Paparazzi in the Hands of an Angry God: The Great Awakening and the Birth of American Celebrity Culture

The Greatest Day in New England History

Think the fiery Puritan who preached America’s most famous sermon, “Sinners in the Hands of Angry God,” would threaten to dangle celebrities over the pit of hell?  Think again.

by Gary David Stratton • Senior Editor

I’m your biggest fan, I’ll follow you until you love me Papa, paparazzi

—Lyrics from “Paparazzi” as performed by Lady Gaga

The 2004 Red Sox victory parade attracted 68% of the total population of greater Boston.
The streets of Boston course with life as a crowd greater than the city’s total population joins in celebration.

Commerce grinds to a standstill.

Women faint.

Grown men weep.

The governor joins the standing-room-only multitude on Boston Common and declares the festivities, “the greatest day in New England history.”

If that sounds to you like a good description of the victory parade for the 2004 Boston Red Sox who vanquished a 68 year-old ‘Curse of the Bambino” with a World Series championship, you’re not far from the truth.  The Red Sox parade attracted an incredible sixty-eight percent of greater Boston’s population.[1]

However, these words actually describe something even more historic:  the 1740 farewell sermon of British evangelist George Whitefield–an event that drew 135 percent of colonial Boston.  No wonder Harry Stout has calls Whitefield “Anglo-America’s first modern celebrity.”[3]

And Whitefield’s celebrity is no accident. It is the result of a carefully orchestrated public relations tour de force. Whitefield and his publicist, William Seward, worked tirelessly to promote the evangelist’s exploits, writing as many as a hundred personal letters, articles, and journal entries a day to a vast network of leaders and publishers throughout the New World. Incredibly, Whitefield personally wrote or inspired thirty-percent of every work published in America in 1740. By the time he reaches Boston, all of New England is in a fever pitch. Six weeks and 175 sermons later, “virtually every New England inhabitant” has heard Whitefield preach face-to-face.[3]  

Sinners is the Hands of an Angry God

Jonathan Edwards
Jonathan Edwards’ “Faithful Narrative” helped pave the way for Whitefield’s preaching tour.

One hundred miles to the west, fiery preacher Jonathan Edwards waits not with condemnation, but delight.[4] Rather than dangling the “paparazzi” of his day over the pit of hell, Edwards follows media coverage of Whitefield’s every move with growing delight. He even invites the innovative young preacher to fill his famous pulpit in Northampton, Massachusetts.

Edwards helped start this media sensation in the first place. His autobiographical Faithful Narrative [5] was an international best seller for nearly three years before Whitefield’s preaching tour, making Edwards a towering public figure in his own right. He has helped stoke a deep hunger for spiritual awakening throughout the colonies; a hunger now filled by Whitefield’s flamboyant preaching and growing celebrity.[6]

While many Christians today decry our shallow media-driven celebrity culture, leaders of the Great Awakening recognized that capture society’s imagination with spiritual realities required media-driven celebrity. And capture it they did. By year’s end, perhaps as much as fifteen-percent of the population of the American colonies professes conversion to Christ in one of the most transformative social movements in American history.

Edwards and Whitefield helped birth not only one of the most transformative cultural movements in America history—the First Great Awakening—they also helped launch America’s celebrity culture. Twenty-first-century culture-makers seeking to birth society-wide transformation on the level of the Great Awakening would be wise to pay careful attention to the lessons Edwards and Whitefield learned in using celebrity for the glory of God.

Celebrity

Celebrity is perhaps the most coveted and least understood concept in contemporary culture. While the billion-dollar celebrity industry seems to grind out a new subject for fifteen-minutes of fame nearly every fifteen minutes, the scholarly community (and the church) has scrambled just to stay current. Recent scholarship has produced many claims to the title of “America’s first celebrity,” ranging from John James Audubon (c. 1826) to Walt Whitman (c. 1850), Buffalo Bill Cody (c. 1885), Douglas Fairbanks (c. 1920), and Ernest Hemingway (c. 1925).[7] Jonathan Edwards and George Whitefield certainly precede each of these contenders, but were they true celebrities? The answer is, perhaps, yes and no.

Celebrity as Star

If one takes the perspective that celebrity is a purely modern invention, then obviously Edwards and Whitefield can’t be celebrities. Many scholars find a strong enough connection between celebrity and modern media to assert that “there is no such thing as celebrity prior to the beginning of the twentieth century.”[8] This school of thought is strongly rooted in film studies and the rise of the Hollywood star-making business. Before 1910, the motion picture industry sold story. However, studio executives soon realized that what they were actually selling was stars—men and women who moviegoers liked and personally identified with beyond the quality of their performance.[9]

Splash
Little known TV star Tom Hanks won the lead for Splash (1983) over hundreds of famous actors because he was the more ‘likable.’

For instance, producer Brian Grazer chose the little known TV star Tom Hanks over hundreds of famous actors vying for the lead in Splash (1983), not because Hanks was the most talented, but because audience testing proved he was the most likable.[10] Soon Hanks joined the pantheon of Jimmy Stewart, Cary Grant, John Wayne, Harrison Ford, et cetera—actors America loved not for how they played their role, but simply for who they were.[11]

Hollywood intuited what academic research later demonstrated: people personally identify not merely with the hero of the story, but also with the actor playing the hero in the story.  Media-generated personal identification evoked a public hunger for access to the private lives of stars. In small-town America, everyone wanted to know the gossip, slander, triumphs, tragedies of the  in crowd. But in the emerging global village, the most popular kids are found on the big screen.

Aided by the media-driven celebrity industry, stars quickly became what Richard Schickel calls “intimate strangers.” People wanted to know these stars and be connected to them personally. Graeme Turner asserts that we can actually “map the precise moment a public figure becomes a celebrity”: when their “private lives attract greater public interest than their professional lives.”[12]

It wasn’t long before stars began to realize that they had become a commodity to be marketed and traded, not only by studio heads, but also by their own publicity people. Within a few short years, the public relations and celebrity gossip industries were born.[13] Soon Paparazzi was a household word. 

Since Edwards and Whitefield were dead for over a hundred years before the first Hollywood stars were born, it is hard to see how they are celebrities in this limited sense of the word.

Celebrity as Hero

However, other scholars adopt a broader understanding of celebrity, one that seems to better fit Edwards and Whitefield. These scholars root their understanding of celebrity in the Latin words for “fame” (celebritas) and “being famous” (celebrer) and in Western society’s desire to “celebrate” greatness. [14] Human beings need heroes to emulate.

Both the Greco-Roman and Judeo-Christian traditions developed strong “hero-making” story cultures. We tell the stories of heroes such as Hercules, Achilles, Odysseus, Perseus, Jason, Atalanta, David, Elijah, Esther, Mary, Paul, and Peter because they embody the virtues valued in our culture.

Yet for cultural heroes to serve as public role models, they need to be both virtuous and known. A virtuous man or woman whose story goes untold simply can’t be emulated. Therefore, the desire to be great and the desire to be famous are not necessarily mutually exclusive. As Paul boldly declares, “Follow me as I follow Christ” (1 Cor. 11:1).[15]

Perhaps it is more helpful to follow Daniel Boorstin’s distinction between a genuine celebrity and what he calls a “pseudo-celebrity.”[16] Pseudo celebrities, as the Hollywood school of thought asserts, are differentiated mainly by the “trivia of personality,” whereas true celebrities are heroes who are distinguished by their achievements, virtues, and character.[17] Edwards and Whitefield appear to fit this second type. Although there is no universal consensus, celebrity studies seem to point to four distinct stages in the creation of a genuine celebrity: (1) A defining incident or accomplishment makes someone a “hero”; (2) some kind of identification with the hero’s character sparks admiration and a desire to connect with the hero; (3) intentionality by the hero (or someone acting on behalf of the hero) meets public desire for a greater connection by providing access to their “story” and their life; and, (4) the public’s identification with the hero exerts influence in other people’s lives that shapes their behavior.[18]

Heroic Celebrity

Edwards’s celebrity clearly fits this pattern.

