From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #977 Reply-To: aml-list Sender: owner-aml-list-digest@lists.xmission.com Errors-To: owner-aml-list-digest@lists.xmission.com Precedence: bulk aml-list-digest Monday, February 17 2003 Volume 01 : Number 977 ---------------------------------------------------------------------- Date: Tue, 11 Feb 2003 08:53:19 -0700 From: "Tyler Moulton" Subject: Re: [AML] _Ender's Game_ Movie Luann Staheli wrote: >>>Annette, I agree. Ender's Game was such a powerful ending, I hope I'm not disappoint= ed. I also loved Ender's Shadow, but for different reasons. I can see why = they might decide to combine the two though because Shadow's ending was = anti-climatic after reading Game.<<< I had exactly the opposite response. The first time I read Ender's Game I = loved everything about it except the ending. There was no surprise to it = simply because I could see how many pages were left and, well, what else = could happen? In subsequent readings, since I wasn't looking for any = surprise, the ending was completely satisfying.=20 My response to Ender's Shadow was also completely different. But I want to = back up just a bit. Immediately prior to the release of Ender's Shadow, I = read Card's Stone Tables, which I thought was a good read, but not = terribly compelling. I chalked it up to the difficulty of fleshing out a = story that the reader already knows--sort of like writing a novelization = from a film. But then I read Ender's Shadow where I was not only familiar with the = overall plot, but even knew what to expect from the dialogue through much = of the second half of the book. The amazing thing was that Shadow offered = more surprise for me than Game. Seeing these familiar events through a = different character's eyes gave them a completely different meaning. = Card's writing brilliance was evident in how he could take the same = dialogue and transform the meaning by changing POV. For me, the ending was more powerful from Bean's perspective, knowing what = was going to happen, than through the attempt at surprise by following = Ender's POV. So I'm actually hoping that in the film they don't try for a = surprise ending, but let the audience sweat, knowing what the brilliant = Ender doesn't know and the tragedy he's stumbling into. Tyler Moulton - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 11 Feb 2003 13:35:49 EST From: RichardDutcher@aol.com Subject: Re: [AML] Slate Commentary on CleanFlicks Lawsuit In a message dated 2/10/2003 10:05:50 PM Mountain Standard Time, maryaagard@yahoo.com writes: << In another post Richard Dutcher said that even if nobody ever sees a painting, it still is a work of art and exits on its own. I have to say that this statement doesn't quite work with movies. The reader/viewer is essential to the creation of the film because a film is made to be seen. It is a collaborative art that requires a viewer to be whole. >> I disagree with this, Mary. I have to believe that if I make a film (or write a book, sculpt a sculpture, whatever) which absolutely nobody sees, it still has value, identity, wholeness. It is still a whole creation. Whether anyone receives nourishment from it is another matter, over which I have no control. I do not agree with the common statement that "a film is made to be seen." Not all films. A film can be made to be made, nothing more. In fact, dare I suggest that the more independent an artist is from an audience, the more pure his work will be? (Please do not forward this post to my friends at Universal Studios.) We are so far from this way of thinking. A film, or any other art work, can truly be the product of worship. It can be an offering, even a private offering. It doesn't need approval from an audience, or even the existence of an audience, in order to validate its own existence. It, and its creator, must have the maturity and confidence to stand alone, if necessary. Art does not need an audience. The audience needs the art. (Having said that, I should mention that Eric Samuelsen's play "The Way We're Wired," currently at the Nauvoo Theatrical Society, does need an audience. Or, more precisely, the artists and the theatre need an audience if they want to keep producing LDS plays. So let's all go!) Richard Dutcher - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 11 Feb 2003 19:57:23 GMT From: daryoung@juno.com Subject: [AML] Great Irreantum, Samuelson Play Once again I really savored my Irreantum. I'm so glad you're doing it, Chris. I especially liked all the reviews. My movie and book lists have been beefed up. I'm especially interested in Eric Samuelson's play, "Peculiarities," which got such a good review. Has it been published anywhere? How can I read it? ________________________________________________________________ Sign Up for Juno Platinum Internet Access Today Only $9.95 per month! Visit www.juno.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 11 Feb 2003 16:47:42 -0600 From: Linda Adams Subject: Re: [AML] CleanFlicks Lawsuit At 11:11 AM 2/7/03, you wrote: > >>There is a new company being formed called Foulflicks. They're >going to > > take family friendly films and rerecord certain sections of the dialogue; > > loop in some swearing to give the film a gritty realism.<< Oh, this already happens. It's called a "remake." :-) Linda Linda Adams adamszoo@sprintmail.com http://home.sprintmail.com/~adamszoo/linda - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 11 Feb 2003 16:23:07 -0800 From: "Susan Malmrose" Subject: Re: [AML] Movie Music > Film is the most powerful art medium there is for evoking emotions. > Music is the second-most. > D. Michael Martindale My first instinctive reaction when I read this was, no way! Music is way more emotional for me. But then I thought about it--there are a few films that have moved me more than most music does. But only a few. Whereas there is a whole ton of music that is very emotional for me. But that's just me. :) On the topic of how music/soundtracks are used in movies, I loved the use of songs in Forrest Gump. So many songs had lyrics that matched the scenes. One scene in particular that has always stayed with me is the one where Robin Wright Penn is all beat up and all coked up, and the Doors' "Don't You Love Her Madly" is playing. She walks up to the mirror-covered wall of the disco pad she's in and looks at the bruises on her face just as the song says, "Don't you love her face," and then leaves the apartment to