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Despite his cheerful demeanor, Poland isn’t a Pollyanna about the gap separating media culture from evangelicals. There’s a reason he titled his recent book on the topic “Chasm: Crossing the Divide Between Hollywood and People of Faith.”
Hollywood and evangelical Christians don’t exactly have a harmonious history. So it’s always something of a jolt to be reminded that a group of the latter schedules regular prayers for specific showbiz leaders and media influencers — including, in what’s left of June, Warner Bros.’ Sue Kroll, FX CEO John Landgraf, actress Anna Kendrick, and the ubiquitous Kardashians.
The “prayer calendar” (and yes, it’s organized alphabetically) is just one of the innovations arising from Mastermedia Intl., which seeks to engage the entertainment industry and effect change through what amounts to constructive engagement. Celebrating its 30th anniversary, the group is led by Larry Poland, who has spent the past 35 years conducting this sort of missionary work, although the mysterious tribe he oversees drives around in expensive cars and tosses around words like “synergistic.”
Having “flunked retirement two or three times,” Poland is again seeking to engineer a transition in day-to-day management, one that will position Mastermedia, he says, for the next 30 years. Yet whatever the organization’s future, its past and present under Poland has generally operated in stark contrast with Christian groups that pursue a more confrontational approach — using “anger strategies,” as Poland calls them, like boycotts and protests, which he considers counterproductive.
“I knew instinctively that was not the right way to go about it,” Poland says. “The best way to change content is not to scream and yell at the people who produce it.”
In such a polarized political environment, Poland’s attitude feels particularly refreshing, and it has helped keep doors open that might otherwise have been shut. Part of Mastermedia’s outreach has involved conducting corporate seminars, seeking to educate decision-makers about the spending power of the evangelical market and ways to address the faithful without casually or inadvertently insulting them.
In a truly post-Christian America, Christians find themselves ostracized, misunderstood, marginalized, and often the victims of seemingly unmerited and scathing accusations. It seems in today’s world, Christians are known more for what we’re against than what we’re for.But, the truth is Christians are some of the most giving people on the planet, committed to their families, churches, and communities. It’s true we’re far from perfect, but if most Christians are decentindividuals who strive to love and serve others, what went wrong?Phil Cooke is on a mission to show Christians how to fix our “branding” problem in America.
Phil Cooke is a writer, television producer, and media consultant based in Burbank, California, as well as a critic of some aspects of contemporary American and American-influenced Christian culture. He is a fundamentalist Christian and, as Scott McClellan of Collide Magazine wrote, “At times, Cooke may appear to be Christian media’s biggest critic but, as he is quick to point out, he criticizes because he loves.”
He is a long-time producer of nationally known religious and inspirational programming, and has worked for such clients as Billy Graham, Oral Roberts, Joel Osteen, Joyce Meyer, The Salvation Army, Mercy Ships, The American Bible Society, and the YouVersion Bible App. Cooke produced Billy Graham’s most-seen program, “Starting Over,” which reached around 1.5 billion people in 200 countries in one day. Joel Osteen said, “Phil Cooke is one of the greatest communicators of our generation.”
During this teleseminar training call, you’ll discover:
What branding is, and what it isn’t
What happened to Christianity from a P.R. perspective
What branding and religion have in common
How to handle public opinion on the gay marriage issue
Why public perception is often received as reality and what to do about it
What Christians can do to help fix the branding (or perception) of Christianity in culture
To join Phil for this FREE webinar, register here.
The Blind Side is not so much the story of a Christian family who transformed the life of a homeless teenager as much as it is the story of a homeless teenager who transformed the faith of a Christian family
“Wow, I’ve finally met someone who practices but doesn’t preach.” —Sandra Bullock, speaking of Leigh Anne Tuohy, whom Bullock portrayed in her first Oscar-winning performance
In the aftermath of the runaway success of The Blind Side, Hollywood has become more open to Christians’ stories. I don’t mean “Christian” stories, but rather human stories about Christians whose faith has been an element in their facing universal human struggles.
The Blind Side was unlike anything normally accepted by the Church as a “Christian Film.” It is neither an evangelistic message about Leigh Anne Tuohy (Sandra Bullock) witnessing about her faith, nor Michael Oher (Quinton Aaron) coming to faith, nor a missionary appeal for how Christian families should adopt disadvantaged youth, nor a white-washed tale about perfect Christians, living perfect lives, with perfect motives, and everything turning out perfectly.
O, the Humanity!