(1) Edwards’s public story begins with a clear defining incident—a powerful revival among the youth in his church results in the conversion of 300 people, a quarter of the town’s population, transforming youth culture in Northampton.[19] Soon there is “scarcely any in the town, old or young, left unconcerned about the great things of the eternal world [. . . .] The work of conversion was carried on in a most astonishing man¬ner [. . .] and the number of true saints multiplied [. . . until] the town seemed to be full of the presence of God.”[20]

(2) These events spark a profound identification, not only in America, but across the English-speaking world. Edwards’s church became “the talk of New England” and famous British cleric Isaac Watts declared, “We have not heard of anything like it since the Reformation, nor since the first days of the apostles.”[21] What minister (or Christian) would not want this to happen in their church? People wanted to know more.

(3) Edwards responds to this interest with acute intentionality. He publishes A Faithful Narrative of the Surprising work of God in the Conversion of many Souls in Northampton, and Neighbouring Towns and Villages of the County of Hampshire, in the Province of the Massachusetts-Bay in New England. It becomes an international best seller reprinted at least ten times in three languages before Edwards’s death and over fifty times since.[22]

(4) Faithful Narrative provides Edwards with the influence and “international audience for which he longed.”[23] More than any other published statement, Faithful Narrative would “define the standard expectations for evangelical conversion”[24] and firmly establish Edwards as the “revival expert” with broad readership for his future publications on the Awakening. For over a century, it serves as a nearly canonical corpus for New England revivalism. More dramatically, it opens the door for interest in Edwards’s more scholarly works so that Edwards eventually comes to be known as “America’s greatest theologian.”[25]

Notice the key role that intentionality plays in Edwards’s celebrity. Without his providing the story, there is no story, and therefore, no celebrity. Without Edwards’s providing a personal account of the revival—an incident he did not “cause,” but which spread to his church from the surrounding villages[26]—this “towering intellectual figure” could very well have remained unknown and unread.[27]

Whitefield as Heroic Celebrity

George Whitefield’s 1740 farewell sermon drew 135% of the total population of greater Boston.

Whitefield’s celebrity also appears to fit this four-stage cycle as well.

(1) Whitefield’s first trip to America (mostly in Georgia from 1737–1738), followed by his tremendously successful campaign in London, creates an international incident that introduces him into popular imagination. Whitefield’s adoption of John Wesley’s practice of “field preaching” (versus preaching inside churches) coupled with his profound dramatic gifts and unusual anointing create a sensation. His sermons are some of the most compelling theater of his generation, recasting “biblical history in a theatrical key.”[28]

(2) Whitefield’s preaching generates tremendous public identification. Theater is all but unknown in America, and Whitefield’s dramatic performances (in comparison to the logical treatises offered by most New England pastors) connect in an unprecedented way. People love Whitefield. They flock to hear him preach. They relish his willingness to take on the (ancestral hierarchical) establishment. They can’t get enough of him. Newspapers normally committed to business and political news are filled with accounts of his success.

(3) In preparation for his second American preaching tour (1740-1741), Whitefield demonstrates unusual intentionality in managing his celebrity. He fashions a clearly defined and “audacious” plan to build on his momentum and transform his revival movement into “an international event with himself at the center.”[29] He and his publicists unleash a barrage of publicity employing careful use of social networking and mass media. People are able to “personally” connect with him through him publishing his personal journals and maintaining a grueling schedule of personal appearances.[30]

(4) Whitefield’s growing celebrity soon grants him unparalleled influence. He is able to network with the rich and powerful, target key social causes (especially orphans and African American education), and take controversial anti-institutional stands on the issues of his day (unconverted ministers). Whitefield becomes “the first in a long line of public figures whose claims to influence would rest on celebrity [. . .] rather than birth, breeding, or institutional fiat.”[31]

Like with Edwards, it is difficult to miss the critical role intentionality plays in Whitefield’s celebrity. His use of William Seward’s immense talent as a public relations officer is critical to his success. He certainly would have connected with people without it, but he could never have attracted such remarkable crowds without the tireless efforts of Seward and his network of advance men. As Stout asserts:

“Where other influential preachers. . . wrote learned treatises and preached in meetinghouses. . . to audiences totaling in the thousands. . . Whitefield wrote best-selling journals and drew audiences that must be totaled in the millions. . .  For comparison one must look to an electronic age and. . . movie stars.”[32]

Heroic Leadership

Both Edwards and Whitefield appear to fit the criteria of heroic celebrities. Without the celebrity account provided by Edwards’s Faithful Narrative, it is entirely possible that America would not have been primed for Whitefield’s publicity and preaching. From a human perspective, it is not unreasonable to claim that Edwards and Whitefield’s efforts helped initiate America’s first celebrity culture, and that celebrity culture in turn helped birth the First Great Awakening.[33] Mark A. Noll, arguably the most influential historian in our contemporary understanding of the First Great Awakening, notes that although revival can be viewed as the result of a movement of the Holy Spirit, it can also be interpreted as an effect of human agency and leadership:

“By taking note of the agents who, whether perceived as servants of God or merely adept shapers of culture, historical explanation adds the sphere of human responsibility to realms of theological principle.”[34]

The leaders of the First Great Awakening were young men of great natural gifts who preached, wrote, promoted, and built institutions with unusual force. Their actions mattered, regardless of their motivations or by what power they were energized. This in no way minimizes the Holy Spirit’s role in the First Great Awakening. Something truly remarkable occurred in this movement that no amount of human effort has ever been able to recreate (although not for lack of trying). However, it does emphasize that the Holy Spirit worked though human leaders who made wise use of the means at their proposal, including their celebrity.

Edwards himself came to embrace the importance of human leadership in the Awakening. One of his central contributions to religious self-understanding was his refusal to accept an either/or dichotomy between divine and human impulses. His first work in the midst of the Great Awakening, Some thoughts concerning the present revival of religion (1741), was an urgent appeal for human leaders to promote the work of God by wise and strenuous efforts.[35]

His first major publication in the aftermath of the Great Awakening, A treatise regarding religious affections (1746), was in many ways his “second thoughts about the first great awakening.”[36] Edwards claimed that Satan won a great victory in the Awakening because human leaders failed to embrace their God-appointed role in directing such a powerful “pouring out of the Spirit of God.”[37]

Edwards and Whitefield were not leaders who shirked their human responsibility. Their model points toward a possible future for leaders seeking to become “adept shapers of culture” in the twenty-first century. However, before we can directly apply the principles they employed in the eighteenth century to our contemporary setting, we must first account for a factor with which Edwards and Whitefield never had to contend: contemporary pseudo celebrity culture.

The Rise of Pseudo Celebrity

Paris Hilton provides ample proof that celebrity sells

The problem with the celebrity cycle is that it is essentially value neutral. The process that makes someone a heroic celebrity is essentially the same as the process that makes someone a pseudo celebrity. As the Hollywood school of thought contends, something went seriously awry with celebrity in the early twentieth century. It is as if somewhere we decided that if you can’t be a true hero without also achieving fame, why bother with virtue at all? Contemporary media makes it all too easy to skip heroism and jump straight to the stardom of a pseudo celebrity who is “well-known only for being well-known.”[38]

In pseudo celebrity, the inciting incident moves from important to trivial (and/or contrived); intentionality moves from important to critical; and identification moves from character to personality. The pseudo celebrity “develops their capacity for fame, not by achieving great things, but by differentiating their own personality from those of their competitors in the public arena.”[39]

Dry Erase Girl

A good example of this phenomena is found in the “dry erase girl” resignation hoax. This meme serves as a great example of how the four-stage cycle can be applied to the creation of pseudo celebrities.