the line, "Don't you love her as she's walking out the door." Susan M - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Tue, 11 Feb 2003 20:31:12 -0500 From: "Eric D. Dixon" Subject: Re: [AML] Movie Editing at BYU D. Michael wrote: >I'm confused. In my copy of "Christmas Story," there are no swear words. >(No, I didn't get it from Clean Flicks.) There is swearing, but it's >comically represented by gibberish words that are not swear words. The >movie is already self-censored. > >So are you saying that they blanked out the fake gibberish "swear" words? There was a tiny bit of what many people would regard swearing, which was removed in some versions, as well as some made-up stuff: http://us.imdb.com/AlternateVersions?0085334 Eric D. Dixon - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 00:54:28 -0500 From: Justin Halverson Subject: Re: [AML] Gospel in Art Richard, Thank you for responding so directly. I'm not making any demands on artists. I was just disagreeing with your comment in an earlier post where you wrote: <> In your most recent post, though, you write that "no one has ever achieved the ideal you are presenting." I completely agree, since I think that if it were "not artistically impossible," someone certainly would have achieved it by now. On this, I think we're essentially in agreement--that certain works (_Grapes of Wrath_, etc.) can *approach* a representation of the essence of the gospel, but that none fully *achieve* a representation of the essence of the gospel. To demand that an artist *achieve* such a representation is unreasonable and impossible. You then write that "you are making a statement that is simply not true. The gospel, although available to all within the reach of our missionary efforts, clearly does not speak to everyone." Perhaps it's just semantics, but, I would argue, the essence of the gospel--the Atonement--*does* speak to everyone. If it didn't, it couldn't be eternal and infinite (as it needs be) or of any use to even one of us. It speaks to everyone, but not everyone responds (something Christ knew would happen; "every*one*" itself is a term that reflects our individual non-universality)--and I'm not referring at all to the Church's missionary efforts. Before this statement is interpreted as condemning those of your and my good-hearted friends for not becoming Mormons, let me say that for me the essence of the gospel is not the cultural packaging in which it is so often presented (ie, "Singles Ward", the missionary program), and which can often be a stumbling block for people, even those already baptized or those trying to share it as missionaries. The "essence of the gospel" as I'm trying to employ it in our discussion is what makes it possible for your friends to be good-hearted and for staggering geniuses like those who created _Grapes of Wrath_ and "Brigham City" to do what they do. The essence of the gospel, though, is universal (which means it speaks to everyone)--like no art is. My friend from Bulgaria *can* have just as enriching and saving a relationship with Jesus Christ as I can, even though we disagree about the artistic merit/skill of particular artworks because art and the gospel are fundamentally different. Art is human, produced in and tailored to a specific cultural community. The essence of the gospel is not (though its various human cultural accoutrements often are, even when they pretend not to be). Of course the fact that some people don't connect with any particular work of art doesn't mean that that particular work of art isn't of great value to someone else. I think, though, that we tend to lump art and the gospel together in a group as contrasted to science or business or history (cf. the thread on what's appropriate for AML award nominations). There are probably a number of reasons for this conflation--art, as Laraine Wilkins recently pointed out, is tied in archaic cultures to religious practice. Certainly many people experience an intensity of emotional and physical satisfaction from art that they find parallels to only in religious contexts. I know I do. My point is that such a grouping is, at its heart, artificial and ultimately divisive if carried to its extreme. I guess I just have a real problem with anyone--even those of unprecedented humility--who attempts to dictate, via a set of pre-judged criteria, which works of art will lead me toward the divine, whether it's people forbidding me to watch R-rated movies, or those refusing me the possibility of any positive experience watching "Singles Ward." You wrote, "no matter how many people fail to appreciate The Grapes of Wrath or "Brigham City," these are still excellent works by men of staggering genius and unprecedented humility." Though I appreciate the self-deprecating ending of your sentence, your use of the word "fail" in connection with aesthetic appreciation demonstrates exactly how valuing the specific material artwork above the viewer's experience of it (a hierarchy that seems to privilege human creation over human beings themselves) can work to push a community apart. Though she "failed" to get it, _The Grapes of Wrath_ is still an excellent work--*to you.* No matter what it is to you, or to anyone else, it is *not* to a lot of (to borrow your earlier words) "other intelligent viewer[s]." My student's "failure" to appreciate _The Grapes of Wrath_ is precisely not a failure. It's simply a difference, with absolutely no moral consequence whatsoever (unless she then goes around telling people that anyone is wrong--or spiritually corrupt--who "fails" to see how spiritually degrading Steinbeck's novel is). If you're going to tell Laraine that she brought *everything* she got out of "Singles Ward" to the theater with her--you wrote: "Your education, background, and personal philosophy provided depth for you in the experience of evaluating this film. I would argue, however, that the movie provided no such depth. You brought it with you"--then it seems to me you have to be willing to make the same argument for your own films, unless you can illuminate exactly what about your films (or any film, for that matter) makes them more essentially--and thus more universally--meaningful than another. On a personal note: I'm not saying--nor do I think--that you're implying that those who don't agree with you aesthetically are morally corrupt or inept. I'm just using the argument you've voiced to try to point out that identifying the power of art with the