From: owner-aml-list-digest@lists.xmission.com (aml-list-digest) To: aml-list-digest@lists.xmission.com Subject: aml-list-digest V1 #989 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 Friday, March 7 2003 Volume 01 : Number 989 ---------------------------------------------------------------------- Date: Tue, 04 Mar 2003 22:32:21 -0600 From: "Preston Hunter" Subject: [AML] Box Office Report Fe. 28 03 Feature Films by LDS/Mormon Filmmakers and Actors Weekend Box Office Report (U.S. Domestic Box Office Gross) Weekend of February 28, 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 - --- ----------------------------- ----------- ----- ---- 13 Final Destination 2 1,892,344 1,204 31 A.J. Cook (2nd-billed actor) 43,0030,540 27 Poolhall Junkies 301,856 179 3 301,856 54 The R.M. 37,943 14 31 Kurt Hale (writer/director) 471,548 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. 57 Shackleton's Antarctic Adventure 35,307 10 752 Scott Swofford (producer) 14,095,268 Reed Smoot (cinematographer) Sam Cardon (composer) Stephen L. Johnson (editor) 61 Handcart 26,103 1 143 Kels Goodman (director/DP) 111,406 David Greenslaw Sapp (producer) Mark von Bowers (screenwriter) Eric M. Hanson (composer) Actors: Jaelan Petrie, Stephanie Albach Chris Kendrick, Shannon Skinner, Gretchen Condie 65 Cirque du Soleil: Journey of Man 19,827 4 1032 Reed Smoot (cinematographer) 15,025,965 78 Jack Weyland's Charly 7,684 12 157 Adam Anderegg (director) 775,742 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. 84 Galapagos 4,171 5 1221 Reed Smoot (cinematographer) 13,945,214 92 China: The Panda Adventure 1,095 1 584 Reed Smoot (cinematographer) 3,001,280 HANDCART FINISHES #1 IN PER THEATER INCOME - Kels Goodman's epic pioneer film Handcart had an exceptional weekend at the theater. Playing in only one theater, the film grossed $26,103, easily giving it the highest per-theater average posted this week by any movie playing nationwide, including big studio films with multi-million dollar ad campaigns as well as new films playing in only one theater. Handcart's nearest competitors were "The Lawless Heart" with $10,749 in one theater and "Fassbinder" with $9,804 in one theater. "Handcart" played only in Virginia this weekend, in the area where director Kels Goodman grew up, so there may have been something of a hometown crowd. But not to be dismissed is the large Latter-day Saint community in the area and the presence of Southern Virginia University (an independent Latter-day Saint college). The film's attendance was no doubt boosted by Kels speaking at Southern Virginia University and at a bi-stake fireside. "Handcart" will continue to play in the area for a couple more weeks, and several youth groups are planning to go during the week, so the movie's total box office gross will continue to climb. Also worth noting, the weekend's take brought Handcart's box office total to $111,406, which means it finally broke the $100,000 mark, and also means it is no longer on the bottom of the Christian market box office total chart. A Protestant movie, "The Ride" (1997), is now the lowest grossing movie on that chart. "Handcart" has moved up to be second from the bottom. Handcart's theatrical run will be concluded soon, and it probably will not climb up another notch on that chart. It probably will not surpass "Mercy Streets" (2000), which has a total box office gross of $173,599. However, plans are in the works for the film to hit Dallas and Las Vegas before moving into distribution via DVD and video. The Christian market box office chart is at: http://www.adherents.com/movies/christian_box.html Also, "Jack Weyland's Charly" continues to go head to head with "Time Changer", also currently playing in theaters. The two movies are only within about $3,000 of each other. And the production budget and P/A for both is believed to be roughly the same. Quite a contest. Handcart's strong showing in Virginia was also helped by a very positive article in the Times-Dispatch, a Richmond, Virginia area newspaper. The article touches upon Goodman's background, the historical background for the movie, and the film's distribution. If you are interested in the subject of independent film distribution and promotion, definitely read this article, which can be found here: http://homes.timesdispatch.com/flair/MGB5UWAEPCD.html * * * PRESS RELEASE: JSI CREATIVE ANNOUNCES COMPLETION OF "ROADSHOW!" SCRIPT - From a press release from JSI Creative: J. Scott Iverson, writer, producer and owner of JSI Creative, today announced the completion of his latest, LDS-themed, full-length motion picture screenplay, ROADSHOW! The storyline follows members of the Yorgason family during the production of the "Gilmer Park Ward" roadshow in the summer of 1965 - a time of war, personal turmoil and new assaults on family values, which arose during that decade. The screenplay celebrates the LDS roadshow genre and creative process, which draws from events in people's lives and weaves them into works of art: sometimes simple, sometimes profound; always impactful on the lives of those who participated in the act of creation. ROADSHOW! contains both dramatic and comedic elements that will appeal to a broad range of moviegoers. "We were able to weave excerpts of an actual roadshow from the era into the script, which give it a much more authentic feel," said Iverson. "And while the roadshow production is important to the story, the central theme is how each of us must endure the hardships life throws at us to gain our own personal testimony of the Gospel of Jesus Christ." The film is currently in the financing and development stage. Iverson, perhaps best known for his story credit on the ever-popular LDS film, Mr. Krueger's Christmas, starring Jimmy Stewart, as well as his Emmy and Iris Award-winning kids' TV series, ZiNj-TV, recently served as Vice President of Acquisitions, Development and Productions for Bonneville Worldwide Entertainment. More information on JSI Creative is available at: http://www.jsicreative.com * * * SMOOT MILESTONES - "Cirque du Soleil: Journey of Man" passed $15 million mark while "China: The Panda Adventure" passed $3 million mark this weekend. Both films feature Reed Smoot as the cinematographer. Last weekend, another Smoot film, "Shackleton's Antarctic Adventure" passed the $14 million mark. All told, films with Reed Smoot as the cinematographer have grossed over $420 million in the U.S. -- and this only includes those films where gross receipt totals are available. As a large number of his films are IMAX films, many of which do not report box office totals, it can be assumed that the actual total may be much higher even. AML AWARDS FOR FILM - "Roots & Wings", written by Agustina Perez and directed by Christian Vuissa, has been awarded the AML Award for Film. This award has only been given once before -- to Richard Dutcher's "God's Army." The AML Awards prestigious, juried awards given each year by the Association for Mormon Letters only to works of literature (and some film) which exhibit artistic excellence and contribute significantly to Mormon Arts and Letters. Awards are not given in a given category if the AML finds that no works during the year merit receiving an AML award. Last year no Film Award was given for works released in 2001. Editorial note: We have seen "Roots and Wings" and feel that it is very deserving of this high honor. More information can be found on the AML website: http://www.aml-online.org Also honored by AML this year: "Out of Step", directed by Ryan Little, and "The Snell Show", directed by Andrew Black, were cited for Honorable Mention in the film category. "Charly" screenwriter Gilbert was given an AML Award for Film Adaptation. POOLHALL JUNKIES - "Poolhall Junkies" opened in a fairly wide "limited release" this weekend, grossing $301,856 in 179 theaters, good enough for the #27 spot nationwide on the total gross chart. Mars Callahan was the writer, director and star of the movie. The biggest name actor in the movie is probably Christopher Walken. The 5th-billed star in the movie is Rick "Is he or isn't he?" Schroder (star of "Silver Spoons" and couple seasons of "NYPD Blue"). The movie was filmed in Salt Lake City, and features such Utah and/or Latter-day Saint actors as Frank Gerrish ("Brigham City") and Shannon Engemann ("Wildest Dreams"). As for whether he is or isn't, we think we know, but we're not saying. POOLHALL JUNKIES REVIEWS - Salt Lake Tribune gives it 2 out of 4 stars. The movie will still be opening in many additional markets, but as of this writing, RottenTomatoes.com currently has counted 22 reviews and shows a 22% positive