Instead, it is a very human story about a very human woman whose Christian faith informed and motivated a series of radical decisions that transformed her life, her family, and the young man they adopted. The story is not about her faith, but her faith is clearly part of the story.
This approach works only because The Blind Side wasn’t made like a typical “Christian film.” Although director John Lee Hancock describes himself as a Christian and there are a number of other talented Christians working at Alcon Entertainment who helped guide the project, Hancock made The Blind Side because he thought the story the Tuohys lived was so compelling. Period!
“The fact that the Tuohys are Christians played absolutely no part in me doing it or not doing it…. I mean, let’s be honest, it’s an incredibly charitable act that yields rewards for this family. It would have been an also amazingly charitable act had the Tuohys been atheists. A good deed is a good deed… I thought it was a great story.”
Hancock goes on to explain: “I think that if I set out to do stories based on that (Christianity or even inspiration) then it will probably be like the cart leading the horse… You set out to tell a good story. You don’t do it because there is a deep message involved because the movie is almost always bad when you do that…”
The Future of “Christian” Filmmaking
It is the very humanness of the film that makes it so approachable. Leigh Anne Tuohy is a flawed individual. She is a stubborn control freak, still struggling to stay in control even in the very last scene of the movie. Yet when motivated by her Christian faith Leigh Anne’s flaws propel her to make decisions that few other women would even consider. Her character is complicated (which is why Sandra Bullock won an Academy Award for portraying her), and therefore very compelling. We like her precisely because she represents our highest aspirations and our worst self-sabotaging realities.
Hancock’s approach points toward a compelling future for “Christian” filmmaking in Hollywood — If you live it, they will come (to the theater, that is). Audiences don’t want to watch “Christian” films. They want to see good films about good stories. Compelling stories about real life human beings who overcome tremendous obstacles and who are transformed into better human beings in the process. (See, Casablanca and the Four Levels of Worldview. Crash Goes the Worldview.)
If the story happens to be about someone whose faith informed and motivated their journey then who’s to argue? Their story earned them the right to let their faith be part of the film. (And opened up the “plausibility structure” for audiences accepting that not all Christians are the preachy, bigoted hypocrites so often portrayed by the media.)
In the end, The Blind Side isn’t so much the story of a Christian family who transformed the life of a homeless teenager so much as it is the story of a homeless teenager who transformed the faith of a Christian family: all because one woman made the radical decision to actually live out her faith.
As Sandra Bullock opined about Leigh Anne and the Tuohy family:
“[S]he has no idea the path she’s begun, in terms of adoption and fostering. It’s not been on the forefront of people’s minds. It is on the forefront of my mind every day now when I get up. When I look around I go, ‘Is he, is she, what is their situation?’ And it’s because of this family, and I think what they are going to do for our country in terms of being aware of that is – I don’t think they realize the profound affect that they are going to have…. [Y]ou see this family, they were themselves for no other benefit other than because they wanted to reach out, lend a hand, and had no idea that they would get a son in return… I said, ‘Wow, I’ve finally met someone who practices but doesn’t preach.’ ” (Italics mine.)
In other words, if Christians actually lived better stories then we might have a litany of heroic stories to draw upon and films to make that real people in real theaters actually want to see and A-list actors want to play. Stories about men and women (and teenagers) whose faith motivated and informed their choices to live remarkable lives by making remarkable decisions and overcome remarkable obstacles.
Living a Better Story
Every believer (and not just filmmakers) ought to be asking themselves ‘Am I living the kind of story that, in Donald Miller’s words, “leaves a beautiful feeling even as the credits role”? As Miller discovered in writing his book subtitled How I Learned to Live a Better Story, few Christians are living stories that come remotely close to living out the full implications of their faith.
What story are we writing with our lives? Leigh Anne Tuohy’s story is deeply heroic precisely because her faith motivated her to take action toward the will of God being done on earth as it is in heaven. Will we?
Heaven is looking for heroic stories even more than Hollywood. Will this generation overwhelm the world with stories of very human Christ followers whose faith motivates and informs the heroic lives they live? The world is watching…
What can we learn by examining only the first and final shot of a film?
This video plays the opening and closing shots of 55 films side-by-side. Some of the opening shots are strikingly similar to the final shots, while others are vastly different–both serving a purpose in communicating various themes.
Some show progress, some show decline, and some are simply impactful images used to begin and end a film.