particular work of art itself (and thus attributing to the work of art some sort of universal essence, which I would argue can necessarily be claimed only by the Atonement) is a dangerous notion, especially for a group of people trying to be (though certainly not homogenous) one. Here's a thought (but not thought through): wouldn't a work of art that possessed such an essence in and of itself (that shared the essential universality at the core of the Atonement) be equal in power to the Atonement--a sort of philosopher's stone, a holy grail? Also, though I wrote in my last post that Brigham City didn't work for me (something I'd really like to discuss with you either on or off The List, but haven't brought up since I'm a newcomer and wasn't sure if it had already been discussed), I don't want to imply that I don't think you're doing great things for cinema. In fact, you may not remember, but I ran into you one afternoon in the nearly empty East Bay Provo Blockbuster and told you that I really admired your work and hoped you kept making films. I do. Justin Halverson - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 01:16:05 -0500 From: Justin Halverson Subject: RE: [AML] Gospel in Art Isaac Wolfe wrote: >Justin Halverson wrote: >"However, I would only say a work has "achieved"--and not >"approached," as many, many works have--a representation of the divine when >that work is as universally accessible as the gospel, when it does what >Christ's atonement does: speak to *everyone* no matter their language, >tongue, etc." > >It seems to me that the defining characteristic of what you're describing >is arts ability to speak across language barriers. Thanks for calling me on this--language can be very slippery (especially in the hands of someone like me who doesn't express himself well). I was going for a broader, more metaphorical definition of "speak"--something more like "reach out." By "language, tongue, etc.," I meant that the Atonement can and does cut across all sorts of cultural barriers--not just linguistic ones. As you rightly point out, visual and plastic arts seem to be more able to achieve this "translation," but I think even they fail to escape their own specific cultural and historical origins. The gospel apparently has no (temporal) origin and no history, and so isn't limited at all by them. >Justin Halverson wrote: >"If there was something *inherently* gospel-related--some essence of the >gospel--in the text itself (or the sculpture or the film--both of which >I've seen and love) wouldn't these students and everyone else have been >able to access it?" > >The argument that in order for art to be like the gospel it must be >universally accepted by all who encounter it seems flawed to me. The >gospel is not universally accepted. If it were missionaries would have >100% success rate with all of those they teach. You're right--that argument is flawed. Of course not everyone accepts the gospel. But I said that if there were some essential connection between the gospel and the artwork that the students who wanted to *access* it--who put in the effort, which they did (more than many investigators I know)--would have been able to. Acceptance is not the same as access. The gospel is not universally accepted, but it is universally accessible. >Art, like the gospel, meets people at their own level of readiness. I'm not so sure, since this would require me to be ready for something essential and immutable in the artwork, wouldn't it? I don't think that art is essential and that's precisely where the distinction between art and the gospel lies. > An individual who is not prepared and ready will not accept the > gospel. Likewise, individuals will have differences of opinion about the > spirituality of different works. I know many people, many of them my own > family, who think that "Together Forever" is one of the most spiritually > uplifting films they've ever seen. I find it one of the most emotionally > manipulating, anti-gospel things I've ever seen. But who am I to deny > the spiritual experiences that they have had? Are those experiences > invalid just because I didn't have them? I can't say that. Likewise, I > have every right to strive to create something that I feel better > incorporates the gospel in its content and form. I would suspect that > many of my family who enjoyed "Together Forever" would come to my show > and be completely mystified by what was going on and leave without the > spiritual experience I would hope they'd have. The Spirit speaks to us > at our own level and in a way that we can understand. It uses a variety > of ways and means as instruments to do that. It seems to me that the > task of an artist who is trying to incorporate the gospel into their work > is to listen to the spirit while creating that work in order for the > spirit to speak to somebody. I completely agree with you. It's this acceptance of others' differing aesthetic experiences I'm advocating. Justin Halverson - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 00:14:27 -0700 From: "Thomas C. Baggaley" Subject: RE: [AML] Movie Music Mike South said -- >I do wish they had also released Sam Cardon's excellent score. If you want to hear a good Sam Cardon score, check out "Little Secrets". In my opinion, it was the best film released during 2001 of all the films with a mostly LDS cast and crew. It's really unfortunate that so few people caught it while it was in the theaters. (Luckily, it's just been released on DVD and video, and as a bonus, a CD of Sam's score is included with the DVD.) >I agree that music can have a profound effect on the audience. That's what >I was thinking about when I asked if using music in storytelling is >inherently manipulative. I think that music tends to speak more directly to >our emotional centers. If you are defining manipulative as speaking to the emotional centers, bypassing the analytical side of the brain, leaving us, therefore, defenseless against its powers, I would tend to argue that it is because the music speaks to the emotional centers that it would have a harder time being truly manipulative in this sense. I think the emotional centers of our brains are more adept than we give them credit for in detecting insincerity and manipulation. The problem may be that most of us don't trust our feelings enough, so we are more easily manipulated through twisting around the logical side of the brain. I would argue that for that reason, in order