or a musician – is little more than a weapon, used to beat back people who might otherwise be interested in the service or product offered, but upon hearing that it is ‘Christian’ are no longer interested.”

Recently I was editing at the Billy Graham Evangelical Association (which was awesome by the way in their respect for high-end production value) and overhead some people giving kudos to the FIREPROOF filmmakers because their entire film crew was made up of Christians.  

Someone else agreed that that was the way to go, especially on Spiritually sensitive shoots, but I don’t buy that.  For one, I don’t buy that God is limited to only working through Christians.  It simply isn’t so.  And I’ve been on many many shoots of a spiritual nature and brought along non-Christian production members who were deeply moved by the experience and thanked me later for including them.

See, I thought that’s what our job was…not to insulate from the world, but to connect with them.  To me, that’s what “love your neighbor” is all about.  Bringing them on set to see Christ being modeled.  

Welcome to our industry where “show it, don’t tell it” is the golden rule!

I’m gonna be honest…if I need an amazing Director of Photography, I’m looking for one that can handle the job.  It’s important that the personalities mesh, but I’m not concerned if he or she is a Christian or Buddhist or Atheist.  If they are a professional they’ll do a bang-up job.  And if I’ve bathed the shoot in prayer before hand, that person will catch a glimpse of Christ somewhere along the way.   

So, let’s take a good hard look at Charlie Peacock’s CCM assessment, because it is the writing on the wall for the Christian Film Replacement Industry as well.

We’ve been warned.

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Daniel Millican Guest-blogs at Beliefnet.com

Our friend Dan Millican filled in for Joanne at Beliefnet.com and delves into a topic we are VERY interested in at W4F.  That is, “Why Do Christian Movies Have Such a Bad Reputation?”

(EXCERPT)  Christian Cinema, has a lot of growing to do. The number one criticism from Christian and non-Christian’s alike, is that Christian movies are awful. The production value, the writing, the directing, the acting, the editing. And with the mountain of evidence, I don’t dispute this.

What is the essence of filmmaking? Storytelling. Who was the master storyteller? Yeah, so as Christians, we have no excuse but to follow in the footsteps of the person we are choosing to follow as a disciple. Clearly, stories are a way that God communicates with us.

So why do Christian movies have such a bad reputation? Just like the music industry, it takes time for professionals to learn the craft of storytelling and hone their skills. There are a lot of people who completely disregard craft, excusing their laziness for grace–God will gift me to tell this story. While it’s true that He can and has done that, He also talks about excellence in what you do.

Read the full blog HERE at Beliefnet.com

_____________________________________

“The Imposter” website:  The Imposter Movie

Dan Millican’s Production Company:  Serendipitous Films

Dan Millican’s blog:  killinghimself.blogspot.com

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INTERVIEW: Andre in Charge

Move over Michael Bay.  Step aside Bruckheimer.  There’s another action thriller filmmaker who is blowing stuff up and getting things done over at Cloud Ten Pictures.  Andre Van Heerden has Directed 5 films and Produced 3 more under the Cloud Ten shingle.  Wired4Film caught him between movies to ask him about his Directorial methods, what he does in his off time and Cloud Ten’s up-coming production slate.  

Cloud Ten Pictures has built a reputation and small empire on End-times thrillers (not one, but two franchises: “Left Behind” and “Apocalypse”) but we’re very excited to hear that they’re delving into new cinematic territory with an up-coming Horror film and a Teen Comedy.   In fact, in their latest release, “Saving God” the only second coming is Ving Rhames returning to his old neighborhood  to take over his father’s old church.

Like I said, it’s a whole new day on Cloud 10.

WIRED4FILM: Andre, thank you so much for taking some time out with Wired4Film.  Being an integral part of Cloud Ten Pictures, you’ve also been a very important part of shaping the Christian Film industry over the last 10 years.  How has the industry evolved and what would you like to see it become?