(1) On the morning of August 10, The Chive, a relatively unknown Web site, creates an incident by posting a series of pictures under the banner: “Girl quits her job on dry erase board, emails entire office.” The hilarious photos, received from “a person who works with [. . .] Jenny,” chronicle a young worker’s struggle with her boss’s sexual harassment, her subsequent resignation, and the outing of her boss’s odd Internet viewing habits.

(2) By the afternoon of August 10, the public’s identification with Jenny’s plight makes the story is an instant Internet sensation. The photos “soared to the top of Google and Twitter trends, and a group of Facebook pages popped up to honor” the brave underling.[40] Who wouldn’t root for this perky persecuted worker and her “heroic” actions? People were dying to connect with Jenny and know more of her life and future.

One day wonder ‘Dry Erase Jenny’ (aka, Elyse Porterfield)

(3) The role of intentionality becomes obvious on August 11, when the Web site TechCrunch reveals that it was all a publicity stunt. “Jenny-the-Dry-Erase-Girl” is really Elyse Porterfield, a struggling young actress hired by The Chive to perpetrate the hoax.[41]

(4) By the evening of August 11, Porterfield and The Chive editor have garnished sufficient influence to be interviewed by CBS News Entertainment to discuss their successful creation of the hoax. Thirty-six hours after the first posting, The Chive and Porterfield are hot properties. Could an acting role be far behind? (And of course, I’m pulling for Porterfield. She is so darn likable.)[42]

In less than two twenty-four-hour news cycles a hoax is: (1) perpetrated, (2) debunked, and (3) milked for enough publicity to become national news and achieve celebrity status. Porterfield is the paramount pseudo celebrity created via what Boorstin calls a “pseudo-event fabricated by the media and evaluated in terms of the scale and effectiveness of their media visibility.”[43]

Pseudo Celebrity and Cultural Currency

Notice, however, how the final stage of influence is still very much intact. In fact, the defining characteristic of the contemporary pseudo celebrity culture is the shallow but powerful nature of the identification it engenders. Pseudo celebrity endorsements are both effective and pervasive, because these superstars are integral parts of our lives and intimately tied to our greatest hopes and fears.

In a culture devoid of meaning and relationship, the pseudo celebrity system offers powerful images to direct our lives. Media outlets create an “illusion of accessibility and relationship.”[44] In a society hungering for close personal relationships, the pseudo celebrity system delivers pseudo-relationships with people we feel connected to but have never met.[45] When Lady Gaga sings, “I’m your biggest fan, I’ll follow you until you love me,” she is eerily describing the zeitgeist of paparazzi culture. Through pseudo celebrity culture, we perpetrate a new American mythology: not the maxim that strong character, hard work, and perseverance will eventually lead to success and happiness, but rather be in the right place at the right time, with the right YouTube video and you too can be famous. The underlying story behind pseudo celebrity becomes: it could happen to me.

Not everyone can be a hero, but anyone can be famous. Accomplishments might put someone in a position to be noticed by the media, but only the intentional courting of the public eye can produce an ongoing celebrity. This is the underlying secret of our pseudo celebrity culture: it’s all about the Benjamins. Celebrities are needed to drive the economy, sell the products, and fill the airtime so as to generate advertising dollars to sell even more products. Pseudo celebrities are the ultimate wedding of consumer culture and democratic aspirations.[46] In a society cynical about truth, and without a clear sense of common good informing our ethical decisions, the pseudo celebrity system guarantees that even if I don’t know how to live a meaningful life, at least I’ll know how to dress.

On Being a Twenty-first Century Heroic Celebrity (and Not a Pseudo Celebrity)

Moses was “more humble than anyone else on the face of the earth” yet he wrote books that celebrated his own heroism

Does this trivialization of celebrity mean that twenty-first-century culture-makers should eschew all celebrity and start dangling our own paparazzi over the pit of hell? Perhaps. But if the realm of celebrity is stripped of every true hero, all that remains will be pseudo celebrities. And a world without public heroism is a profoundly unbiblical idea. Without contemporary additions to the Hebrews 11 hall of fame, how can we expect a new generation to “Remember your leaders [. . . .] Consider the outcome of their way of life and imitate their faith”? (Heb. 13:7). If we don’t have heroic celebrities who are broadly famous in our culture, then haven’t we lost our culture already? To put a twist on Edmund Burke’s oft-quoted aphorism: “All that is necessary for pseudo celebrity to triumph is for heroic celebrities to do nothing.”[47]

Still, some might argue: yes, we need heroes, but shouldn’t we leave hero-making to God? You would certainly think so if you read evangelical devotional literature. Even thoughtful historians often help perpetrate the myth that the Holy Spirit alone drew the giant crowds that followed the saintly Whitefield, as if he wanted only to be left alone with his Bible. Consider Stephen Mansfield’s hagiographic account:

“What could explain the crowds, always the crowds? It must be simply the grace of God and his decision to use a slight, squint-eyed boy to change lives.”[48]

My point is not that the supernatural impact of Whitefield’s ministry is difficult to account for except by the grace of God (more on this later), only that Whitefield carefully cultivated and judiciously utilized his celebrity for the glory of God. Why should twenty-first-century leaders be any different? Moses was “more humble than anyone else on the face of the earth” yet he wrote books that celebrated his own heroism (Numbers 12:3). Nehemiah certainly wasn’t shy in trumpeting his own accomplishments. And David commissioned the telling of the heroic story of Ruth in order to clear up a public relations problem in his (Gentile) heritage. Yet Moses, David, Ruth, Nehemiah, Whitefield, and Edwards possessed at least three further traits that define their heroic celebrity and which might help mitigate against contemporary pseudo celebrity.

The Compelling Authenticity of a Life Well Lived

Edwards and Whitefield were men of remarkable integrity. Edwards was no pseudo celebrity scholar. He was the real thing. He was devoted to the calling of his craft, often spending thirteen hours a day in his study. Nor was he a public figure who wilted in private. He developed a profound contemplative prayer life, forged a beautiful marriage, and stayed deeply involved in the lives of his eleven children.

Although Whitefield never achieved Edwards’s “depth in his thinking about culture,”[49] he began each day reading his Greek New Testament and returned to finish his master’s degree at Oxford after already achieving much of his fame. He worked tirelessly to improve as an orator (and actor). More importantly, he was a man of profound personal and financial integrity. He raised staggering amounts of money while maintaining a Spartan lifestyle that bordered on asceticism.[50] Both leaders escaped moral scandal despite determined enemies and years in the public eye.[51]

This is not to say that these men were perfect; they both freely admitted their mistakes and misjudgments in their own writings. Whitefield wrote, “Alas! Alas! In how many things have I judged acted wrong. I have been too rash and hasty in [judging the] character, both of places and persons. . . I have used a style too apostolical . . . been too bitter in my zeal . . . and published to soon and too explicitly. . . By these things I have hurt the blessed cause I would defend.”[52]  But rather than repelling followers, such authenticity drew men and women to his celebrity. In short, they were actually men who could be admired; they were heroic celebrities who might be emulated.

Twenty-first-century culture-makers must strive for the same excellence in craft and character. Pseudo celebrity culture has bred cynicism regarding all celebrities. Americans crave authenticity but expect duplicity. We are looking for our heroes to fall, and the celebrity media industry is only too happy to pounce when they do. Those who would aspire to heroic celebrity must be absolutely certain that they are up to the task. Although pseudo celebrities sometimes become heroes over the course of time, heroic celebrities can become pseudo celebrities overnight. Ted Haggard became a national celebrity, not through his accomplishment of building one of the most influential churches in America, nor by his position as President of the National Council of Evangelicals; he became a household name by reason of his infidelity.

The bar is high, but authenticity is achievable even in an age of pseudo celebrity

This calls for a ruthless commitment to the compelling authenticity of a life well lived. Scholars, ministers, businesspeople, musicians, politicians, filmmakers, artists, actors, and publishers had best count the cost before they dare enter the world of heroic celebrity. They need a radical commitment to master both their craft at a world-class level and the spiritual disciplines, marriage, family, and relational habits required to shape their character toward the fruit of the Spirit.