rating for it. Slant Magazine and a couple of others gave it largely positive reviews. Deseret News reviewer Jeff Vice didn't like "Poolhall Junkies" very much. Quoting from his review: "...the cinematic equivalent of a train wreck... Because the film was almost completely shot in Salt Lake City and surrounding areas, it's an embarrassment for Utah as well... Perhaps the film's only saving grace is that it's overwhelmingly hilarious in its ineptitude... The film's four-letter-word-peppered, tough-guy dialogue pegs it for what it is: another Quentin Tarantino wanna-be, albeit one that's nearly 10 years too late." If you actually read his review or watched his show, you know that Ebert gave "Poolhall Junkies" a somewhat tepid "thumbs up." In his Chicago Sun-Times column he gave it 3 out of 4 stars. Ebert said: "One of the things I like best about 'Poolhall Junkies' is its lack of grim desperation. Its characters know that pool is a game and do not lead lives in which every monent is a headbutt with fate... 'Poolhall Junkies' has big moments of inspiration, like the Walken speech and a couple of other monologues. It has movie-fan moments... There is an innocence at work here that reminds me of young Sylvester Stallone... Did I feel afterward as if I had been dragged through the blood and grime of the mean streets? No, but I felt like I had a good time at the movies." GLORIA FILM FESTIVAL - This is a reminder that submission deadlines for the Gloria Film Festival are March 15th, only about 11 days away. If you haven't submitted your film but have been planning to do so, please do so soon. Also, there are still opportunities to serve as a volunteer. Remember this is a VERY family-friendly and faith-friendly film festival. Last year's winners include Mark Goodman's "Someone Was Watching" feature and Scott Tiffany's "Forgotten Voyage" documentary. See http://www.gloriafilmfest.org/ for more information. ECKHART MAY STAR IN PAYCHECK - Latter-day Saint actor Aaron Eckhart is in talks and favored to co-star with Ben Affleck in "Paycheck." Directed by John Wo, the director of "Mission: Impossible II" and "Broken Arrow", both filmed partially in Utah. The sci fi action film based on a story by Philip K. Dick is looking at an April 3 start date, according to The Hollywood Reporter. "Paycheck" would be Eckhart's 3rd movie with Paramount, after the sci fi drama "The Core" and the recently wrapped New Mexico-filmed thriller "Suspect Zero." Set in the future, "Paycheck" is about on a man (Affleck) who has had part of his memory erased as he begins to find clues to what he has been doing for the past two years. Eckhart would play the second-billed role of Rethrick, a man who persuades Jennings to give up two years of his life. The script was adapted by Dean Georgaris ("Tomb Raider 2") from Philip K. Dick's story. The last Philip K. Dick adaptation to hit the screens was "Minority Report," directed by Steven Spielberg and produced by Latter-day Saint movie producer Jerry Molen. For the record, Philip K. Dick's story "Paycheck" does NOT have any LDS characters or Utah references, although about half of of Philip K. Dick's books DO have Latter-day Saint characters or references to Utah. PKD stories/books with Latter-day Saint and/or Utah references include: The Game-Players of Titan; Puttering About in a Small Land; The Broken Bubble; Time Out of Joint; In Milton Lumky Territory; Deus Irae; The Game-Players of Titan; Valis; Radio Free Albemuth; "Orpheus with Clay Feet"; The Dark-Haired Girl; The Man in the High Castle; Ubik; "The War with the Fnools"; Time Out of Joint; The Golden Man; The Zap Gun; The Penultimate Truth; "Precious Artifact"; Now Wait for Last Year; Our Friends From Frolix 8; Mary and the Giant; The Three Stigmata of Palmer Eldritch. But PKD himself was a faily active Episcopalian. In fact, he frequently wrote extensively about his visits to his Episcopalian clergyman. "Paycheck" doesn't really refer to any religious groups, except for an oblique reference to the Catholic Church. AVID EDITORS NEEDED - We have been asked to forward the following request: We are a busy production company looking for freelance AVID editors. If you know of anyone looking for work will you please e-mail Tyler Measom at tyler@telosproductions.com, or have them e-mail Tyler his/her