Producer Andre doesn't lose intensity during a typical 16 hour day on set of "Left Behind: World at War" (2005)

ANDRE VAN HEERDEN: I have been with Cloud Ten for over a dozen years and still to read that I’m an “integral part” of it is a thrill.  It continues to feel new and exciting to me and I think the same can be said about the Christian Film industry.  Looking back at the early Billy Graham World Wide Pictures’ films, to where we are now might feel like a long journey but the intent and process is still much the same.  Like the rest of the production world, the Christian film industry is being affected by advances in technology that allow films to be produced at a higher quality for less of an investment.  But still it comes down to individuals with a heart and passion and persistence to actually produce something and try to have it make a difference.  

Big successes like the Left Behind films or The Passion or Fireproof certainly prove that films with Christian themes can reach wide audiences but just like in the past, for every successful film there are a number of films that fail to reach outside of Christian circles or fail to reach hardly anyone.  So, much like in the past with the advent of video, there’s an easier ability to create Christian-themed films, and more hype surrounding the successes, but just like in the past, the ability to shoot a film does not guarantee the quality or need for it.  

I firmly believe that one film is not going to work for everyone.  Some people are naturally drawn to thrillers, or love stories, or comedies.  Or some people like the hard-sell evangelism while others like the softer and more general approach.  Because of this I think we will continue to see lots of movies produced and many find small unique audiences that enjoy that particular film.  I think this is great and worthwhile but in the long run may eventually stagnate as audiences look for ‘bigger and better.’  I think big successes, measured by general market awareness, social impact and relevance, are going to continue to be rare.  

I’d like to see this change.  I know there are some great, powerful, entertaining stories just waiting to be told that can challenge and compete where they’re most needed – in the general market.  But to be able to do this these movies have to be produced and marketed better than anything else in the marketplace and have to be initially supported by a dedicated audience while the film finds its natural legs.  That all takes time and money and effort and unless enough smart business and production people get together – each with a calling to make a difference for Christ – we’ll continue to see about the same number of big significant successes as we currently are.

W4F: There’s talk from San Antonio of Christians building a “God-honouring replacement film industry”.  Does that rally cry mean anything to you?  Perhaps the idea of a Christian Hollywood somewhere?

ANDRE: I both like and dislike the idea of a Christian Hollywood.  On the one hand I love the idea of Christian filmmakers working diligently and prayerfully to create quality productions that honor Christ.  On the other hand I don’t like the idea of those films being stigmatized as Christian and meant only for the Christian market.  I really don’t like the term: “Christian film.”  I believe that being a Christian means that you’ve accepted Jesus Christ as your Lord and Savior.  A film can’t do that.  And by calling a film “Christian” it immediately has the audience watching the movie with that as their context.  So as soon as a character is introduced the audience will be judging them on their expectations (good or bad) of how a Christian should act rather than just following the story and seeing that character as a person on a journey.  This sort of prejudiced context (both for Christian and non-Christian audiences) hurts the ability of the film to reach and touch an audience.  If the movie “Ghandi” had been promoted as a witnessing tool for Hindus I doubt it would have gone very far critically or commercially. 

Also, while Christians may line-up to watch films from the new Christian Hollywood, it would in a way exclude the very audiences these films should most want to reach.  Entertaining and uplifting Christians is a wonderful and worthwhile endeavor, but reaching those without faith, I believe, should also be part of the goal.

W4F: Has Cloud Ten Pictures always self-financed its films or has it been dependant on partners/investors?  Do you feel like you’ve been able to maintain creative control of your projects along the way?

Actor Gary Busey receives some stage direction from Andre on "Tribulation" (2000)

ANDRE: Most of Cloud Ten’s films have been self-financed and distributed.  This has meant a great deal of creative control.  In the instances where we’ve had outside investors or partners, like with “Left Behind: World at War” and “Saving God” we’ve still been able to produce the films we were hoping for.  Knowing how essential it is for us to tell the story we want, to ensure that we please the fans of the Left Behind book series or reach an urban audience with “Saving God”, we made sure up front that any elements that dealt with faith or the character’s internal journey, we would have control over.