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Joseph Fiennes will play Liddell in a new movie filmed in China, co-written and directed by the Hong Kong director Stephen Shin with Canadian director Michael Parker. It will be distributed by the Hong Kong-based Alibaba Pictures, who this morning also announced that they are to back the fifth Mission Impossible film.
Chariots of Fire, which won four Oscars in 1982, starred Ian Charleson as Liddell, a devout Christian who had to choose between his sport and religious beliefs at the 1924 Paris Olympics. Months before the Olympics took place, Liddell had to drop his plans to enter his preferred 100m race because the heats took place on a Sunday. Instead, he trained for the 400m and succeeded in taking the gold medal for Great Britain.
An Unexpected Hero
The Independent reports that the Chinese-born Liddell is regarded as a hero in China, partly for his sporting prowess but also for his actions in the Japanese internship camp where he died aged 43. Liddell was thought to have organised the smuggling of food in to prisoners.
Born in China to missionary parents, he returned to that country after his Olympic victory to continue his parents’ work. [Where the Japanese invasion resulted in his capture.]…
With the success of “The Bible” TV series, and “Finding Jesus” on CNN, I’ve been getting plenty of inquires from people who want to get other Christian ideas picked up by a secular network. In many cases, they’re starting from the wrong perspective. The first step isn’t getting your show idea on a network. The first step is finding out what the network is interested in programming. With that in mind, here’s a few critical principles about how to get a secular network to look at your Christian program idea:
1) Start by looking for cultural events that would make networks more open to a Christian influenced program. For instance, a number of years ago, I realized the anniversary of William Wilberforce abolishing the slave trade in the British empire was about to happen. Since he was driven by his Christian faith, I pitched PBS on a one hour documentary on Wilberforce’s life. They loved the idea and not only did it get a national broadcast on PBS, but it was privately screened at the White House. So – what’s trending in the news right now that would make a network interested in your idea?
2) Think ahead. My friend, movie producer Ralph Winter says that making a big budget movie isn’t about what’s popular now. It’s about what will be popular 5 years from now, because that’s how long it takes to make a major movie. It’s really not much different with TV projects. So look into the future. Once “The Bible” series was successful, I received a ton of proposals to do something similar. Likewise, once Noah hit theaters, I had a bunch of Noah projects pitched to me. But they’d already been done and networks weren’t interested. The question is – What’s next?
An internationally known writer and speaker, Phil Cooke has actually produced media programming in nearly 50 countries around the world. In the process, has been shot at, survived two military coups, fallen out of a helicopter, and in Africa, been threatened with prison. And during that time – through his company Cooke Pictures in Burbank, California – he’s helped some of the largest nonprofit organizations and leaders in the world use the media to tell their story in a changing, disrupted culture.
Lifetime achievement award for humble swordsman and accomplished pirate
“Our hope is that this award not only inspires a new generation of culture-makers and faith builders to seek to master two-handed warfare, but also brings Iñigo the peace he’s sought since leaving the revenge business.” -GDS
by the Two Handed Warrior Staff
Iñigo Montoya,the original Two-Handed Warrior, was honored with the lifetime achievement award of ‘Chief Inspirator’ by twohandedwarriors.com at the THW awards banquet at the Gildor Hyatt-Regency last night. Inspired by the death of his father at the hands of Count Tyrone Rugen, his lifetime of study in search of revenge drove him to attain the level of ‘Master’ (and according to Goldman, even ‘Wizard’) of Sword-play with both his right hand and his left. After a brief period of unemployment in Greenland, Iñigo was able to overcome alcohol addiction with the help of his lifelong friend, Fessik the Giant, and return to the business of revenge.
In the employ of Man in Black, Inc., Iñigo led one of the more remarkable princess rescues of all time. William Goldman later adapted his exploits into a novel and film, The Princess Bride (1987), named by the Writer’s Guild of America as one of the 101 Greatest Screenplays ever written. Beautifully portrayed by Mandy Patinkin, the scene chronicling Iñigo’s successful assassination of Count Rugen is considered one of the Top 100 Movie Scenes of All-Time.
Later, Iñigo’s influence upon Gary David Stratton was key to the founding of TwoHandedWarriors.com and many other culturally influential institutions. In 2015, TwoHandedWarriors.com named Iñigo Montoya, ‘CHIEF INSPIRATOR’ for his work in inspiring two-handed warriors across Hollywood, Higher Education, and beyond. Senior Editor, Gary David Stratton, noted in his awards speech, “Our hope is that this award not only inspires a new generation of culture-makers and faith builders to seek to master two-handed warfare, but also brings Iñigo the peace he’s sought since leaving the revenge business.”