for music to be successful, it must be sincere, real, even genuine. Also, although we often speak of the "language" of music, music - in itself - is a very clumsy medium for expressing most kinds of ideas. At best, it can only express things through symbolism and generalities. It requires other things, such as words and images, which would activate the analytical side of the brain, to give more specific shape to these things. Certainly, the combination of specific images and/or words with music can be very potent. But I would not say that this makes music "inherently" manipulative in the sense that you seem to be talking about. Part of my reasoning for this lies in the fact that music relies a great deal on a person's previous musical listening experience to communicate. In most cases, there is nothing inherent in the music itself that necessarily gives it the associations we place with it. It is because of associations that we have made with similar music in the past that we understand the music we hear the way we do - things that are culturally and experientially taught and understood. Film composers (such as myself) rely a great deal on these associations in our work - whether most composers realize they are doing this or not. I could go on for a whole semester on this subject (and actually have in the past) so it's very challenging to create the condensed version of the Reader's Digest version of the abridgement of the reformed Egyptian transcription of this whole topic, but hopefully you can get a sense of where I'm heading with all of this without first laying down all the groundwork and psychology involved. >I mentioned in another post an idea for helping musicians and filmmakers >(and I think I'd like to add writers to the list too, now) get together. I >think that independent artists do what they do because of a love of the >craft, not just for the hope of breaking into the big-time (though that >idea is always in the back of your head, of course). I think that like- >minded people at this level of their careers would be motivated to create >great work at great sacrifice. I wonder if it can be done. I think I saw something about that in one of your previous posts. There are things being done all the time to try and facilitate those kinds of connections. Of course, in the end, mostly it's going to be driven by filmmakers' need to find musicians and musicians efforts to find the filmmakers who need their services and through a network of LDS film and music professionals that is slowly developing in various forms. They say Hollywood is a small town. It really is. Since you rely so much on your connection to the network to find work, you really have to make an effort to stay connected with the people you know in the business and constantly look for opportunities. If I remember my initial gut reaction to your other post, it was to remind you that there is an awful lot of time, training and expense that goes into even just the music part of a film. I have a vague recollection of being under the impression that a lot of this was going to be done on a volunteer basis - for little or no pay. Believe me, there is plenty of work out there for musicians who are willing to do it for free. But at some point, you start to realize that it is taking so much of your time and efforts - and in order to meet the kinds of deadlines that you must meet, it has to become a full-time thing for you if you're going to do it well - you soon realize you've got to get enough of an income from it to support your family because the demands of the craft are just so great, it just doesn't work very well as a hobby or a part-time thing. I think that's a reality many film professionals face, not just composers. It's not about breaking into the big time for most of them. It's just being able to find enough consistent paying work to provide for your family. >I haven't really seen any LDS-themed music videos. Does anyone know if any >exist? Jericho Road has one out. The problem is really a venue. There's considerable financial and time investment involved in making a music video and with out an LDS MTV out there to give play time, what's the point? Of course, even though I'm a musician and was a teenager when MTV first hit the scene, I've never had much interest, myself, in the music videos. I've always personally considered the format unwatchable - - even as a film composer. It's a part of pop culture I may never understand. Thomas - ---------------------------- "Of course, there should be a structure, an architecture to any score. It's not a piece here and a piece there. It has to be thought out. You can't approach each cue as a separate piece of music." - Jerry Goldsmith, composer Contact info: Thomas C. Baggaley Composer 9446 Fox Hunt Drive Sandy, Utah 84092 Tel: (801) 942-3580 E-mail: thomas@baggaleymusic.com Web page: http://www.baggaleymusic.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 17:57:26 +0900 From: "Kari Heber" Subject: [AML] Validity of Memory (was: Movie Editing at BYU) D. Michael Martindale wrote: Kari Heber wrote: > In 1985, when I was at Ricks College, they showed "A Christmas Story" on > campus, and then proceeded to blank out every swear word that was said by > the father, and the swear word uttered by the son when he realizes his > secret decoder ring is advertising for Ovaltine. As Thom as stated, it was > laughable. Unfortunately for those in the theater, my friends and I > proceeded to loudly fill in the blanks. I'm confused. In my copy of "Christmas Story," there are no swear words. (No, I didn't get it from Clean Flicks.) There is swearing, but it's comically represented by gibberish words that are not swear words. The movie is already self-censored. So are you saying that they blanked out the fake gibberish "swear" words? - -- [now Kari's new message] Ok, so now I am not certain of this memory. I haven't seen the movie in about 10 years so I can't say for sure. It probablys says something about my state of life if we were shouting out cuss words when there weren't any there. But I could swear, pun intended, that there were gaps in this movie we were filling in. This raises an interesting topic that I don't recall having seen discussed on this forum. There has been a fair bit of research and subsequent press given to the accuracy of memory, particularly in a few criminal cases where a conviction was made on the basis of eye witness identification only to be proven wrong