W4F:  How is distribution changing?  With Cable TV and the Internet and Pay-per-view and iTunes downloading movies straight to your iPhone….is a Theatrical release still the gold standard?  Is digital projection changing the rules still?

ANDRE:  When TV first was invented all the experts predicted that it meant the end of radio and movies.  This failed to be the case.  Then with the advent of VHS tapes, the experts again predicted that it would mean the end of theatrical releases.  This too proved to be false.  People will always like to go out for an evening.  It’s a social event and compared to almost any other social night out – it’s still the cheapest form of entertainment.  I personally have no desire to watch a movie on my phone but I recognize that many people may.  However, if a person watches a film over the internet or on their phone it doesn’t mean that they’ll never step foot inside a theater again.  And I’d be willing to bet that the most watched movies on phones and over the internet are movies that have been theatrically released.  

Does a theatrical release mean that the film is better than other direct to video films?  No.  But it does mean that it has significant marketing dollars behind it (so awareness will be high) and that enough people believe in it to take a chance on it – which at least counts for something.

 

Digital projection is wonderful for film makers (makes screenings at festivals and promotional events far easier and cheaper) and I think eventually all theaters will be going that route.  But whether the film is being projected from a 35mm film print or from a digital file – if it’s being projected to an audience in a theater, that still carries a lot of weight.

W4F:  What filmmaker do you most admire (dead or alive)?  Would you consider yourself the Jerry Bruchheimer or Michael Bay of Christian Films?

ANDRE:  It’s always nice when an interview question can make you smile.  Thanks.  I have a number of favorite directors and just like with my favorite actors – I like most of their work but not necessarily all.   Peter Weir (“Witness”, “Gallipoli”) Ridley Scott (“Gladiator”, “Alien”), Danny Boyle (“Slumdog Millionaire”, “28 Days Later”), Stephen Spielberg (“Raiders of the Lost Ark”, “Schindler’s List”), Robert Zemeckis (“Romancing the Stone”, “Back to the Future”), Clint Eastwood (“Unforgiven”), Sam Mendes (“Road to Perdition”), Ron Howard (“Cinderella Man”)  and Hitchcock of course as well.  As you can see I have a lot of favorites and tend to admire those who can connect on a simple emotional level rather than being overly artsy.  The story has to be king.  I’d say I’m more of a Bruchheimer fan but I do like Bay’s audacity and ability to create huge spectacles.  I’d also say that while all of these directors have incredible gifts and talents and their own styles, you can’t make a good film, (no matter who is directing) without a good script.

W4F:  You wear a lot of filmmaking hats: Writer, Director, Producer, Editor, etc…which one is your favorite?  Do you have a preference?  In other words, Eric Liddell said that when he ran, he felt God’s pleasure.  When do you feel God smiling down on you?

ANDRE:  Two questions in a row that made me smile!  I like producing and enjoy supervising edits but I love to write and I love to direct.  When is God smiling down on me?  When I’m following His will and putting Him ahead of my own desires and ego and pride.  This sometimes comes when I’m letting the characters take over when I’m writing a script or when I’m able to take all the great ideas floating around on a movie set and make them come together for one special scene when directing.  But I feel that smile the most when I’m taking risks – often nothing to do with filmmaking – for His sake.

Actor Corbin Bernsen and Director Andre on the set of "Judgement" (2001)

W4F:  How do you decide which film project you’d like to work on?  To spend a year or two of your life bringing one idea to completion…what are you looking for in a story?  How do you weed out the bad ideas and mediocre ideas to get to the great stuff?

ANDRE: In deciding what to write it often feels like the project is choosing me rather than the other way around.  I’m the father of 3 younger children and so there’s not a lot of extra time in the day for writing outside of work.  So if I’m going write something it’s usually because it’s a concept that excites me enough to demand to be put on paper.  Within my producer role at Cloud Ten though, which usually greatly affects which project we’ll dive in to next, it’s usually about which story and package appeals to those I’m talking to.  I love telling stories and pitching movies and often it’s the reaction of others – whether through financing or partnerships or just advice – that spurs me to push harder on one story rather than another.  Thankfully though, we’re in a position now where we don’t have to shelve that many stories while developing and trying to get others to camera.  We have a good top 3 of films ready to go and while we try to finalize financing on those we can try to get others ready as well.

