Patrol Mag Ralph Winters Interv: Show, Don’t Tell

PatrolMag.com writer Gail Patches had a chance to interview WOLVERINE Producer Ralph Winters recently at the Biola Media Conference and got some good stuff.  One of my favorite answers was this one because it shows both his experience and candor:

(EXCERPT) Winter: The better question is, “What possessed you to think you could do Christian films?” I set out to make Left Behind as a movie that would entertain people about what the Bible says about how the world will end and to put that movie out in the world in 2000 when people were hysterical about what was going to happen, “Is the world going to end?”

Yeah, um, and it went south with the filmmakers who really wanted to make an evangelistic tract out of it. That’s not what I wanted to do. Because I don’t think that has the same kind of power as a journey through the process of how the world ends. So it was successful in Christian circles. I mean, a lot of people saw the movie, but you know, the movie wasn’t that good. So I’ve since dabbled in some other stuff that is darker. Like The Visitation, Hangman’s Curse, House, Thr3e. You know, it’s been a tough struggle. We have not done as well in some of those as we thought. Lately we’ve been thinking that maybe we’ve been aiming at too specific, too narrow a market. We frankly struggle with what it means and what we’re going to do with it.

Making a movie is near to impossible, the experts will tell us.  Making a GREAT movie then takes a festivus miracle!  Balancing message and entertainment, form and content and connecting with your audience is a game of inches we like to say.  It’s not nearly as easy as some make it look.  Go too far one direction and all you’ve got is MR AND MRS SMITH (fun to watch, no point to it whatsover) go too far the other direction and you’ve got BATTLEFIELD EARTH (you know, the Scientology commercial).  

Anyway, good to hear that great filmmakers like Winters are hashing it out alongside the rest of us.

Head over to Patrol and read the FULL ARTICLE

Patrol is an independent daily magazine where young writers explore their interactions with art, culture, politics, and technology. We’re based in New York City, but you’ll find our contributors all across the globe. Patrol began in 2006 as a blog covering Christian and independent music in Washington, D.C. 

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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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Christian Film Wakeup Call

“Films are a lie that tells the truth.” (1)

This oft-quoted and astute observation was made years ago by Hollywood script phenom William Goldman (“Butch Cassidy & Sundance Kid”, “Princess Bride”, “Ghost & the Darkness”). Today, since almost every DVD on the market has “Behind the Scenes” features we’re all film savvy enough to know that what Goldman refers to is that everything which appears on the screen is a fabrication to service a story line.

Lighting is generated and re-directed from multiple fixtures, actors slip in and out of character, clothes and props are manufactured to a certain color spectrum to inform on a Character’s personality, in fact everything you see onscreen is placed there by the Art Department aligned with the Director’s vision to create the illusion of a world that exists only in the frame. If the camera tilts 12 inches up you would see that the “house” has no ceiling or roof. If the camera pans 12 inches to the left you see a big hairy Grip holding a bounce card to reflect and soften light onto the subject.

Filmmaking should be a natural fit for Christians, then, since we are supposed to be the guardians and purveyors of truth. That’s what Jesus was all about. He said he is “the way, the truth and the life.” (2) So isn’t it odd that so many Christian films do not grasp film making truth? For example you meet a character in Act I, his life is turned upside down and he gets preached at from every side until he repents and gets saved at a church or a Crusade and then everything good starts happening and the blessings pour down in Act III. Hallelujah. But, that’s not real life. That’s propaganda. Christian Propoganda.

There is a truth to film making. When to use a closeup. When to use a long-shot. There is a difference between what a handheld shot says versus what a steadycam or a tripod shot communicates. There is an art and a science to lighting…so much more than just to see an image. These are all part of a cinematic language.

Have you ever taken a foreign language course? Imagine taking one class and then going to Mexico to deliver an important speech, to preach the gospel, or to even take a taxi cab across town. Your hispanic audience is used to hearing their language a certain way, to hearing their verbs conjugated a certain way. If you come to town with your own pronunciations, your own jumbled word associations and little vocabulary to speak of, you can kiss your message goodbye. What you hope to communicate, no matter how good your intention, will be rendered completely ineffective, unless you’ve got serious Mime skills.