by DNA evidence many years later. >From a literary standpoint, what do all of you writers feel about writing based on memory? Particularly, as a reader (and definitely a non-writer) how much should I believe when I read any form of literature that is primarily based on someone's memory of events? Or should it even matter since what they are relating is their perception, whether factually acurate or not? Kari Heber Okinawa, Japan - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 07:50:26 -0500 From: "Tracie Laulusa" Subject: Re: [AML] Gospel Allusions in Films Yes, her mom is on the list, and enjoying her venture into serious discussion of literature and Mormon related issues. Robin McKinley's Damar books are J/YA fantasy. I'd never considered Aerin as a Christ figure, but now that you mention it, Jamie, you could certainly make a case for it. Part of the equation is definitely the viewer/reader as opposed to the writer. If you are Christian you are much more likely to see things as connected to Christ than a non-Christian would--all things testify of Christ--, no matter what the author intended, unless it was a very blatant figure, such as the Omega man (I think!). A child who has never attended a Christian church might read Narnia and not realize that Aslan is a Christ figure, even though that also is fairly blatant. Tracie Laulusa - ----- Original Message ----- > > And which would be more valuable? Who makes a better Christ figure, > > the very blatant Aslan from Lewis's Narnia, or the more subjective Aerin > > from McKinley's Damar? Or does it even matter? > > Don't know that second reference--so much to read, so little time. But you > make an interesting question. Given that we all knew of the savior and his > mission in the pre-existence, he really does exist in some sort of Archetypal, > collective-unconscious way that transcends time and culture, Good Guy. All > things testify of him (on some level) and any decent hero is automatically a > Christ figure. The challenge then for us as an audience is to find him in all > things. Even those blankety-blank "R" films... > > > > ~Jamie Laulusa > > ....that you can watch when you're old enough. Does your mom know you're on the > internet talking to old people? > > Tony Markham > Delhi, NY - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 07:02:14 -0700 From: "Thom Duncan" Subject: RE: [AML] Diversity of Mormonism (was: Singles Ward) >McDonald's) and not Mormonisms. The Singles Ward portrayed a >certain Mormonism; God's Army portrayed another Mormonism. My problem with movies like Singles Ward and musical like Saturday's Warrior has more to do with their near-crazed popularity among Mormons. To me, the church, its members, its doctrine, practices, and culture are way too important to be treated with anything less than the absolute best efforts (not intentions) of the artists. I realize that Strugeon's Law holds forth even among Mormon artists, but I've always secretly wished it didn't. And it is depressing that such light fare as both SWs are so wildly popular. Let them exist, but also let them be moderately successful. Because what does it say about the Mormon audience that SW has become a "must-see" among Mormons? Are we, who believe we are admonised to seek after the best of everything, not getting the message? Are we, like the unenlightened world which we regularly condemn in our sermons, so shallow that we embrace the obvious over the asthetic? Thom Duncan - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 12 Feb 2003 08:31:17 -0600 From: pdhunter@wt.net Subject: [AML] Box Office Report Feb. 7 03 Feature Films by LDS/Mormon Filmmakers and Actors Weekend Box Office Report (U.S. Domestic Box Office Gross) Weekend of February 7, 2003 Report compiled by: LDSFilm.com [If table below doesn't line up properly, try looking at them with a mono-spaced font, such as Courier - - Ed.] Natl Film Title Weekend Gross Rank LDS/Mormon Filmmaker/Actor Total Gross Theaters Days - --- ----------------------------- ----------- ----- ---- 5 Final Destination 2 8,389,650 2,834 10 A.J. Cook (2nd-billed actor) 27,876,495 46 The R.M. 74,397 15 10 Kurt Hale (writer/director) 254,642 John E. Moyer (writer) Dave Hunter (producer) Cody Hale (composer) Ryan Little (cinematographer) Actors: Kirby Heyborne, Will Swenson, Britani Bateman, Tracy Ann Evans Merrill Dodge, Michael Birkeland, Maren Ord, Leroy Te'o, Curt Dousett Wally Joyner, etc. 55 Shackleton's Antarctic Adventure 26,126 9 731 Scott Swofford (producer) 13,940,663 Reed Smoot (cinematographer) Sam Cardon (composer) Stephen L. Johnson (editor) 60 Cirque du Soleil: Journey of Man 17,050 5 1011 Reed Smoot (cinematographer) 14,890,607 67 Jack Weyland's Charly 13,144 15 136 Adam Anderegg (director) 732,258 Jack Weyland (book author) Janine Gilbert (screenwriter) Lance Williams (producer) Micah Merrill (producer, film editor) Tip Boxell (co-producer) Bengt Jan Jonsson (cinematographer) Aaron Merrill (composer) Actors: Heather Beers, Jeremy Elliott, Adam Johnson, Jackie Winterrose Fullmer, Diana Dunkley, Gary Neilson, Lisa McCammon, Randy King, Bernie Diamond, etc. 79 Handcart 3,518 4 122 Kels Goodman (director/DP) 83,085 Dave Sapp (producer) Mark von Bowers (screenwriter) Eric M. Hanson (composer) Actors: Jaelan Petrie, Stephanie Albach Chris Kendrick, Shannon Skinner, Gretchen Condie 81 Galapagos 2,742 4 1200 Reed Smoot (cinematographer) 13,925,622 83 The Slaughter Rule 2,284 3 31 Ryan Gosling (top-billed actor) 9,820 88 China: The Panda Adventure 1,080 3 563 Reed Smoot (cinematographer) 2,995,080 92 Mark Twain's America 3D 567 1 1683 Alan Williams (composer) 2,296,524 THE R.M. REACHES $250,000 IN ITS SECOND WEEKEND - After only 10 days in the theaters, "The R.M." has grossed $254,642, one-fifth of the total gross receipts for "The Singles Ward" in its entire theatrical run. SHIRA'S OUTRAGEOUS CASTING - This thing just keeps sounding better and better. We previously passed along word about Bill Shira's feature length film "Where Rivers Meet," which completed shooting on location in Idaho and is now heavily into post, targeting a late 2003 release. When we were first told some of the cast included in the film, we thought that somebody was just trying to pull one over on us. I mean, it's like somebody just got a list of the most talented, experienced Latter-day film stars based in Utah and claimed they were making a movie. But we looked into, found Chamber of Commerce info, local