Trying to weed out the good ideas from the mediocre ones usually comes down to whether it’s high-concept or not.  That’s a term that’s overused in the film industry but it’s certainly one that has great bearing on whether the film will capture the audience’s imagination or not.  ”Left Behind” has the high concept of what would happen if millions of people disappeared off the face of the earth during the rapture of the church.  People hear that and immediately they can imagine what that might be like and want to see more.  Of course theme also plays a part, as we’re committed to producing faith-affirming films, but beyond that initial concept, the idea has to still excite us and make us want to take the risk of time, effort and money on it.

W4F:   Now your last film DECEIVED came out in 2002, correct?  So where have you been?  Taking a break?  Early retirement?  Haha, maybe you’ve been testing 3D camera technology with James Cameron?  Or shifting into a higher gear?  Fill us in a little.  

ANDRE:  James wanted to hang out and get my thoughts on the 3D cameras and his next mega-project but unfortunately I missed his calls.   Actually, we did release LEFT BEHIND: WORLD AT WAR (I was a writer and producer on it) in 2005 and then SAVING GOD (as a producer), which was just released in 2008.  During that time we also tried to set up a TV series, developed a few scripts and projects which we’re currently trying to close financing on now, and also recently acquired a few independent productions for distribution.  SMUGGLER’S RANSOM (a short adventure drama with a strong evangelical message) and THE GENIUS CLUB (political thriller with Stephen Baldwin, Tom Sizemore and Tricia Helfer) were released in 2008 and TREASURE BLIND (a family drama, treasure hunt story) was released in 2009.  

One of the things we realized during these years was how much we love being in production and how important it was that we keep trying to reach new audiences and keep producing films that mean something.  The world continues on regardless of what we do but if we want to affect someone we have to be part of the game.

The "Left Behind: World at War" DVD

W4F:   Where has life taken you and what projects have you got coming up?  I’m particularly interested in CAMP EDEN because it seems a departure from your sci-fi thrillers as you forray into the romantic teen comedy realm.  Tell us about it.

ANDRE:  I’m the proud father of 3 children with a loving wife and a job that challenges and inspires me.  Life is grand.  As for projects coming up: we have lots.  There’s a shocking horror picture (yes, a full-out horror/thriller), a very high-concept dramatic comedy, two touching true life stories with deep emotional impact, a sequel to the very popular Apocalypse Series and yes, a full-out teen comedy.  CAMP EDEN is one of those concepts that just wanted life on a page and it’s been growing and changing and getting funnier for over two years.  The script has always been met with laughter but the earlier drafts felt a little shallow.  It’s amazing how time can give you distance on a script and suddenly what you thought was working you suddenly can see how it falls short.  One of the main characters became a supporting role to make room for a much deeper and conflict-driven lead which improved the story immensely.  I know that when my wife and I are looking for a care-free night of entertainment we’re usually looking for comedies – so to write and produce one is very exciting.

W4F:   Of course we’ve all heard the Alfred Hitchcock line that “Actors are cattle”, but for you what is your relationship to your actors on set?  Do you have a pretty tight vision of what you want to see or is it more collaborative than that?

ANDRE:  My standard line on set while directing is: “that’s a great idea.  I’ll have to steal it.”  This applies for any production department and also for the actors.  I plan everything out and know exactly what I want and how to get it but actively encourage anyone to make it better.  Often I’ll find myself jotting notes during the rehearsal process because I’ll love a particular reading that an actor will give and I’ll want to take a character or scene in a new direction based on that random “take”.  Or a set designer will bring something inventive to a set and an actor will want to use that during rehearsal and suddenly you have a scene that might have felt staged become something that feels alive and organic.  Often times because we’re on a tight budget and schedule we can’t allow for too much playing but as long as everyone comes prepared and ready to go, there’s usually a way to make room for some extra inspired magic to happen.