Inigo currently serves as Dread Pirate on the pirate ship Revenge, but plans an early retirement to join Fezzik, MIB founder, Wesley and his bride Buttercup in Patagonia. He can be reached on Twitter at @IAmInigoMontoya.
The numbers for women in Hollywood trail far behind the percentage of females in executive positions in other heavily male-dominated endeavors, including the military, tech, finance, government, science and engineering
In 2005, Diana Ossana was in the green room at the Venice Film Festival, elated. Brokeback Mountain, the film she’d shepherded into being after reading Annie Proulx’s short story in The New Yorker eight years earlier, had just won the Golden Lion, top prize at the festival.
Ossana, who optioned the story from Proulx, then co-wrote and produced the film starring Heath Ledger and Jake Gyllenhaal, was standing next to its director, Ang Lee, basking in their success when, she says, George Clooney walked in. Clooney’s Good Night, and Good Luck also had been in the running for the Golden Lion.
“He walked right up to Ang, shook his hand and congratulated him,” Ossana says from her home in Tucson. After heartily congratulating Lee, Clooney looked right past Ossana, then moved on.
“I really was startled,” she says. “It was as if I wasn’t even in the room. Ang even commented on it afterward; it was that obvious.” Clooney did not respond to a request for comment.
Ossana had been fielding that kind of treatment since before the film’s inception. Without her writing partner, Larry McMurtry, she wasn’t taken seriously. During meetings with studio execs, at which she was often the only woman, men turned in surprise when she spoke.
“They would look at me as if, ‘Oh, she speaks!'” Ossana says. “These were very prominent, very well-known men. If I was any more specific, everyone would know exactly who I was talking about.”
Ossana later had to demand that studio executives recognize her with a producing credit on Brokeback, which she and McMurtry had to push through the system. And “when we set about to make the deal with the studio, I’m not certain why, but they said they would have preferred Larry to be a producer.” (He got an executive producer credit, she a producer credit.)
Women are not tapped for power jobs in Hollywood. Their numbers trail far behind the percentage of females in executive positions in other heavily male-dominated endeavors, including the military, tech, finance, government, science and engineering. In 2013, 1.9 percent of the directors of Hollywood’s 100 top-grossing films were female, according to a study conducted by USC researcher Stacy L. Smith. In 2011, women held 7.1 percent of U.S. military general and admiral posts, 20 percent of U.S. Senate seats and more than 20 percent of leadership roles at Twitter and Facebook — and both companies now face gender-discrimination lawsuits.
In the wake of the Sony email-hacking scandal, and following Patricia Arquette’s rallying cry at the Oscars, some well-known Hollywood figures are openly saying that an ugly bias grips the liberal, charitable, Democrat-dominated movie industry…
With production values and writing that far surpass the first two installments, Mark Burnett and Roma Downey’s passion project tackles perhaps its most captivating episode tonight. TV has never seen anything like it.
Always the stickler for precision, Dean took EXACTLY 15 minutes to complete his list and added the following caveat: “I’m going to assume that the Bible is ineligible, but it should go as #1. Sheryl (Anderson) only listed writers, which I would be happy to do, in which case it would be “Preston Sturges” instead of Sullvan’s Travels and “Tom Fontana” instead of Homicide and “Jerry Zucker, David Zucker and Jim Abraham” instead of Airplane! and Peter Jackson instead of Lord of the Rings… etc. But if I were doing just an author list, I’d have to get into names like Bob Briner, and maybe A. Scott Berg.
Here’s Dean’s “Fab 15” list of the greatest influences in his life.
Videos may have no clear connection to course content, but they shape the identity of the course
Harvard University was an early adopter in short videos shared across social networks to boost student interest and attendance as they “shop” for classes. They have an intimacy that course catalogs and posters lack.
by Daniel A. Gross • The Chronicle for Higher Education
After 25 years as a typographical designer, Richard Hunt knows the value of visual communication — which makes it a little ironic that his online course at OCAD University, an art-and-design college in Ontario, initially released lectures in an audio-only format. Last year students accustomed to on-campus learning felt that Mr. Hunt’s “History and Evolution of Typography” course needed greater visual engagement than lecture slides could provide. This fall Mr. Hunt, an assistant professor, hopes to correct that, starting with a video trailer that went live just a few weeks ago. “We thought a trailer would put a face to the voice,” he says.
The new course trailer, released on the college’s internal network and on YouTube, begins with a simple shot of Mr. Hunt speaking. “It’s a way of selling the course to students who resist the online format,” he says.