It’s the same with film. Those who do not take the time to learn the language of Cinema end up butchering whatever well-intentioned message is on the screen. But the sad fact is that there exists a gigantic library of Christian films that have specifically sacrificed Production value or genuine dialogue for the “greater good” of the film message.

This breaks one of the Cardinal rules of Film making: Films exist to entertain. The message cannot be the primary task of a picture, it must first capture and arrest the audiences’ attention. Once you have gained their attention, then you may make your point. This is not limited to Christian propaganda, either.

If you turn in your TV Guide Bible to 1 Ellen 3:16 we can see a good example of a secular show breaking the First Law of Film making. According to the Internet Movie Database the original Ellen Degeneres show ran from 1994 to 1998. (3) In April 1997 Ellen came out as a lesbian on her show. From that point on her homosexual ideology began to permeate every episode and became a central component of the show. She began to sacrifice entertainment to make her point and because of this new preachiness, her viewership declined so that in 1998 her show was cancelled.

Her viewers didn’t want to be preached at about homosexuality, they wanted to laugh. It was after all a sitcom.

In 1999, I decided to enroll in Regent University to attend their Film School because of a desire to learn how to make high quality Christian Films like “Chariots of Fire” and “The Mission.” It was at Regent that I discovered an amazing plot twist — “Chariots of Fire” and “The Mission” and “The 10 Commandments” were not made by Christians , but rather secular filmmakers.

So then my central question became, why is the secular world doing a better job of telling our stories than we are? It’s an interesting question that will take a lifetime to unravel, but in the meanwhile there are some interesting hypotheses. Maybe not popular, mind you, but interesting. Here’s one of them.

You see, there is another industry that currently exists with little regard to production value or plot, where films and videos are made on a shoe-string budget, with the lamest actors on the planet. It’s called Pornography. It is defined as “creative activity (writing or pictures or films, etc.) of no literary or artistic value other than to stimulate sexual desire.” (4) Porn preaches the very antithesis of Love and intimacy. And it will never be confused for art or be nominated for Oscars.

Many Christian films fall into this same category, except instead of stimulating sexual desire, they’re attempting to whip us into a spiritual frenzy. Christian Porn. They are not preaching Jesus as they have intended, they don’t utilize filmic language to communicate effectively – they are preaching something synthetic and secular audiences know this and reject this. The Christian audience loves them, but have you ever taken a non-Christian friend to one of these film events? I recall taking someone to see the Judas Project in high school. Big mistake. Christian Porn.

It’s a good thing God didn’t create nature like we create our Christian movies. We feel like if Jesus is not mentioned then the world will never know Him and His truth. Look around at God’s natural surroundings. Did he make every tree in the shape of a cross? Did he sign each of his animals with his name very prominent on their hides, lest we “miss” the point? Did he create a monochromatic musical scale on the piano based on Jesus notes? Is there a difference between a Christian sunset and a secular sunset? Or a Christian tide coming in and a Secular Tide? Nope. Silly, but nope. However, every year the entire resurrection story is told in the changing of the seasons. The birth, the life, the death, the resurrection. It’s played out before us in no uncertain terms.

In Dave Christiano and Barry Bowen’s online article “A History and Overview of Christian films” they open with the mistaken claim that:

The one major element that has always lacked for the dramatic Christian film industry is that there are virtually no Christian movie theaters. Without a theatrical release, it is very hard to get a film known. Hollywood produces a film, puts it in the theater, and this opens up every other door for television, rental stores, and home viewing. (5)

The assertion here is that Christian Films have suffered and been denied their fair share of box office receipts because there are little to no Christian theater venues. But the blame is not on Christian theaters or lack thereof. Distribution has always been slave to supply and demand laws of modern economics. Hence, because there were no high quality, entertaining Christian Films to distribute, the idea of a Christian theater chain is a bit anemic.

Incidentally, do you think for a second that Christian Billionaire Philip Anschutz will jeopardize his 6,383 screens in a chain of over 540 Regal Cinemas by playing only Christian films? (6) No way. He’ll play the films that make the money.