W4F:   Can you give us an example of how your build a scene during production?  You obviously start with the script, next do you turn your actors loose in the space first or do you block the actors or are you a storyboarder?  What is your process?

ANDRE:  I always arrive very early on set before almost anyone else.  I arrive with a full shot-list and goals and notes for each scene we’re shooting that day.  I’ll go over that list with my first AD and cinematographer and they’ll share that with the other keys.  But I don’t share this with the actors.  It’s basically a structure for us to build upon and also acts as a check-list to make sure we get everything we need.  Once the actors arrive we’ll quickly go over the scene in general terms of what’s happening and who’s doing what.  Usually the actors will get into it, which is great, and we’ll do a loose run-through.  This gives us an idea if our set-ups and plans will work.  The actors then go into processing (wardrobe, hair, make-up) and the crew will do final preparations on the set so that we can grab our next shot.  When the actors return we’ll do a full rehearsal and tweak whatever needs to be tweaked and then hopefully roll camera. 

W4F:  With your budgets, does that give you the luxury of 10 or 15 or 20 takes of a thing or are you a two or three take kind of person?  Are you using multiple cameras to cover crucial dramatic scenes.

ANDRE:  Regardless of budget I think it’s wasteful and counterproductive to continue shooting something if you feel you’ve “got it”.  If it’s a one-take wonder then great – move on.  (Although sometimes I’ll get a safety take just to keep the insurers and editor happy.)  I’m never really aware of how many takes we’ll do on something but in the edit suite I’ll discover it’s usually less than 3 or 4.  I hear Eastwood likes to work this way too and while some may think that the extra takes may heighten a moment – I think there could be a tendency for it to become melodramatic or overdone.  I know for myself that if I’ve memorized something I speak far too quickly and feel stiff when delivering it.  But if I know what I’m supposed to say and let it come naturally I’ll slow down and be much more present within the moment.  Too many takes of something could rob the life out of not only that take but also any extra coverage that may be necessary following that.

Which leads to how many cameras I like to work with.  It really depends on the set-up and what I’m hoping to grab.  Working with one camera is nice because you can concentrate on that one shot and one set-up and sit right next to the lens and feel the scene unfold for that one perspective.  But if there’s the ability to get more coverage of the same scene with another camera at the same time – while not constricting the actor’s movements or the lighting or set up time – then it’s wonderful to get into the editing room and play around with the extra footage.  For me it’s all about balancing what you want with what you have and what other’s need.

W4F:  In another interview, you talked about a 16 hour day being a short day during production…if that’s the case, how do you survive the shooting process?

Cloud Ten Pictures' "Saving God" - a 2008 release

 ANDRE:  On my very first job as a director a seasoned producer gave me this good advice: “get into shape and get a good pair of shoes.”  Shooting a feature is very demanding.  Thankfully I have a good background in long-distance running and playing soccer so at least I have that going for me!  Usually one of my challenges during production is keeping weight on as I’ll be losing a few pounds a week.  Which means that by the end of production, even when I may not realize it because of adrenaline and focus, I’m pretty drained.  Others may not need to put in as many hours but I certainly felt I needed to.

W4F:   The creative process is always improved by stretching yourself into other non-film industries.  Some directors really get into Architecture or Racing or Cooking or Breeding Gerbils…what sort of interests or hobbies have you got that stretch you outside the film world?

ANDRE:  And now you’ve made me smile for a third time.  Who do you know that breeds gerbils?  My interests outside of directing stretch from writing (non-feature materials), to playing and coaching soccer, to being active within my church and playing around with my children.  Nothing quite equals playing “make believe” with kids who really honestly believe you’re careening down a raging river being chased by crocodiles and only magic fairy monkeys can save you – all while rolling around on a couch.  I find that I’m usually enjoying this and laughing more than the kids!