resume ASAP. Thank You. Telos Productions 1 East Center Street Suite #300 Provo, UT 84606 Ph: 801-852-8356 Fax: 801-373-4243 DESERET NEWS ON RACHEL KIMSEY - Article in Deseret News about Latter-day Saint actress Rachel Kimsey, who is currently starring as "Daphne" in the nationally touring stage production "Scooby-Doo in Stagefright Live on Stage" Kimsey previously had major roles in Clay Essig's independent film "Fortune Cookie" and the Disney movie "Don't Look Under the Bed." SAMUELSEN AT THE AML CONFERENCE - Deseret News article reporting in BYU drama professor and frequent commentator on/critic of LDS Cinema Eric Samuelsen's address at last weeks Association for Mormon Letters conference. Samuelsen discusses "My Big Fat Greek Wedding" and compares the movie to LDS movies such as "The R.M.", "Singles Ward", "Charly." Samuelsen thought "his ideas went over big at the Mormon Letters conference." According to the article, Samuelsen "wasn't intending to write a screenplay when he began his scholarly paper, but the response now has him considering it." Samuelsen has written critically acclaimed stage plays. He has received the AML Award for drama three times: for "The Way We're Wired", "Gadianton" and "Accommodations: a Play in Three Acts ." AMERICAN IDOL: VOTE TONIGHT - Last week, it was announced on the TV show "American Idol" that Carmen Rasmussen, a 17-year-old from Bountiful, Utah, was brought back to the show after being cut from the top 200 or so. She was chosen as one of the judges' nine favorites to be on the "wild card" show next week. The top four from those on that show will be placed in the Top Twelve. In her profile on idolonfox.com, she says that she is "a member of the Church of Jesus Christ of Latter-day Saints." The "American Idol" episode featuring Rasmussen aired on Tues. Mar. 4 at 8 PM/7 central on Fox. Simon didn't like her performance much, and neither did Paula Abdul or Randy. But it's the votes that count! For two hours after the show (9-11/8-10 central), America was able to vote for the contestants by calling the toll-free number. The results show were shown the next day, on Wed. Mar. 5 at 8:30 PM/7:30 central (which is tomorrow). Detailed articles about Rasmussen were published in the Utah County Daily Herald, BYU Daily Universe, Deseret News and Salt Lake Tribune. CHRISTENSEN'S LATEST FILM SCREENED - Legendary filmmaker T.C. Christensen screened his latest film, the short film "A Pioneer Miracle" (14 min.) to a by-invitation-only audience on Tuesday, Feb. 25th. LDSFilm.com representatives were invited but due to prior obligations we were regrettably unable to attend the screening, which took place at the North Visitors Center on Temple Square. The film stars Caitlin E.J. Meyer ("Littl Secrets) and the production designer was Darin Andersen ("Handcart", "Y2K"). Christensen is the director of numerous Church films, including the new "The First Vision" and Kirtland Visitors Center films, as well short films such as the beautifully filmed "The Touch of the Master's Hand" and the classic "The Pump." He has directed the direct-to-video feature films "Bug Off!" (which is hilarious, and a wonderfully made low-budget movie) and "The Penny Promise" (which I haven't seen). But Christensen is better known as a Director of Photography, and has shot more than 50 Church films, IMAX films and other films. ACTORS ACADEMY - We are forwarding the following notice. We have no additional information about the event or the Actor's Academy, but contact information is provided for those with questions. The Actor's Academy OPEN HOUSE Thurs. March 6th 6-9 p.m. Join the class and see our works in progress. Audition for the Spring '03 workshop. 5282 S. 320 W. B-227, SLC Cedar Park Complex. B-228 faces freeway. 