newspaper accounts, etc. and yes, this is a real film. Now we have learned that Connie Young (female lead in "The Singles Ward") and Jan Felt (who is required by state law to play "The Mom" in all movies filmed in the state of Utah) are ALSO in Bill Shira's movie "Where Rivers Meet." Not cameos, but major supporting roles. Wow. These added to the already unbelievable cast that includes Jaelan Petrie ("Handcart"), Tayva Patch ("Brigham City", "Out of Step"), Rick Macy ("Brigham City", "Testaments", "Out of Step"), Marvin Payne ("Pure Race", "Saturday's Warrior"), Bruce Newbold ("Testaments of One Fold and One Shepherd", "How Rare a Possession", "The Lamb of God"), Julie West, and Joan Mullaney. (Felt has been cast as Sariah in Rogers Book of Mormon movie, and has already been seen as the mom in Blair Treu's "Little Secrets", Eric Hendershot's "Message in a Cell Phone", Disney's "Poof Point" and T.C. Christensen's "Bug Off!") And the cinematography by is by George Griner, so you know this is going to look amazing. The production budget was $750,000, which is more than most locally-organized films to date. For those of you keeping track at home, this means that Shira's movie has in lead or supporting roles actors who had lead or major supporting roles in 5 out of the 8 LDS Cinema movies released so far (everything except "God's Army", "The Other Side of Heaven" and "The R.M."). PLUS Shira's movie features the best known actor from "Saturday's Warrior" (Payne) and the lead from "The Testaments of One Shepherd and One Fold" (Macy), which are arguably the 2 other films one would add to a list of the 10 biggest, most popular LDS-made/LDS-themed narrative feature-length films to date. ("Saturday's Warrior" was a direct-to-video release and "Testaments" was Church-produced, so they're not precisely in the same category normally spoken of as "LDS Cinema.) See... now you're going to think we're just pulling your leg or something. But we've heard about this from multiple people and sources, and press materials and a DVD with a trailer is on its way to LDSFilm.com H.Q. I don't know what the story is yet (well, actually I think I do, but I haven't officially been told yet), but with Griner as D.P. and with Macy, Newbold, Patch, Payne and Petrie in front of the camera this will be worth watching even if it's about watching paint dry. MORE HANDCART DATES - More dates are being added for Arizona and Washington State. But for now, this is a reminder to go see Handcart at the Harkins Superstition in Mesa, Arizona starting today (Feb 7). It is playing for a limited engagement, so catch it during this limited time. Check the handcartthemovie.com website for more information. LITTLE SECRETS OUT ON DVD - Don't forget that "Little Secrets" is now available on DVD and video. Buy it on DVD or video everywhere. It was distributed theatrically by Samuel Goldwyn Films, and is distributed on video/DVD by Columbia TriStar. This is far and away Latter-day Saint film director Blair Treu's best feature film to date. It grossed only about $500,000 theatrically, which means far too few people saw what is really a marvelous family film. Ebert gave it 3 out of 4 stars. Filmed in Utah with an almost entirely LDS cast and crew, although the characters aren't LDS. Latter-day Saint actors in major roles in the movie include Danielle Chuchran, Tayva Patch ("Brigham City", "Out of Step"), Jan Broberg Felt, Rick Macy ("Brigham City", "Out of Step") and Caitlin E.J. Meyer. Watch Danielle Chuchran here before her breakout performance as Thing 1 in Ron Howard's "Cat in the Hat" later this year. The DVD includes a feature-length director's commentary. This movie was released the same week as "S1mone", another movie starring Rachel Wood. Wood is also known for her starring role on the TV series "Once and Again". In "S1mone" she played Al Pacino's daughter. Just a supporting role. But in "Little Secrets" she is the lead actress, and gives an INCREDIBLE performance as a teenaged violin prodigy. Vivica A. Fox (Will Smith's girlfriend in "Independence Day") also is great in her supporting role as Wood's violin teacher. Music by Sam Cardon ("Brigham City"). Brian Sullivan's jaw-dropping cinematography. If you have kids, this is one to own. PRESS RELEASE FOR DISNEY'S OTHER SIDE OF HEAVEN - Walt Disney Home Entertainment presents THE OTHER SIDE OF HEAVEN, the true story of a young man's life-affirming journey to the remote island of Tonga, available on Disney DVD and VHS on April 1. This moving, heartfelt coming-of-age adventure stars Christopher Gorham (TV's "Felicity;" "A Life Less Ordinary") and Anne Hathaway ("The Princess Diaries," "Nicholas Nickleby") in an amazing voyage of discovery that will enchant the entire family. Directed and written by Mitch Davis, this inspiring film is produced by Academy Award-winning producer Gerald R. Molen ("Schindler's List," "Jurassic Park," "Minority Report"). On Disney DVD for $29.99 (S.R.P.) and on VHS for $19.99 (S.R.P.). Dick Cook, Chairman of Walt Disney Studios, comments "This is a wonderful family film that we at Disney are extremely excited and proud to present. It takes you to an amazing locale and tells a story that touches everyone, young or old." THE OTHER SIDE OF HEAVEN is the remarkable real-life journey of 19-year old John Groberg (Christopher Gorham), who travels to far-off Tonga in the 1950's to become a missionary. Through personal letters his challenging and remarkable adventures with the Tongan islanders and their culture are shared with the love he left behind, Jean Sabin (Anne Hathaway). The film is based on Groberg's touching memoir of his epic journey, In The Eye Of The Storm. Shot in spectacular locations around the Cook Islands and New Zealand, THE OTHER SIDE OF HEAVEN used many of the same key technical crew members that worked on "The Lord of the Rings: The Fellowship of the Ring." On Disney DVD, THE OTHER SIDE OF HEAVEN includes a "The Making Of The Other Side of Heaven" featurette, audio commentary with director/writer Mitch Davis, and a still gallery. Street date: April 1, 2003 Direct prebook: February 18 Distributor prebook: February 18 Suggested retail price: $29.99 DVD; $19.99 VHS Feature run time: Approximately 113 minutes Rated: "PG" For Thematic Elements And Brief Disturbing Images. Bonus features unrated and subject to change. DVD aspect ratio: 1.85:1, enhanced for 16x9 screens Sound: Dolby* Digital 5.1 Surround Sound Walt Disney Home Entertainment is