Great artists, scholars, businesspeople, and ministers are not formed in a day. Great marriages, families, and friendships are forged with great intentionality. Heroic character cannot be instantly formed by sheer force of will, but the ongoing practice of key spiritual disciplines put us in a position to receive the transforming grace of God and be “incrementally changed toward inward Christlikeness.”[53]

This also calls for a countercultural commitment on the part of thoughtful media leaders and public relations specialists to work against the forces of pseudo celebrity. In addition to Edwards and Whitefield, leaders of the First Great Awakening included not only one of the pioneers of publicity and public relations (William Seward), but also three of the key forerunners in modern mass communication: John Lewis, Thomas Prince, and William McCulloch.[54] They were determined to use the power of the media to promote spiritual awakening through Edwards and Whitefield’s celebrity. Twenty-first-century media leaders must seek for the true heroes in our society and make certain their stories are told. They must also do everything within their power to insure that those they promote as celebrities are in fact heroes.

The Courageous Ambition of Genuine Humility

Genuine humility sometimes appears arrogant (David and Goliath by Jason Engle)

Edwards and Whitefield were also men of tremendous ambition to glorify God in the world. Early in his life, Edwards determined, “I will do whatsoever I think to be most to God’s glory [. . . ]” However, Edwards’s humility didn’t prevent him from developing a ruthless ambition to serve the coming of God’s kingdom throughout the world. He continued: “[. . .] and my own good, profit and pleasure to do whatever I think to be my duty [. . .] for the good and advantage of mankind.”[55]

Edwards saw no conflict in these two aspirations, having also resolved to throw off anything smacking of “gratification of pride, or vanity,”[56] and he lived his life to maximally steward the gifts God had entrusted to him by establishing himself as a renowned intellectual force for good.[57]

Whitefield too was a man possessed of a deep passion for the glory of God with a corresponding repudiation of self-glory. Yet, he also held to a keen sense of the importance of his impact upon the world. Certainly, the hierarchical worldview of Edwards and Whitefield’s day helped them seize those opportunities in ways that our current pseudo celebrity, democratic, level-playing-field worldview does not.[58] They were encouraged to aspire to become “great men” from their youth, and their respective Yale and Oxford educations only reinforced the idea that they were God’s elite. They did not need to be asked to step forward as celebrities. They knew it was a responsibility entrusted to them by God and correspondingly seized the day.

Not so today. The cynicism of pseudo celebrity when combined with tireless assaults upon anyone who dares stick their heads above the democratic crowd has had a devastating impact on moral leadership. True heroes step back from the public limelight while pseudo celebrities push themselves forward. Those who do not possess true character and accomplishment manipulate the media for their own celebrity, whereas those who possess some modicum of humility shrink back. True heroes fear not only their own ego, but also the potential humiliation involved in having a target painted on their back. For instance, it is now a right of passage for nearly all intellectual, cultural, and spiritual leaders to have multiple Web sites devoted to their demise.

Overcoming our contemporary aversion to principled heroism will call for the courageous ambition of genuine humility on the part of twenty-first-century cultural leaders. Like Saul’s army before Goliath, unbelief sometimes looks a lot like humility. Genuine humility, on the other hand, sometimes appears arrogant. While lifelong soldiers cowered in fear, David was willing to push past his brother’s stinging accusation, “I know how conceited you are” in order to seize the heroic challenge (1 Sam. 17:28ff). Twenty-first-century culture-makers who wish to wisely use celebrity for the glory of God will also need to regularly weather the pseudo celebrity culture’s challenge of “Who do you think you are?” in order to stand as heroic celebrities.

Tina Fey as Sarah Palin: A morality tale on the danger of losing control of your public perception

This will also require careful partnerships with thoughtful public relations professionals and new media experts.[59] As media expert Phil Cook, exclaims, “If you don’t control your perception” and “the story that surrounds you [. . .] you’ll live the rest of your life at the mercy of those who will.”[60]

One need only look at James Monaco refers to persons who come to the public eye but fail to control their public image as “Quasars.” They are at the mercy of the media’s construction of their image, and that construction is nearly always bad.the “Tina Fey effect” in the last presidential election for a warning against the dangers of losing control of your own image.[61] Unlike the leaders of the Great Awakening, today’s leaders have allowed our culture’s perception of spirituality to drift at the mercy of the mass media’s construction. Oprah and Richard Dawkins have done more to shape mass media’s conception of faith (or lack thereof) than countless pastors and other spiritual leaders. Only by drawing upon the savvy leadership of the best public relations experts, journalists, filmmakers, television creators, and new-media mavens is there any real chance of reversing this trend.

The Unmistakable Stamp of Divine Exaltation

Joseph Accused by Potiphar’s Wife at the midpoint of his descent into greatness (Rembrandt)

In the end, Edwards and Whitefield’s lives bore the unmistakable stamp of divine exaltation. Their personal lives and vocational success simply defied all human explanation. Although self-exaltation may lead to pseudo celebrity, there is a type of exaltation only God can bestow. As the psalmist declares, “It is God who judges: He brings one down, he exalts another” (Ps. 75:7).

Celebrity did not bring David in from the shepherd field, release Joseph from prison, nor fill Mary’s womb with divine offspring. They were men and women who followed the biblical injunction: “Humble yourselves, therefore, under God’s mighty hand, that he may lift you up in due time” (1 Pet. 5:6).

Each hero waited in relative obscurity—growing in character while mastering the disciplines of their craft—waiting for the moment chosen by the God whose eyes “range throughout the earth seeking to strengthen those whose hearts are fully committed to him” (2 Chron. 16:9).[62]

For some, like Daniel and Esther, this call came at a relatively young age. For many others, like Moses and Anna, the call came much later. In either case, these biblical figures were ready when their moment arrived.

Whether short or long, God used their time in secret preparation to forge in them the strength of character to support the weight of their calling. Edwards and Whitefield were men of similar character. When the divine moment came—in the 1734-1734 revival in Edwards’s church and the 1739 revival under Whitefield’s itinerant preaching—these two principal leaders of the First Great Awakening knew what to do. Once exalted by God to a place of celebrity, they were ready to bear the responsibilities it demanded and steward their celebrity for the glory of God. In doing so, they helped spark one of the most socially transformative movements in American history. W

ill the twenty-first-century be any different? We may never know how many potentially dynamic cultural leaders will be lured by the siren song of pseudo celebrity, impatiently squandering their youth seeking fame instead of steadily building the craft and character required for their divine moment. Still, we must do everything within our power to help foster spiritual depth as well as professional excellence. In an age hungering for the depth of genuine authenticity to counteract the shallowness of pseudo celebrity, waiting for God’s timing could make all the difference.

The Greatest Day in World History?

C.S. Lewis’ Edwardsean commitment to scholarship and popular culture landed him on the cover of Time

Will we see again the equivalent of the crowds that thronged Boston Common for Whitefield’s farewell sermon? Perhaps not. But if we do, that crowd will more likely gather in movie houses worldwide and/or at a massive Web cast than a single venue. A twenty-first-century equivalent of Whitefield is more likely a cutting-edge filmmaker, actor, or television producer than a traditional evangelist.

A twenty-first-century equivalent of Edwards might take the form of a C. S. Lewis, the Oxford scholar who built upon his prestigious position through popular writings and radio broadcasts that gave him a celebrity—the cover of Time magazine for The Screwtape Letters—that made his complex moral and theological arguments beloved reading for a generation of children and adults.  Either manifestation would certainly be a great day for the world as we know it.

In a media-saturated age marked by both an unhealthy appetite for pseudo celebrity and a deep cynicism toward heroism, it would be hard to find a better tonic than the courage and authenticity of Edwards and Whitefield, heroic celebrities unafraid to utilize their fame for the glory of God.

