In part four, Doug Welch and I talked through the appropriate times to notice figures/symbols of Christ in characters and the inappropriate evanglistic uses of film by Christians. We also showed two pictures connecting Wall-E and the Pieta, but that’s neither here nor there…
LS: Two quick ones. We just saw The Help, and it was so good.
DW: Oh yeah?
LS: Yeah. It was solid. I was… like a baby.
DW: Wow.
LS: That was one of the things Tara and I talked about: Can film change people?
DW: Mmmmm. That’s a good question. It’s such an isolated event. You. There. With the film.
LS: For two hours.
DW: Two hours. It’s not conducive to conversation. People have conversations leaving the film, then get in their cars and go.
LS: We don’t have like film clubs where we watch fifteen minutes and…
DW: Right. Right. Break down a scene or something like that. Films have been forces for positive good. Documentaries certainly fit that bill. I would say…
LS: In an exposing sense.
DW: Right. Recently Waiting for Superman or The Lottery have been helpful in understanding what the nature of the problem in the educational system has been. Even An Inconvenient Truth or the Michael Moore films. The Belgium film Rosetta, which is about a young teenage girl who’s put to work, led to perform in employment, rules and laws about employing other people and the standards there. Certainly in a negative sense film changes us. Makes us immune to certain things.
LS: Like desensitized?
DW: Oh sure. Oh yeah. Glorification of violence. I think it already has to be there, but it amplifies whatever started there. Certainly pornography.
LS: Glorification of violence, depreciation of sex.
DW: Yeah. Whatever dehumanizes people. Or whatever, on the positive side, makes us human. Whatever celebrates us. That might change. I think…
LS: That’s something that, in The Help, the constant black on white [clasps hands together.]
DW: Mmmm. Touching.
LS: Lotta touch in that movie.
DW: That’s interesting.
LS: And not touching. There’s a moment, antagonist-protagonist, white and black, and there was no touching. There’s this tense pulse that this bubble has been broken and then you have the little white kids being held all the time and just crying over their things that happen to their “real mothers.”
DW: I think it’s a cumulative effect. I don’t know if it’s like one film that changes everything.
LS: We could even say that about novels.
DW: Sure, I think it’s the same thing. I don’t know if I’ve ever walked out of a movie saying, “I need to make better choices in my life.” Maybe… Maybe once in awhile. You think about…
LS: Schindler’s list.
DW: Yeah. Maybe…
LS: For generousity’s sake.
DW: Maybe. I dunno. I think it’s a cumulative effect. I think it’s… Do you watch films that celebrate what makes us human rather or do you watch films that dehumanize?
LS: The Saw series.
DW: The Saw series yeah or other torture porn. Do we watch films that try to understand who we are or films that just go on with our explosions to delay it? Good question.
LS: In light of what makes us human, what do you think the average person needs to think through next time they see a film that would be helpful for them not just to be a consumer, but to be an active participant, to, the word I’ve been using is “Literate”, to reflect on it. To really process through what was helpful and what wasn’t, which might be different for different people.
DW: I think that’s true. I think the more you can think about how a film is depicting the certain choices a character makes and why they choose certain things and how that relates to you in a way that you can put yourself some way in the movie. How does the director want us to see these characters, this choice, this story, this desire? How many times has a director just by the view of all the tricks at their disposal, been able to create in us a yearning for something we would not want in any other situation. For example, adultery. How often in a film do the circumstances show “oh her husband is a soulless jerk.”
LS: Literally “out of the picture.”
DW: Out of the picture, and he’s really inhumane in some ways. Then there’s the other guy who’s blah-blah-blah and they get together and blah-blah-blah and we celebrate it. I would not be for that in any way, in any means.
LS: Why am I now rooting for it?
DW: Right. Where the criticism comes: why did I become a different person when I watched this when that’s not who I am really? Would I be the kind of person who takes vengeance… Well the film is creating in me the desire to do that. This person needs to die, and I want this person to die. Violently. As violently as possible.
LS: Se7en.
DW: Sure. That’d be one. There’s lots of good examples of that. No chance for redemption. That’s not who I am. So what does that create in me. It’s creating this desire for self, this desire for pleasure above all things. That’s where the criticism helps. What are these choices? Then we critically look at them. How was it that I became this other person watching this film? I would rather they restore this marriage and… that’s not the choice that’s presented before me. This is not choose your own adventure.
LS: Which…[laughs.]
DW: Everybody? If you want her to leave him, then…
LS: [laughs.] Final Destination 3 is. On the DVD.
DW: Is it really? That makes sense that someone would do that on the DVD.
LS: [laughs.]