distributed by Buena Vista Home Entertainment, Inc., a recognized industry leader. Buena Vista Home Entertainment, Inc. is the marketing, sales and distribution company for Walt Disney, Touchstone, Hollywood Pictures, Miramax, Dimension and Buena Vista videocassettes and DVDs. MEDIA MOGUL GIVEN THE NOD - Excel President Jeff Simpson was named one of Utah's 40 Under 40 rising stars by Utah Business Magazine. See http://www.utahbusiness.com/cover_story.cfm SNELL SHOW TO HIT L.A. - "The Snell Show," the short film directed by BYU student Andrew Black based on a short story by BYU professor Darl Larsen is playing in L.A. this week. The film won the Grand Jury Award for Best Short Film at the recent Slamdance Film Festival. American Cinematheque at the historic Hollywood Egyptian Theatre (6712 Hollywood Boulevard) is presenting the Best of The 2003 Slamdance Film Festival - February 12 & 13, 2003 Thursday, February 13, 2003 @ 9:15 PM GRAND JURY AWARD FOR BEST SHORT: "The Snell Show" (USA, 8 min., 2002) Every year the community gathers at Old Man Snell's trailer for the greatest show on earth. Directed by Andrew Black. For more information see: http://www.egyptiantheatre.com/archive1999/2003/specialevent sfeb.htm HOPPE IN "SAINTS OF WAR" - We have confirmed rumors that actor Lincoln Hoppe has a role in Ryan Little's upcoming LDS-themed war feature "The Saints of War." Hoppe is known locally for his role as "DeVerl", the goofy nerd in "The Singles Ward," and more recently for his serious turn as an Elders Quorum President in "The R.M." Like a number of top Hollywood actors, Lincoln served his full-time mission in Portugal. Another returned missionary who served there, Katherine Willis, has a small part in the feature film "The Life of David Gale", opening nationwide this month. Hoppe's received top-billing in the short films "Freedom on the Water" (2002) and "In Time of Need" (1999), both available on video. Other major roles include the upcoming animated feature film "The Princess and the Pea", the LDS-themed historical epic "Handcart" and the national award-winner "The Last Good War." Hoppe had a small role in "Out of Step" and in too many films to list here. BYU SITCOM BEGINS SHOOTING - Well... On AML-List they discussed this for months, and now it's finally here... A BYU class is producing an actual filmed-before-a-live studio audience sitcom. See http://newsnet.byu.edu/story.cfm/42031 If this is successful enough "Friends" could be off the air within a year. For those who lament that there are no new worlds to conquer, this isn't true. What Doug Stewart did with live theater ("Saturday's Warrior") and Richard Dutcher did with feature films ("God's Army") has NEVER been done with any narrative TV series. There's never been an LDS sitcom. Never been an LDS cop show. Never been an LDS hospital show. No soap. No straight drama. Nothing. Cazier could herald the Next Big Thing. Of course, this is just an experiment. It's not a network show. Will it break out? Will Saints nationwide demand that "So Much In Love" Season 1 DVD sets be released? Tune in next week to find out. BRIEF BIO OF CONTROVERSIAL FILMMAKER TAWNYA CAZIER - Latter-day Saint. Film student at Brigham Young University. Director of the short films "Barren Earth" (2002), "Gwen Parker and Associates" (2001), and "Just Say When" (2000). "Just Say When" is described thus: "A woman invents a story of having an affair to cause her husband to pay more attention to her." "Just Say When" and "Gwen Parker and Associates" both competed were screened at the 2nd LDS Film Festival, held in Provo, Utah in November 2002. Assistant director of the short films "Iscariot" (2001) and "Happy Go Lucky" (2000). Writer of the short film "The Gift" (2001). Second assistant director of the award-winning short film "Roots & Wings" (2002), directed by Christian Vuissa. Producer of the short film "Please" (2001). Stage manager for a theatrical production of Sweeney Todd at the Castle Theatre, Utah (2001). VAN DE GRAAF IN THE MUSIC MAN - Latter-day Saint and BYU alum Janet van de Graaf will be appearing with Matthew Broderick in a new TV movie adaptation of "The Music Man," to air on the ABC on February 16, 2003. Van de Graaf is a veteran of Canadian comedy television. Has starred in a number of Canadian TV comedy series: "Improv Heaven & Hell" (1999), "History Bites" (1998) and "Go Girl!" Small part in the film "The Five Senses" (1999). In 1993 made at least 3 guest appearances on the the TV variety series "Royal Canadian Air Farce," playing many different parts, including a Martha Stewart Clone. Nominatd for Canadian Comedy Awards in 2000, 2001, and 2002 for her work on "History Bites." Won the award for Female Performance in 2002. In "The Music Man" van de Graaf has been cast in the role of "Pick-A-Little Lady #5." Okay, so it's not exactly the part of Marian the Madame Libriarian, but I'm sure Janet is FABULOUS in it. KAU MOVIE PHOTOS - Some fantastic production photos from the latest Glenn Kau movie, "The Empty Room" are online at: http://www.byuh.edu/studentlife/clubs/focusfilm/emptyroom/er web photos1/er web photos1/ Kau, as you know, directs the BYU-Hawaii Focus Club student films.) Kau's next project is "Deja Vu". Also check out the trailer at: http://byuh.edu/studentlife/clubs/focusfilm/emptyroom/er.mov Wow. Kau seriously rocks. This is his best trailer yet. Very much a horror/suspence film. Maybe a bit like "The Ring." Really, really well done. Slightly cliche, but a lot of fun, and genuinely creepy. The movie will be shown April 2003 to BYU-Hawaii students. NEW R.M. REVIEW - New review of "The R.M." from Talking Pictures. http://www.rottentomatoes.com/click/movie-10002292/reviews.p hp?critic=columns&sortby=default&page=1&rid=839485 THE R.M. OPENING IN TOOELE THIS WEEKEND AND ALL OVER IDAHO MARCH 7 - "The R.M." will be opening this Friday, February 14th at the Westates Cinema 6 in Tooele. March 7th opening Idaho theaters: Ammon (Idaho Falls) - Edwards Grand Teton 14 2707 S 25th East Ammon Phone: (208) 552-7544 Boise - Edwards Boise 21 7701 Overland Rd Boise Phone: (208) 377-1700 Burley - Century 5 136 W Main St Burly Phone: (208) 678-5631 Chubbuck (Pocatello) - Carmike 7 4031 Poleline Road Chubbuck Phone: (208) 238-1389 Nampa - Edwards Nampa Stadium 14 2001 N Cassia St Nampa Phone: (208) 442-1655 Rexburg - Carmike Holiday 3 26 S Center Rexburg Phone: (208) 356-7223 Twin Falls - Interstate Amusements Twin Cinema 12 160 Eastland Drive Twin Falls