Course trailers have become increasingly common at universities across North America, as a strategy for attracting students and for putting a public face to the institutions. Several universities have set up official media teams to help faculty members create them. Though such videos seem like a natural development in an age of online and multimedia coursework, they’ve also entered the brick-and-mortar classroom, signaling that a branding tactic once reserved for the marketplace has entered the marketplace of ideas…
Mark Freiburger was only 22 when he directed his first feature film. Since then, he has produced five independently financed films (two of which he also directed), directed “Fashionista Daddy,” winner of the 2013 Doritos “Crash the Super Bowl” contest, and even got to shadow Michael Bay for three months on the set of a major studio film (Transformers 4: Age of Extinctionwith Mark Wahlberg). Mark insists that these opportunities didn’t come to him because he was more talented than other young filmmakers. The key to his success (beyond having some very talented friends) is that he learned one very important skill they don’t teach you in film school… how to raise money for movies!
I caught up with Mark after reading his new book, How To Raise Money For Your First Movie, and caught some his passion for filmmaking and for helping young filmmakers get the money they need to make great films.
Gary: So the films, the Super Bowl, and Transformers were just your warm up acts, what are you working on now?
Mark: I’m currently finishing up writing a movie for the producers at Original Film. It’s a sci-fi/action film set in a futuristic Brazil that I will be directing as well. We’ve taken a lot of time and care with developing this script, and it’s just about ready (or may already be by the time this article is published). This was the project I referred to earlier, and it has been taking up the majority of my time over the past year. Oh, and I just finished my book “How To Raise Money for Your First Movie“.
Gary: Okay, your working and your busy. So what motivated you to write a book right now?
Mark: Raising money wasn’t a skill anyone taught me in film school. It came out of a driving passion to want to see my dreams come true, even if that meant I had to take a lot of beatings through trial and error in an effort to achieve those dreams. And after going through the process once on my first film, it afforded me the opportunity to link up with others who had done the same on their own, and that’s when I started to learn even more.
I’ve been in the business for nearly a decade now, but the one thing I get asked about the most by other aspiring filmmakers is not about those more high profile experiences, but about how to go out and raise money to make their first features. So I decided the best way to help others was to just allocate some time to sit down and write everything I share with aspiring filmmakers.
Mark: This book is purely about the one thing that all young filmmakers out there really want to know… which is “How do I get the money to make my first movie?” There are a ton of great books out there on the fundamentals of filmmaking so I don’t need to write one of those, but there is a big need to help teach young filmmakers the practical steps of indie film financing. When I was in film school, even my professors never had good answers for me, because quite frankly they weren’t quite sure how to do it either. It’s not rocket science, but with the right knowledge I’m thoroughly convinced that anybody can go out and do it. You just need to plan accordingly and have the right tools to go out there and do it yourself. And that’s exactly what this book does… it gives you the tools and teaches you how to set yourself up for success in raising funds.
Gary: When did you know that you had to write this book?
Mark: A couple years ago I was teaching a seminar at a university on film financing, and after about 30 minutes into the seminar, one of the students raised his hand and said “This is good information and all, but when are you going to start teaching us how to actually raise money?” I looked to him and said, “But haven’t you been listening? I started teaching you that very thing 30 minutes ago.“
What the student failed to realize, and what most aspiring and first time filmmakers fail to realize, is that raising money for movies is not just about finding investors and giving them a good pitch… but instead, it’s about everything leading up to those moments. It’s about reverse engineering the process of making a film by beginning at the end… through discovering your marketplace first, connecting with distributors that have access into that marketplace, developing/crafting the script that fits what your distributor needs, creating the perfect business plan to support that script, and assembling the right team to help you execute your vision. This is how you begin to raise money for movies, and once you go through all the groundwork necessary to make this happen, you’ll be fully prepared to find and approach investors, which then becomes the easy part.
Gary: Any parting word of counsel to young filmmakers?
Mark: If you want to become a filmmaker or if you’re in the early stages of your filmmaking career, the main piece of advice that I’d like to try and pass on is to remember that a filmmaking career is more like a marathon, and not like a sprint. It takes a lot of time and energy to develop your craft and make the right connections. Things won’t happen overnight, but if you pace yourself, make wise decisions and are willing to adapt to the constant changes, you will see results. Don’t burn yourself out too early, try to live a balanced lifestyle, because even though this career is much more demanding than your average career out there, it’s that much more rewarding too.