The thought that we can sit on the sidelines and call down judgment upon today’s celebrity culture may be as dangerous as it is naive. We are called to be missionaries in a media-driven culture. Wishing it weren’t so won’t make that fact go away. To impact our image-driven generation for the kingdom of God will require entering the fray prayerfully, thoughtfully, and with great excellence. And if all else fails, we can always dangle a few paparazzi over the fires of hell. Or, better yet, we can follow Whitefield’s example and hire them.  

Article adapted from version in print and online versions of  The Other Journal.  

For Responses to See:

Hollywood Responds to Paparazzi in the Hands of an Angry God Higher Education Responses to Paparazzi in the Hands of an Angry God

Icons of Heroic Celebrity: TV Writer Chris Easterly Guest Posts on Paparazzi in the Hands of an Angry God

 

Notes


[1] The 2004 Red Sox victory parade attracted an estimated 3 million out of 4.4 million in greater Boston (68 percent), whereas Whitefield’s farewell sermon drew 23,000 from of the city population of 17,000 (135 percent). Whitefield’s more modest estimate was 20,000 (118 percent). Mark A. Noll, The Rise of Evangelicalism: The Age of Edwards, Whitefield, and the Wesleys (Downers Grove, IL: InterVarsity Press Academic, 2003), 79.

[2] Harry S. Stout, The Divine Dramatist: George Whitefield and the Rise of Modern Evangelicalism (Grand Rapids, MI: Eerdmans, 1991), x.

[3] Stout, Divine Dramatist, 90; Frank Lambert, Pedlar in Divinity: George Whitefield and the Transatlantic Revivals, 1737-1770 (Princeton, NJ: Princeton University Press, 1994), 128; Arnold Dallimore, George Whitefield: The Life and Times of the Great Evangelist of the Eighteenth-century Revival (Westchester, IL: Cornerstone Books, 1979), 527; and Harry S. Stout, “Whitefield, George,” Dictionary of Christianity in America, ed. Daniel G. Reid (Downers Grove, IL: InterVarsity Press, 1990), 1252.

[4] George M. Marsden, Jonathan Edwards: A Life (New Haven, CT: Yale University Press, 2003), 202.

[5] Jonathan Edwards and C. C. Goen, A faithful narrative of the surprising work of God in the conversion of many Souls in Northampton, and neighbouring towns and villages of the County of Hampshire, in the Province of the Massachusetts-Bay in New England. The Works of Jonathan Edwards, Vol. 4: The Great Awakening (New Haven, CT: Yale University Press, 1972).

[6] Marsden, Jonathan Edwards, 137.

[7] Richard Rhodes, John James Audubon: The Making of an American (New York, NY: Alfred A. Knopf. Blake, 2004); David Haven, Walt Whitman and the Culture of American Celebrity (New Haven, CT: Yale University Press, 2006); Joy S. Kasson, Buffalo Bill’s Wild West: Celebrity, Memory, and Popular History (New York, NY: Hill and Wang, 2000); Richard Schickel, Douglas Fairbanks: The First Celebrity (London, UK: Elm Tree Books, 1976); Leonard J. Leff, Hemingway and His Conspirators: Hollywood, Scribners, and the Making of American Celebrity Culture (Lanham, MD: Rowman & Littlefield, 1997). Other proposed contenders include: Adah Isaacs Menken (c. 1855), see Renée M. Sentilles, Performing Menken: Adah Isaacs Menken and the Birth of American Celebrity (Cambridge, UK: Cambridge University Press, 2003); Gertrude Stein (c. 1900), see Karen Leick, Gertrude Stein and the Making of an American Celebrity (New York, NY: Routledge, 2009); and Charles Lindbergh (c. 1940), see Randy Roberts and David Welky, Charles A. Lindbergh: The Power and Peril of Celebrity, 1927-1941 (Maplecrest, NY: Brandywine Press, 2003).

[8] Richard Schickel, Intimate Strangers: The Culture of Celebrity (Garden City, NY: Doubleday, 1985), 21.

[9] Richard DeCordova, Picture Personalities: The Emergence of the Star System in America (Urbana, IL: University of Illinois Press, 1990).

[10] Malcolm Gladwell, Blink: The Power of Thinking Without Thinking (New York, NY: Little, Brown and Co, 2005), 45.

[11] There are some who believe that Hollywood’s star-making days are over and are now being replaced by the experience-making of stadium theaters, 3-D glasses, concept movies, and CGI. Given the blockbuster opening weekend ($35 million) of the low-tech but star-studded The Expendables (2010), I suspect this argument will grow even more heated.

[12] See Schickel, Intimate Strangers; and Graeme Turner, Understanding Celebrity (Thousand Oaks, CA: SAGE, 2004), 3, 8.

[13] Turner, Understanding Celebrity, 10.

[14] Leo Braudy, The Frenzy of Renown: Fame & its History (New York, NY: Oxford University Press, 1986).

[15] See also 2 Thessalonians 3:7-9. All references are from the New International Version.

[16] Daniel J. Boorstin, The Image, or, What Happened to the American Dream (London, UK: Weidenfeld and Nicolson, 1861), 58; and Daniel J. Boorstin, “From Hero to Celebrity: The Human Pseudo-event,” in David Marshall, The Celebrity Culture Reader (New York, NY: Routledge, 2006), 72-90.

[17] Turner, 65.

[18] These “stages” do not always occur chronologically.

[19] Marsden, Jonathan Edwards, 155, 160.

[20] Edwards, Faithful Narrative, 11-14.

[21] Marsden, Jonathan Edwards, 161; and cited in Jonathan Edwards and C. C. Goen, The Great Awakening, 36.

[22] C. C. Goen, The Great Awakening, 90-92

[23] Marsden, Jonathan Edwards, 171.

[24] Noll, Rise of Evangelicalism, 80.

[25] Robert W. Jenson, America’s Theologian: A Recommendation of Jonathan Edwards (New York, NY: Oxford University Press, 1988), x. See also, Joseph A. Conforti, Jonathan Edwards: Religious Tradition & American Culture (Chapel Hill, NC: University of North Carolina Press, 1995); Douglas A. Sweeney and Allen C. Guelzo, The New England Theology: From Jonathan Edwards to Edwards Amasa Park (Grand Rapids, MI: Baker Academic, 2006).

[26] Michael J. Crawford chronicles that between 1712-1732 the Connecticut River Valley alone experienced as many as fifteen revivals before the first of two “outpourings” in Edwards’s Northampton, Massachusetts, church (1734-1736, 1740-1742). See, Seasons of Grace: Colonial New England’s Revival Tradition in Its British Context (New York, NY: Oxford University Press, 1991), 108. To his credit, Edwards’s own account mentioned “nearly every church in Western Massachusetts and twenty in Connecticut.” See Marsden, Jonathan Edwards, 162.

[27] Harry S. Stout, The New England Soul: Preaching and Religious Culture in Colonial New England (New York, NY: Oxford University Press, 1986), 228.

[28] Stout, Divine Dramatist, 95

[29] Ibid., 87.

[30] Marsden, Jonathan Edwards, 200.

[31] Stout, Divine Dramatist, xiv.

[32] Ibid., xiii. Italics mine.

[33] For more insight into the use of media, publicity, et cetera in the First Great Awakening see Frank Lambert, Inventing the “Great Awakening” (Princeton, NJ: Princeton University Press, 1999); Harry S. Stout, “Religion, Communications, and the Ideological Origins of the American Revolution” The William and Mary Quarterly: A Magazine of Early American History 34 (1977): 519-541; and Michael J. Crawford, Seasons of Grace, 13ff.

[34] Noll, Rise of Evangelicalism, 141.

[35] Jonathan Edwards and C. C. Goen, Some thoughts concerning the present revival of religion in New England and the way in which it ought to be acknowledged and promoted. The works of Jonathan Edwards, Vol. 4: The Great Awakening (New Haven, CT: Yale University Press, 1972).