Phone: (208) 734-2400 LDS FILM CLASSIC JOHNNY LINGO COMING SOON - Coming Soon from Covenant Communications: March 2003 LDS Film Classics on DVD: Featuring Johnny Lingo Covenant $19.95 >From Covenant website: Aside from the scriptures, few stories in the Church are better known or better loved than the legend of Johnny Lingo. Now, for the first time on convenient DVD, you can see how Johnny's expertise as a trader and his insight into the human heart transform the shy and awkward Mahana into a beautiful person worth much more than the eight cows he bargained with. Also included in this classic collection are The Mailbox, Uncle Ben, and Christmas Snows, Christmas Winds. LDS Film Classics are stories of strength, courage, and faith. They teach compassion, understanding, and forgiveness. Whether you grew up watching these films or are discovering them for the first time, you and your family will love these touching stories and their timeless messages. LDS Film Classics on DVD: Featuring The Cipher in the Snow (Covenant $19.95) When a teenage boy dies unexpectedly, his math teacher is asked to notify his parents and write his obituary. Although he was the boy's favorite teacher, he hardly knew him. Shy and ostracized, the boy was a cipher, an unknown number in a class roll book. As the teacher unravels the mystery of what led to the boy's death, he commits himself to not letting others suffer the same fate. Now, for the first time on DVD, this classic film will inspire you and your family to reach out to others and care for the one. Also included in this collection of classics are The Gift, The Emmett Smith Story, and John Baker's Last Race. LDS Film Classics are stories of strength, courage, and faith. They teach compassion, understanding, and forgiveness. Whether you grew up watching these films or are discovering them for the first time, you and your family will love these touching stories and their timeless messages. BOOK OF MORMON MOVIE WEB SITE UPDATE - There is updated information at BookofMormonMovie.com including more behind the scenes pictures and a 4-minute news clip telecast on KUTV 2 News on Febrauary 2, 2003. BEST SELLING VIDEOS - LDS Video Store reports following are its top-selling items for the last 2 weeks: 1. The Singles Ward (DVD) 2. Out of Step (DVD) 3. The Field is White (DVD) 4. Out of Step (video) 5. The Other Side of Heaven DVD 6. Someone Was Watching DVD These figures do not necessarliy reflect sales at other retailers. SHeDAISY MUSIC VIDEO ON DVD - The "Sweet Home Alabama" was released on DVD this week. The movie stars Reese Witherspoon. The DVD features SHeDAISY in a music video for "Mine All Mine", one of the tracks in the movie. SHeDAISY is the country music group consisting of 3 sisters -- all active Latter-day Saints from Magna Utah. MIKITA ARTICLE - See: http://www.ldsbc.edu/News/CaroleMikita.htm Carol Mikita is an accomplished news anchor and arts and religion reporter at KSL 5 Television in Salt Lake City, Utah. Mikita recently spoke to an overflow crowd at an LDS Business College forum on 28 January. Her message was simple: "There are no coincidences in life. Doors open, and it's important to recognize when that door is opened." She urged students to maintain a close relationship with their Heavenly Father in order to recognize when those doors open Article about Carole Mikita, Latter-day Saint broadcast journalist who has produced numerous Latter-day Saint-themed half-hour documentaries for KSL, which are broadcast at General Conference time. Mikita is the producer of the documentary "Latter-day Saints on the Silver Screen" NEW HOGUE ARTICLE - Here is a long and fairly in-depth general article by RuthAnn Hogue about LDS Cinema. Lots of original material here: http://www.svherald.com/display/inn_news/news4.txt KSL NON-SCIENTIFIC POLL - KSL Radio "Unofficial" Online Poll Q: Which one of the major "LDS Cinema" releases is your favorite? 7% : God's Army - 2000 13% : Brigham City - 2001 31% : The Other Side of Heaven - 2001 40% : The Singles Ward - 2002 0% : Out of Step - 2002 8% : Jack Weyland's Charly - 2002 2% : Handcart - 2002 See http://dougwright.ksl.com/show_8292.php TWO DESERET NEWS ARTICLES - Headline 1: 'God's Army' marches into Mexico, giving Dutcher another LDS first. See http://deseretnews.com/dn/view/0,1249,455029884,00.html Headline 2: Locally filmed 'Little Secrets' now on DVD by Chris Hicks. See http://deseretnews.com/dn/view/0,1249,455029868,00.html AUDITIONS FOR BUTTARS FILM - Latter-day Saint filmmaker Jared S. Buttars is currently in pre-production for his upcoming feature length action/comedy. Buttars is the Producer/Writer/Director. The movie is not LDS-themed but is family friendly. See http://www.ectofilm.com >From http://www.ectofilm.com/ef/auditions.cfm: Call for Auditions! If you plan to attend auditions then PLEASE FILL OUT AND SUBMIT THE FORM BELOW. When: Saturday, March 15 12:00pm - 5:00pm Callbacks Saturday, March 22 12:00pm - 5:00pm Where: Off Broadway Theatre 272 South Main Salt Lake City, Utah Requirements: Ecto demands fun, energetic, comedic performors. Great character development, comedic timing and even some improv when it is appropriate are qualities that are required. We need people that can give a paragraph of lines in a single look. If you think you're up to snuff and want to have a blast performing in a very unique independent movie then we want to see your audition! Unfortunately this is a non-paid position. If you want to participate it will have to be for pleasure, exposure and/or experience. It is also required that you be readily available during a two week shooting schedule from August 9th through August 23rd 2003. Demand of your presence during that time frame will depend on which part you are awarded and accept. THOSE FICKLE OSCAR NOMINATIONS - Despite the strong opinions of many that certain films and performances were certainly deserving, when it came to actual Oscar nominations for LDS filmmakers this year, we got nothin'. "Minority Report" only earned one Oscar nomination -- sound editing -- and of course that isn't a nomination for Molen. Well, there's always next year. It should be noted that even some people who it seems are regularly nominated for Oscars, such as Jerry Goldsmith (17 Oscar nominations - Original Score), were not included in this year's list of nominations. - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ End of aml-list-digest V1 #977 ******************************