W4F:  Sometimes you hear about Directors like Tony Scott who use Commercials as a play space to try out new material and looks for their films.  Do you have an Research & Development play space like that (commercials, short films, etc) where you test out ideas or work to improve your game, so to speak?

ANDRE:  I’ve been lucky to have been able to play and experiment with behind-the-scenes materials and promo spots and trailers and infomercials for the various features we’ve produced.  I’ve been able to learn first hand from watching other directors direct (which is an invaluable objective experience) as well.  But I think most of my broadest experimentation happens inside my head.  This could be with improvised characters and dialog and scenes in my mind or thinking of something I’d like to create and figuring out how to get there.

W4F:  What advice do you give to the high school or college student who wants to make movies for a living when they “grow up”?  Where do they start?

ANDRE:  Almost all education is worthwhile in some way.  It improves your life in many ways beyond just fulfilling required reading for a particular job.  However, there are no set rules for getting jobs in the filmmaking world.  Theoretical and practical schooling are certainly bonuses but most people on a film set come from many different backgrounds, education and up-bringing.  The best producer I’ve worked with was an accountant who got bored with what he was doing and thought filmmaking looked cool.  He began as an accountant on film and moved up to become a line-producer and now runs his own production company.  Education helps, so does experience, so does connections, so does creativity and so does a problem-solving work ethic.  You never know what skills or experience you may have that will work well with a particular production.

I’d suggest trying to volunteer on, or visit a film set.  Before I began working at Cloud Ten I watched the whole filmmaking process as an extra.  What a great place to learn exactly what goes into on-set production.  Not only did I get to see how everything ran (or didn’t at times) but also assess which positions most suited what I wanted to do.  Many, many people say: “I want to direct” without maybe considering that there are literally hundreds of other important and exciting jobs in the filmmaking process.  And as an extra you just get to see one-third of the process.  The worlds of pre-production and post-production are also essential and fascinating places to work.  Film is very collaborative process.  If one person doesn’t do their job out of hundreds, the film will suffer.  All those names you see at the end of movies in the credit lists do important things.  Make sure you have a passion for the position you want to land in.

As for what school to go to… choose what you think is the best and make the most of it – Christian or not.  Same with working on a production.  If not a Christian directed school or production make sure you pray everyday for guidance and let your light shine.

W4F:  Again, thank you so much for your time and your thought-provoking answers.  We look forward to seeing your next film! 

For More Info on SAVING GOD movie, please visit www.savinggodmovie.com

For more information about Cloud Ten Pictures, call 1-888-684-5561 or visit www.cloudtenpictures.com

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SuperCandid Podcast: Wrong About the Christian Film Industry

Those rabble rousers over at SuperCandid Podcast have weighed in on the relationship between the Christian Film Industry and Hollywood in this post that merits a big mention here because…well, for one it’s smartly done.  It references a lot of the more current discussions among filmmakers and critics alike that have evolved on account of and in response to SAICFF 2009.

(EXCERPT)  NPR has an small news item about the burgeoning Christian movie industry(welcome to 2006 NPR!), but I find the reaction to it even more interesting than the original piece. The piece itself is just a summary of Fireproof success and the San Antonino Independent Christian Film Festival. Nothing new here.

Christianity Today’s Movies blog responded by questioning the need for a “Christian Film Industry” and asking the question of The Widow’s Might’s John Moore: “How can he become a Spielberg without a, um, Spielberg to mentor him?” CT Movies has covered this topic before, and Jeffery Overstreet, occasionaly CT Film Critic, author and contributor to one of my favorite podcasts, weighs in by saying: ”When the loudest “Christian voices” in the media consistently embarrass those that actually have something of merit to contribute… when they manipulate statistics and pretend that all America wants are cute, safe, Christian stories with pre-packaged morals at the end… how can we hope to have any meaningful engagement in culture, or appreciate the riches of the stories and movies that others have to share?”