[36] Gary David Stratton, “Jonathan Edwards’ (1703-1758) Theology of Spiritual Awakening and Spiritual Formation Leadership in Higher Education” (PhD diss., Talbot School of Theology, 2009), 59. See also Gary D. Stratton, “Jonathan Edwards’ Treatise Concerning Religious Affections and Gerald McDermott’s Seeing God,” Christian Education Journal 3 (2006) and Samuel S. Storms, Signs of the Spirit: An Interpretation of Jonathan Edwards’ Religious Affections (Wheaton, IL: Crossway Books, 2007).

[37] Jonathan Edwards, John Edwin Smith, and Perry Miller, A Treatise Concerning Religious Affections, in three parts. The Works of Jonathan Edwards, Vol. 2 (New Haven, CT: Yale University Press, 1959), 5-7.

[38] Boorstin, The Image, 58.

[39] Turner, Understanding Celebrity, 55.

[40] Helen A.S. Popkin, “Suckers! Why you fell for ‘Dry Erase Board Girl.’” msnbc.com, August 12, 2010, accessed August 14, 2010.

[41] Alexia Tsotsis, “Confirmed: HOPA Dry Erase Girl Is a Hoax, Identity Revealed,” TechCrunch, August 11, 2010, accessed August 11, 2010.

[42] Shira Lazar, “Elyse Porterfield, HOPA Dry Erase Girl Exclusive Interview [Video],” CBS News, August 11, 2010, accessed August 11, 2010. [43] Boorstin, The Image, 57.

[44] Richard Dyer and Paul McDonald, Stars (London, UK: BFI, 2007), 17.

[45] Chris Rojek, Celebrity: Critical Concepts in Sociology (London, UK: Routledge, 2010), 16, 52.

[46] Marshall, Celebrity and Power, 10. See also Leo Lowenthal, Communication in Society. Studies on Authoritarianism 3, False Prophets (New Brunswick, NJ: Transaction, 1997).

[47] Burke probably never used the precise phrase, “All that is necessary for evil to triumph is for good men to do nothing,” but rather, “When bad men combine, the good must associate; else they will fall one by one [. . .]” Daniel E. Ritchie, Edmund Burke: Appraisals and Applications (New Brunswick, NJ: Transaction Publishers, 1990), xiii.

[48] Stephen Mansfield, Forgotten Founding Father: The Heroic Legacy of George Whitefield (Nashville, TN: Highland Books/Cumberland House, 2001), 64.

[49] Noll, Rise of Evangelicalism, 108.

[50] Stout, Divine Dramatist, 122-123.

[51] This is not to minimize the doctrinal and methodological controversies that only added to their fame. See Stout, Divine Dramatist, 123.

[52] George Whitefield and Robert Backhouse, The Journals of George Whitefield (London, UK: Hodder & Stoughton, 1993), 144. See also Dallimore, Whitefield, 333-354.

[53] Dallas Willard, Renovation of the Heart: Putting on the Character of Christ (Colorado Springs, CO: NavPress, 2002), 82

[54] Noll, Rise of Evangelicalism, 143-144.

[55] Jonathan Edwards and George S. Claghorn, Letters and Personal Writings (New Haven, CT: Yale University Press, 1998), 755.

[56] Ibid., 753-4

[57] Marsden, Jonathan Edwards, 134

[58] Nathan O. Hatch, The Democratization of American Christianity (New Haven, CT: Yale University Press, 1989).

[59] James Monaco, Celebrity: The Media as Image Makers, And, In Order of Their Celebrity (New York, NY: Dell, 1978).

[60] Phil Cook, Branding Faith, Why Some Churches and Nonprofits Impact Culture and Others Don’t (Ventura, CA: Regal, 2008), 10, 49.

[61] Edward Rothstein, “The Power of Political Pratfalls,” New York Times, October 12, 2008. See also, David Carr and Brian Stelter, “Campaigns in a Web 2.0 World,” New York Times, November 2, 2008.

[62] See also 1 Samuel 13:14; 16:7.

Hurry Up and Wait: Reflections on the Release of THE LEAST OF THESE, by Nathan Scoggins

Nathan Scoggins on set

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Nathan Scoggins is an award-winning writer and director who lives in L.A.  He’s written projects for Lionsgate, Jenkins Entertainment, Sodium Entertainment, and Five Stone Media.  Several of his award-winning short films are available on DVD.

His latest film, THE LEAST OF THESE has just been released by Vivendi Universal through Code Black Entertainment.

For more information on the film, please check out the Facebook page: www.facebook.com/leastofthesemovie

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Hurry Up and Wait: Reflections on the Release of THE LEAST OF THESE

“Hope deferred makes the heart sick…” ~ Proverbs 13:12a

We were three days into a tight 20-day shoot when my lead actor got fired.

Not from our movie, no.  We’d only just started filming on Tuesday, June 4th, 2007, and Isaiah Washington had already proved himself to be everything I knew he would be — passionate, dedicated, and absolutely the right choice for the lead role of Father Andre James in my first feature film, THE LEAST OF THESE.

The journey from shoot to final release turned out to be much more Quixotic than Nate (or anyone else) could have imagined.

The hiring of Isaiah had not come without controversy, due to comments he’d made on the set of his hit TV show, “Grey’s Anatomy,” and subsequently at the Golden Globes. Nonetheless, I had fought for Isaiah through the casting process, even when there was concern about whether his alleged behavior would be a “problem”.  Whenever I doubted my decision, I remembered what my wife had told me a year before.  It was a Thursday night in the fall of 2006, I was already worried about casting our lead, and Katie pointed to Isaiah on “Grey’s” and said definitively, “That’s him.”

Now here we were, almost a year later, in the midst of an intense 20-day shoot.  Isaiah had already proven himself to be a consummate professional; often needing only 1 or 2 takes to nail what I was looking for.  He had also proven to be a gracious star, flowing with a schedule that would occasionally turn upside down, and being generally fantastic with the younger members of the cast.  (For those who haven’t yet seen the film, Isaiah plays Father James, a priest who returns to his old Catholic high school under a cloud of mystery.)

We’d had a fairly smooth first three days, wrapping early or on time, and I was starting to get my sea legs.  The subject matter would provide us with certain challenges as shooting went on — the film deals with the Catholic sexual abuse scandal — but we hadn’t dealt with the deep stuff yet; so far things had been loose and light.

Changed in an Moment

And then at 6:07 on Thursday June 7th, in the middle of setting up a shot, my phone buzzed with a text: “Just to let you know, I’ve been let go by ABC.  Get ready, because everyone will be coming.”  It was Isaiah, direct as usual.

I hate to admit it, but the scene we shot next didn’t get the attention it should have from me.  (It was ultimately cut from the final version of the film.)  I had to sit and gather my thoughts.

The hiring of Isaiah Washington had not come without controversy, but his subsequent firing from Grey’s Anatomy is where the story really begins.

Until that moment, THE LEAST OF THESE had been a relatively smooth production.  Hiring Isaiah had gotten us some publicity, first from The Hollywood Reporter, then others.  We had Ralph Winter as our Executive Producer (making time for us between X-Men and Fantastic Four), Mateo Messina (fresh off Juno) as our Composer, a fantastic cast (the legendary Robert Loggia, Bob Gunton from Shawshank Redemption, John Billingsley from Star Trek), and a budget of $1.2M that I had personally spent a year raising from generous and trusting investors.  Not to mention we had Isaiah, a high-profile lead on a show that was routinely drawing 20M viewers a week.  The path ahead seemed smooth, not just for production, but for distribution as well, with several companies having already expressed interest.

But in that moment, I knew that everything had changed.  Now we would not only be trying to finish a film — itself a herculean task already, given our budget and schedule — but we’d be doing so under heightened scrutiny, coping with the increased eyes of the paparazzi while trying to make sure that no one snuck onto the set to catch Isaiah in a stressful moment (of which there are frequently many when filming).  Further, the question of distribution immediately flashed into my mind.