In fact, Christian films have always had the same distribution available to them as any secular film. According to Plunkett’s Entertainment & Media Industry Almanac there were an estimated 37,000 Movie screens in the U.S. in 2005. (7) Plain and simply put, every one of those facilities exist to make money. High risk, narrowly targeted films are not going to get screen time – whether its Christian Porn or “No Man’s Land part 24″. That’s what the Direct-to-DVD market is all about.

Every major theatrical distributor is looking for the next “My Big Fat Greek Wedding” or “Spitfire Grill”. They want mass appeal, something to connect with an audience, they’re not looking for a 90 minute poorly filmed Christian diatribe and badly woven tales of Christian propaganda from a world where characters exist only to be preached at.

They seek biblical truth. Have you seen “Lorenzo’s Oil”, “Amadeus”, “Gladiator”, “Tuesdays with Maury”, or any of the American Film Institute’s top 100 films of all time? Deeply moving in their ability to mirror life and inform upon the human condition. In fact, the most genuine salvation scene I’ve ever watched was not even in a Christian film, but in Spielberg’s “Amistad” where one slave takes another through the whole salvation story through pictures in a bible some missionaries have given him. Powerful.

Maybe it’s time to stop talking in terms of Christian films and to begin genuinely good story telling. Perhaps it’s even time to give up our Christian Porn and make films that the secular world actually wants to see. If we entertain them, we will not be able to pry them away from our films.

Madison Avenue has found this out. In a world where everyone is fast forwarding and TiVo’ing past commercial breaks on TV, imagine the innovation of BMWfilms (8) and American Express’ Seinfeld/Superman short films (9) which are attracting thousands of viewers and generating a ton of buzz for their companies. Because they stopped selling and started telling…good stories.

There is a cyclical nature to life which I have observed. I have drawn the conclusion that the Christian film market right now is about where the Christian Music market was in the early 80s. Remember way back then? Were you even born, yet? Sure you were! Anyway, the musical selection we had was relegated to Gospel Music, Hymns, real Hardcore evangelical songs by the Gaithers, Imperials and upstarts like Petra, Mylon LeFevre and some young nobody named Michael W. Smith. And now look around. For better or for worse we have every single rhythm and strain available in Christian form.

And so it goes with the Christian Film Market. We’ve currently got a steady stream of hardcore gospel films, end times flicks and bible dramas. But we’re beginning to see good stuff from Namesake Entertainment doing some Frank Peretti stories (10) and up and comers like Sherwood Baptist Church and their “Facing the Giants” Disney-like underdog story (11). I’ve already mentioned Philip Anschutz and his Walden Media film company responsible for such family fare as “Around the World in 80 Days”, “Holes” and “Lion, the Witch and the Wardrobe.” (12)

Yes, it’s an exciting time to be a film maker. The landscape is changing, the tools are getting cheaper and YouTube and MySpace and Google Video have made it very easy to build an audience. There’s a film festival on every block and everyone’s the next Spielberg. But what will separate the next generation of wannabes versus IMDb superstars is vision, persistance and craftsmanship.

Let’s make a movie.

 

  1  ”Which Lie Did I Tell?” by William Goldman

  2   John 14:6 NIV

  3  http://www.imdb.com/name/nm0001122/

  4  http://dictionary.reference.com/browse/pornography

  5  http://www.christianfilms.com/overview.htm

  6 http://www.regalcinemas.com/corporate/about.html

  7 http://www.plunkettresearch.com/Industries/EntertainmentMedia/EntertainmentMediaStatistics/tabid/227/Default.aspx

  8  http://www.youtube.com/watch?v=aeKl0tjVZzE

  9  http://www.supermanhomepage.com/tv/tv.php?topic=t-seinfeld

10  http://www.hangmanscursethemovie.com/

11  http://www.facingthegiants.com/

12  http://www.walden.com 

Christian video game stokes controversy

(DEC 12, 2006) A Boston.com article by Ed Stoddard checks out controversial new “Left Behind: Eternal Forces” video game.

FULL ARTICLE:  Christian video game stokes controversy

(EXCERPT)  ”Left Behind: Eternal Forces,” the Christian video game, has become the latest battleground in America’s “culture” wars, with its maker claiming it promotes prayer while critics charge it carries a message of violent religious intolerance.