Meanwhile M. Leary over at Film-Think makes the interesting statement: “This simply isn’t how the Bible works. They are not even cultural distinctions. They are marketing distinctions. By framing the differences between Hollywood media and Church media in these kinds of a-biblical thematic terms, this vision statement isn’t drawing the dramatic line between spiritual life and death that it thinks it is. It is simply drawing a line between two different kinds of products: We don’t want to see your filth, Hollywood. We are going to make our own films.”

Valid points all.

Now, my opinion. I think that each side is wrong in a lot of ways. First, there is nothing wrong with Hollywood movies. I love Hollywood movies, I can’t get enough of them. Give me Michael Bay, Tom Cruise and Sandra Bullock all in the same movie with $300 million effects and I’m happy. Seriously though, I think that there is nothing wrong with the Hollywood system that keeps it from making great films, except for the fact that terrible films can make a lot of money. Steven Spielberg, David Fincher, Alfred Hitchcock and any number of other directors, writers and other creative types have demonstrated over and over again that it is possible to serve both masters, to make great art that is also great business. To say that all Hollywood is morally bankrupt is not only ignorant, but it ignores and insults the great many people working in Hollywood who are doing their best to make great movies that are moral.

So when you get a minute, wander over to SuperCandid.blogspot.com and read the full article.

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Crazy Christian Movie Trailer of the Day – Rated PG92

Wired4Film wants to build better filmmakers.  Simple.  That’s why we exist.  Sometimes we will do that by showing amazing films and riveting stories and challenging interviews with people we need to study and be like and…what’s that christianese word?  oh yeah….emulate.

This is not one of those times.

Currently there’s a pretty adequate rating system in place that we’re all familiar with: G, PG, PG-13, R and NC-17.  But with the surge of Christian Films hitting the market, we feel like there needs to be a new one added:  PG-92

The PG-92 rating should be reserved for films that are obviously targeted at an age group of 92 year olds and above whose mental faculties, statistically speaking, may not be all together present and accounted for.  Those whose eyesight perhaps is failing and hearing is dulled and overall – given these handicaps – could actually enjoy films like this one.

Here is a movie trailer for a film called the “Bike King and the Ten Commandments.”  The title alone merits the PG-92 rating.  But if you feel you must go further and watch the trailer, and you’re not 92 years old or older…just realize it might be a case of a film that’s just not been made for you.  You’re too young.  You just don’t “get it”.

 Some interesting things to note about the film:

1.  Satan sounds a lot like Master Splinter from TMNT

2. It gets interesting at 3:09 when the dirt bike action begins but loses it again 6 seconds later at a boy-girl-running-along-the-beach-and-then holding-hands-swirling-around-time where the budget was so low, the filmmaker couldn’t even afford the Final Cut Slow Motion effect.

3.  God is a mix between a hawaiian dude and an old tree that spits out CD-ROMs.

4. God loves you.  God LOVES you.  God LOOOOOOOOOOOOVES you.

5. Do NOT emulate this!  You’ve been warned!

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Trailer-Cloud10Pictures-SavingGod

ProdCo: Cloud Ten Pictures
Title: Saving God

For More Info on SAVING GOD movie, please visit www.savinggodmovie.com

Trailer-ElevatingEntertainment-PraiseBand

ProdCo: Elevating Entertainment & Dave Moody Productions
Title: Praise Band 

Logline: Praise Band is the funny, yet touching story of one band’s efforts in a small town church. Through their growing music ministry, the band not only reaches out to their community, but also grows in their own individual walk with God. Matt Young, the new worship leader, is hired by Pastor James Monroe to serve Crossroad Community Church. However, these young church leaders meet with much opposition from members of their congregation who still cling to traditional roots. Led by church treasurer Wayne Wilson, the congregation resist the idea of change and this new style of worship. Can Matt, along with band mates Mark Lewis, Luke Daniels and John Collins change the minds of this dwindling flock before it is too late? Praise Band – on Wednesday night they’re average, but on Sunday morning they’re praising God!

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