I’d always assumed a topical script, with strong talent both in front of and behind the camera, would be a solid bet.   Sure, we had an African-American lead, which I had been told was a challenge, but I was convinced that a talented actor from TV’s hottest show would trump all doubters.  But would anyone want us now?

The irony was also not lost on me that Isaiah had just finished filming a scene where his character is fired after a series of false accusations.  Isaiah’s final shot of the day had literally involved him gathering his things and walking out the back door into darkness.  Would a similar fate be waiting for him, and for us?

Grace Under Fire… and Paparazzi!

Thankfully, our crew pulled together. The next morning my producing partner, Jimmy Duke, let it be known that no one would be speaking to the press apart from the producers, and everyone honored that. Paparazzi were generally left to shoot from across the street, and Isaiah was rather laid-back about the whole thing. Despite the pressure he was undoubtedly feeling, he continued to be cool, calm and collected. I wish I could say the same for me.

Nathan and producing partner Jimmy Duke in a lighter moment.

 Anyone unfamiliar with the vagaries of production probably thinks it’s a lot more fun than it is, imagining directors peering through rectangled fingers or yelling “action!” and “cut!”  That happens, but life on the set is both more mundane and more frantic than that.  There’s a lot of looking at watches, grumbling, crossing out storyboards, and waiting, waiting, waiting…  The phrase “hurry up and wait” is familiar to anyone who works in the movie business, because at all levels there are moments of intense preparation, and then others where all you can do is wait — for a jet, for a light, for a prop.

Sometimes there are sublime moments of joy — one of my favorite memories from the set is improvising a melody at a piano in one of our locations, while Robert Loggia (veteran actor of Big, Independence Day, and pretty much every movie you’ve ever seen) hummed along.  But I must confess that I never really settled into what one could call a relaxed pace.

There was never enough time and always too much to do, and we were doing it while the cameras of PEOPLE magazine, Entertainment Weekly, and Entertainment Tonight were hovering in my peripheral vision.  Plus, having personally raised the budget, I felt obligated to my investors to deliver not only a film that I was proud of, but also a film that would earn a return on their investment.  The challenge of our lead actor’s new situation only heightened that concern in my mind.

I had tough days as the shoot went on.  This is probably true of any director, particularly starting out, and I was young too — 29 at the time.  There are so many disparate personalities that come together in the making of a movie, so many different challenges, and so much to do in a short time, that anxiety inevitably takes over or tempers get frayed.  I don’t think I’ve ever said, “I’m sorry” so many times in such a short period of time.  I remember telling Jimmy early on, “Jimmy, I won’t always do the right thing, but I promise I’ll do the right thing after I do the wrong thing.”

I learned very quickly that directing isn’t just about capturing a performance or nailing a shot — it’s about leadership, about learning to corral people in the service of a vision greater than one person.  There were moments where I failed on the set — sometimes artistically, sometimes relationally — but I hope that I caught those moments and made restitution for them appropriately as the shoot went on.

From Post-Production to Post-Traumatic

But even as I struggled to learn and we wrapped filming and went into post-production, there was no changing the fact that the road was still going to be longer than any of us expected.  It takes time to finish a film — we spent almost a year editing, scoring, and mixing, as well as finding our sales company, and it was just enough time for the independent film world to collapse.

The irony of filming a scene where his character is fired after a series of false accusations was wasn’t lost on Isaiah

Thanks to the worldwide economic slowdown of 2008, the smaller distributors who had expressed interest all shut their doors, leaving us in a barren landscape of uncertain distribution opportunities.  The collapse of the economy left a cloud of despondency murkier than the fabled California marine layer hanging over the 2008 American Film Market in Santa Monica.

Additionally, the fallout from Isaiah’s dismissal meant that any hope we had of riding “Grey’s” coattails would probably not be possible, and Isaiah’s next show, “Bionic Woman,” was quickly cancelled. Still we soldiered on, trying to find the right sales company, and were fortunate to find North By Northwest, who believed in us and the film.

When we emerged from a busy week of AFM screenings, there was precious little to show for it. Even a distributor screening in L.A. the following April didn’t bring any potential buyers. We wondered if it was the film, if it was our controversial lead, if it was the subject matter. It was a period fraught with uncertainty, as the ongoing worldwide recession not only diminished any distribution offers we did receive, but also made us wonder if we would find distribution at all.

Fortunately, after a couple of years, we finally did — first landing a TV/streaming deal with Starz and Netflix in the fall of 2009, and then finally signing a DVD/VOD deal this last spring with Code Black Entertainment, which has a distribution agreement with Vivendi Universal.  When the deal was done, I breathed a sigh of relief and gratitude — the film would finally find an audience!  For most independent filmmakers, this story ultimately has a happy ending (apart from the minor detail of recouping our investors’ money). But for me there remains this vexing question of the nature and purpose of the wait.

The Wisdom of Waiting

When things were at their quietest — and, for a filmmaker, there is nothing worse than a long quiet — I took my pastor, Erwin McManus, out to lunch.  We talked about the film and how things were going.  I was discouraged; he was sanguine.  At one point he said, “Sometimes the best art is out of its time.”  I am only starting to understand now what he was saying then.

The seasoned presence of Robert Loggia adds tremendous gravitas to the film

 The challenge for anyone — artist or not — is to trust that the right purposes will emerge at the right time, and to wait patiently.  We live in an age of the blessing and the curse of instant gratification.  Never is that more true than in Hollywood, where the work of hundreds or thousands of artisans over a period of years can be ruled irrelevant by a bad three-day box-office.

When I got Isaiah’s fateful text four years ago, I felt as if I was told that our film would have to take its time.  I was angry in that moment, frustrated and sad, and I can’t pretend that those feelings dissipated quickly or easily, or at all.  (There’s nothing I love more than sending emails to investors saying, “Maybe next year.”)

Four years later, however, the reasons I set out to make the film in the first place have not changed.  Every week it seems like there are new allegations of priests who have fallen from grace, as well as stories of priests who serve quietly with great nobility of character.  The film has not been ruled irrelevant — if anything, it feels more relevant.  More than ever, we need stories like THE LEAST OF THESE — of a darkness that is great, but of a light that is greater.

Prophetic Timing

“Sometimes the best art is out of its time.” -Erwin McManus

 In the Scriptures, prophets were frequently out of their own time — frustrated and troubled by the present, leaning into the future, women and men less concerned with the world as it was than as it could (or otherwise would) be.  In this, I have come to find that artists and prophets have a great deal in common.  I can’t confess to having made THE LEAST OF THESE out of some grandiose ambition to serve as a prophetic voice — I’m always dubious of the self-proclaimed prophet, since they’re usually stoned (in both uses of the word).

At the same time, I can’t deny that THE LEAST OF THESE seems more of its time now than it did four years ago.  As a result, even though it’s taken longer than any of us expected for the film to get its chance to find its audience, I’m grateful for the opportunity that we have now, thankful that the waiting has ended, and hopeful that our time has indeed come.

“…but a longing fulfilled is a tree of life.” ~ Proverbs 13:12b

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The Least of These Information:

DVD Release Date: 8/2/2011

Synopsis: After a priest at his former Catholic school vanishes mysteriously, Father Andre begins working there. When he hears rumors that there may have been foul play involved with the holy man’s disappearance, he begins an investigation. But when Andre learns shocking secrets about the school and confronts experiences from his dark past, his faith is put to the test. Powerful drama stars Isaiah Washington, Robert Loggia, Andrew Lawrence star.