DW: That’s where you have to think critically and separate yourself from the film. Otherwise it just becomes this desire for sheer mindless consumption. That’s one reason I started my little film journal. It’s not anything important, it’s just making sure that I’m thinking critically through this. What is striking me? Whether it’s angles depicting, editing, imagery, color, score… sometimes score.
LS: Unless it’s Inception, and there’s trumpets in your face.
DW: Even then, it’s just background noise.
LS: [laughs.]
DW: Or the lack of score in some cases. It’s the quiet or the sounds of the city streets. I think that’s it. As a Christian, where is the Gospel here and how does what I have as a believer intersect with the story? How does it deconstruct? How does it change or give me an alternate way of living? I’m not a slave to my passions. I’m not a slave to other people’s expectations or social conventions. These other people trapped in this world and context. I saw a trailer for this new science fiction movie In Time. Did I tell you about this?
[youtube=”http://www.youtube.com/watch?v=fdadZ_KrZVw”]
LS: You told me about this, yeah.
DW: It’s an interesting trailer. Good trailer. It’s the latest from Andrew Nicole who directed Gattaca.
LS: Oh right.
DW: And a couple of other things. Written some things. But Gattaca’s one of my favorite all-time films. But this film’s an interesting concept: everybody’s as old as you get. Image-wise, here’s this entire film of twenty-five-year-olds. Every actor needs to be able to play twenty-five.
LS: So like twenty-two to twenty-seven.
DW: Well probably… Justin Timberlake, I think, is thirty.
LS: [laughs.]
DW: Olivia Wilde is twenty-seven and plays his mother. Right? So you have this entire film of good-looking twnety-five-year-old people. That’s the context! Now what does that say about culture. What does that say about who we are and who we hope to be? For. Ever. Young. Life as a Calvin Klein commercial or an Abercrombie and Fitch catalog. That’s what this is! I’m hoping with the film it’s: what is the cost of that? Is there hope out of that? What kind of hope do we have out of that? This desire for youth above all things, vitality, life, this kind of life above all things. What am I willing to pay? What am I willing to do to maintain that? That’s an interesting question and I think that’s a great subject, so I have high hopes. I like the trailer. I hope it’s good. Hope Timberlake can act.
LS: If he can, he’s a renaissance man.
DW: He is.
LS: I mean, he already is.
DW: Surprised not to see James Franco in it. He’s the renaissance man.
LS: And he’s the one that’s always critiquing forever young.
DW: Yeah, right. Sort of the James Dean.
LS: Rebel Without a Cause.
DW: Right. So all of those things at play. In the end, it has to be an action film, so I’m sure it’ll be that. You’ve gotta have these themes and set pieces, but in the end those things don’t matter. What matters is motivation and choice and what options the director gives us as we view this film.
LS: And how far he limits that.
DW: Yeah. As Christians, there’s a third way.
LS: Mmm.
DW: A way to think more critically. A way to think more… I like what Bruggeman says: “We need to act more creatively, more fluidity in culture.”
LS: Being able to move in and out of social groups kinda thing?
DW: Yeah, exactly, which is not I take a step into one and say “this is my approach. Every single time.” Which is what American Family Association and Donald Woleman are saying.
LS: Dobson.
DW: Dobson, yeah. “Our approach to culture is monolithic. You say this word once, you get this many points. Minus this many points. Showed this much skin. You have this sort of political agenda.”
LS: [laughs.]
DW: In the end, they’re captive to their audience.
LS: Donors.
DW: They’re captive to their donors, yeah, captive to their audience. People expect this kind of thing. If they recommend a movie that their audience is offended by…
LS: It’s over.
DW: It’s over, yeah, ministry-wise. Tail wagging the dog there. It’s a different kind of audience and consumer, but imagine if there was a film recommended on the Focus on the Family website and “Oh this is a good film.”
LS: [laughs. giggles.]
DW: It happens to me! That’s why I don’t recommend a lot of films or I’m cautious to who I recommend films to. THIS film! “Yeah, well that had this scene in it.” Yeah, you’re right, I’m a terrible person.
LS: [laughs.]
DW: You should never accept any recommendation I ever make ever again in my life.
LS: I had that the other day. Talked about a film and some guy was like, “REALLY?! You liked that movie?!”
DW: Mallick films especially. I liked New World. It was interesting. Visual. You know?
LS: It was art.
[youtube=”http://www.youtube.com/watch?v=Xn7hHKVrTMY”]
DW: Yeah.
LS: Two-and-a-half-hours of art.
DW: Yeah. Some think it’s so boring. “See? You didn’t bring anything to the movie, did you?”
LS: [laughs.] You don’t have a kit.
DW: A kit. A film kit.
This interview concluded in next week’s Ask the Experts!
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