Facebook Page:  www.facebook.com/leastofthesemovie

Purchase: http://www.amazon.com/Least-These-Isaiah-Washington/dp/B004ZKKKZQ/ref=sr_1_3?ie=UTF8&qid=1312516282&sr=8-3

Trailer: http://www.youtube.com/watch?v=KmNuLdccONM


Learning from the Best: An Interview with TV and Screenwriter, Chris Easterly

TV and Screenwriter Chris Easterly (Unnatural History, Click Clack Jack, The Shunning)

TV and screenwriter Chris Easterly is a graduate of the Act One screen and television writing program and the prestigious Warner Brothers Writers Workshop. He has written for Cartoon Network’s first live-action mystery adventure series Unnatural History, as well the screenplay for Click Clack Jack, and a new project, The Shunning premiering tomorrow night (Saturday 4/26) on The Hallmark Channel.

Emmy® and Golden Globe Award Nominee Sherry Stringfield and Danielle Panabaker Star in the Hallmark Channel Original Movie Chris adapted from Beverly Lewis’ best-selling novel. The Shunning is the retelling of some of the heartbreaking experiences of Lewis’ maternal grandmother in the Amish Community of the Old Order Mennonite Church.

Chris was given the job of adapting Beverly Lewis' bestseller into a viable screenplay

Executive producers Brian Bird, Michael Landon Jr. and Maura Dunbar selected Chris to write the screenplay for Believe Pictures and Lightworks Pictures. Said Bird, “I chose to give a newer, younger writer an opportunity to write this film… We hired Chris …and he knocked it out of the park.” (See, Opening Doors for Others: An Interview with Brian Bird.)

In celebration of tomorrow night’s premiere of Beverly Lewis’ ‘The Shunning’ I asked Chris a few questions about the film and about the greatest influences on his life and his writing.

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An Interview with TV and screenwriter Chris Easterly

THW: Yesterday Brian Bird told us how he specifically selected you to write the screenplay so he could keep his promise to his mentor, Michael Warren, to open doors for future writers.  What was that like?

According to Executive Producer Brian Bird, Chris' screenplay "hit it out of the park."

Chris Easterly: It was a great experiencing working for both Brian and director Michael Landon, Jr.  They are pros at developing story, so I learned a lot from them.

THW: Like what?

CE: I remember they suggested one scene in particular, and in my naïveté, I thought it might not work.  But after putting it in the script and seeing how it worked in the context of the whole movie, it really packed a strong emotional punch.

THW: What did you take away from that?

CE: (Laughs) It taught me I don’t know as much as I thought, or at least that my instincts aren’t always right!

Madeline L'Engle's 'Walking on Water' shaped Chris' understanding of Faith and Art

THW: Okay, other than Brian and Michael, who are the people who have really influenced you?  Let’s start with books.

CE: Hmmm? Walking on Water: Reflections on Faith and Art, by Madeleine L’Engle, Evangelical is Not Enough, by Thomas Howard; and God’s Fool: The Life and Times of Francis of Assisi, by Julien Green.

THW: Beyond individual books, any authors who have helped you over the years?

CE: Definitely!  Frederick Buechner, and Thomas Merton, in particular.  Also, G.K. Chesterton.

THW: You’re a TV writer, any TV shows really impact you?

CE: Yes, I really like The Shield, and The Wire, but I can think of more movies that actually influenced me: Rainman, Glory, The Empire Strikes Back, and Taxi Driver.

Chris lists an eclectic range of influences from 'Rainman' (1988) to the artist formerly known as 'Prince.'

THW: That’s quite an eclectic list.

CE: There are also musicians like the late Rich Mullins, and even Prince who have helped shape me as an artist.

THW: Any more?

CE: I could go on all day, but that’s enough for now.

THW: Okay, going back to The Shunning, I understand you got to be on set for the film shoot. What was that like?

CE: It was amazing seeing it all come to life.  The local North Carolina crew was exceptionally professional and cool.

THW: Did you enjoy the whole movie “scene”?

CE: Absolutely! It was fun to just loiter on set, behind the video monitor, in the wardrobe trailer, at the craft services table.

With Danielle Panabaker (center) and Emmy Nominee Sherry Stringfield on set, it's too bad we didn't get to see Chris in a cameo with Amish garb and beard.

THW: Any regrets?

CE: I tried to get onscreen as an Amish extra, but they wrapped early that day.  Oh, well. Maybe next time…

THW: I would have loved to see you in Amish garb.

CE: Me too!

-THW

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Don’t miss The Shunning: Saturday (April 16): The Hallmark Channel at 9pm (8pm Central).

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Other Two Handed Warrior TV Writer and Screenwriter Interviews:

Sheryl J. Anderson (Charmed, Flash Gordon, Dave’ World)

Dean Batali (That 70’s Show, Buffy the Vampire Slayer, Hope and Gloria)

Brian Bird (Touched by an Angel, The Shunning, Not Easily Broken)

Kevin Chesley (The Hard Times of RJ Berger)

Jessica Rieder (Leverage, Hawaii Five-O)

Monica Macer (Lost, Prison Break, Teen Wolf)

Michael Warren (Happy Days, Family Matters, Two of a Kind, Step by Step, Perfect Strangers).

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Also:

Chris Easterly on ‘Paparazzi in the Hands of an Angry God’ – Icons of Heroic Celebrity:

Randall Wallace (Braveheart, Secretariat) Speech to President Obama and World Leaders at the National Prayer Breakfast

Fresh story ideas a tough sell in Hollywood, by Nicole Sperling

Joel and Ethan Coen Spill Their Screenwriting Secrets to the Hollywood Reporter

 

Hollywood Responds to “Paparazzi in the Hands of an Angry God”

The goal of Two Handed Warriors is to foster an ongoing conversation seeking to redefine, re-envision, and then reconstruct the relationship between faith and culture.

Toward that end, I am posting a few responses to Paparazzi in the Hands of an Angry God from leaders in the Hollywood community in hope it might spur others to join the conversation. (Tomorrow, I will post responses from leaders in educational community.)

They begin with the most congratulatory and move on to the most critical, which is of course where all conversations get interesting.

They raise some important questions both those who build faith and those who create culture, and more importantly, for those who do both.

Read Paparazzi and the thoughts below and then jump into the conversation,

Gary

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I am no historian, theologian, philosopher, or qualified cultural critic, but your article hit a cord with me.  The whole idea of celebrity, pseudo or otherwise, is a fundamental dilemma for our culture in general and certainly for Christians in particular.  Well done!

David McFadzean
Writer, producer, and partner in Wind Dancer Films; Executive producer, Home Improvement (ABC), What Women Want (2000)

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Great article! Well done.  I wish this were still the case today: “Yet for a cultural hero to be a public role model, they need to be both virtuous and famous.”

John David Ware
Founder and President
168 Film Project
Burbank, CA

Great article. You cannot help but be humbled by the life of Edwards and Whitefield.

We are indeed…”called to be missionaries in a media‐driven culture. Wishing it weren’t so won’t make that fact go away. To impact our image‐driven generation for the kingdom of God will require entering the fray prayerfully, thoughtfully, and with great excellence.”

My great fear is that we may not now have men who have the humility and virtue needed to be used by God in the way He used Edwards and Whitefield.

I hope you consider composing a shorter version of this call for use in more popular Christian publications (for the less scholarly of us readers).

Michael Warren
Executive producer: Family Matters, Step by Step; Associate producer: Happy Days, The Partridge Family.

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I very much enjoyed your paper about Edwards and Whitefield and the notoriety they experienced.

I was just looking for a bit more differentiation between God-given celebrity and human-driven celebrity.  I just know of too many young Christian actors and writers out here who dream of being famous so they can be used of God, when it’s actually the opposite – letting themselves be used of God might lead to recognition.

I think the threads are all there, but I was looking for a paragraph or so on the last page that made those clear.  Your example of C.S. Lewis was well-chosen.  This was a man who would have very much preferred his solitude and small circle of friends, but responded humbly when the attention came.  Edwards and Whitefield had to have been similar in their approach to obeying God, wherever He led.

Jack Gilbert
Writing Program Resident Faculty
Act One: Hollywood Above the Line

Read more responses and join the discussion at: Paparazzi n the Hands of an Angry God