801-392-1973 Rick Macy, Director/Instructor 801-969-8764 Dawn Kalana, Assistant [Macy, as you already know, is one of Utah's most prolific screen actors, and has had starring or supporting roles in films such as Someone Was Watching, Little Secrets, Bug Off!, Brigham City, Testaments of One Fold and One Shepherd, Message in a Cell Phone, Return to the Secret Garden, and Secret of Treasure Mountain. Kalana was one of the producers of "Out of Step."] * * * FROM MICHELLE WRIGHT AT ACTION ACTOR'S STUDIO: For all actors, Utah is the third biggest state for film production. We have a Hallmark film coming soon and a SAG Feature Film that I will be casting - also, "Ecto" is casting this week for their project - and I just sent out 4 audition notices to those on my casting database. TMACCESS - 27 Feb. 2003: FORUM: The BYU Animation Program presents TOM SITO, Animation director of "Osmosis Jones" and former President of the Animation Union, who will be discussing the state of the animation inustry on Friday, Feb. 28 from 1-3 p.m. in the MOA Auditorium. Tom's credits include: The Lion King, Aladdin, The Prince of Egypt, Antz, Shrek, and Spirit. Final Cut 2003: Mini DV are due March 3. Contact Roxanna Boyer with questions. Final Cut 2003 will be held March 18-22. Long venues will be shown separately but will not be judged. Brad Barber's "Troy through a Window" wil be presented at a special one-time screening at the Tower Theatre in Salt Lake (876 E. 900 S.) on Saturday afternoon, March 1, at 1 p.m. Admission is $5 cash or check and there will be a Question and Answer session to follow. The film explores a Latter-day Saint family's attempt at understanding the homosexuality of one of its members. Final Cut 2002 DVDs are available to students for a $5 donation to the Dean's discretionary fund. Donations will be matched 5 times by outside donors. Your $5 becomes $30! Donations accepted in the TMA Office, D-581 HFAC. Student Production Agency is looking for production crew members for current and future projects. Contact Juston Rindlesbach is interested (378-8454). Production Assistants needed at the Waterford Institute in Sandy, Utah, to help with video production over the next two months. For information, contact Kelly Fisher at 801-576-4981 or email kelly.fisher@waterford.org. Park City Television is producing a new show called Wild Wild Sports and are looking for Wild Sports Videos, Extreme Sports, Videos of Crashes or Bloopers, Fun Sports and most any Action Sports Video that are professionally shot and edited. Call 435-649-0045 with questions. 2003 Pearl Awards is accepting applications for interns in Camera/Video, Audio, Lighting, Set/Production Design, Production, and Post-production. Find out more info from Elizabeth in D-581. "The Collectors" will be holding auditions on March 1 from noon to 6 p.m. in the American Fork Library (64 S. 100 E., American Fork). This is a low budget martial arts film written and directed by John Lyde. Looking for actors and fighters to participate in the film. For more information, go to www.jklentertainment.com * * * SUMMARY OF ARTICLE IN CHRISTIAN RESEARCH JOURNAL ABOUT LDS CINEMA - There is a great 3-page article about LDS Cinema in the Protestant-run Christian Research Journal, Vol. 25, Number 2, in the News Watch section beginning on page 6. The article begins by recounting how ads for "The Other Side of Heaven" appeared in Protestant-run publications, such as San Diego's "Southern California Christian Times" and 3 other Southern California papers owned by Exalt Inc. The ads featured pictures of Latter-day Saint missionaries, but didn't explicitly identify that the movie was about Latter-day Saints. Some readers complained to the publication after going to see the movie and finding out it was about Latter-day Saints. (The article doesn't mention this, but according to letters to these publications, other readers went to the movie and loved it). The Christian Times apologized for running the ad, and said they would check out movie ads more carefully in the future. The article in the Christian Research Journal goes on with comments from an interview they conducted with "Other Side of Heaven" director Mitch Davis. Davis points out, "One of my specific desires was to make an ecumenical film. We don't preach any Mormon doctrines, although we make it clear that he's a Mormon missionary." Davis points out that when he was growing up many of his closest friends were evangelicals, and he says that he thinks relations will improve between Latter-day Saints and Protestants over the next few decades: "We will look back on this era [of bigotry from Evangelicals toward Latter-day Saints] with as much disdain and disgust as we look back on the treatment of blacks in the South." The article also quotes Mary Jane Jones, P.R. person at Excel Entertainment: "While 'The Other Side of Heaven' does tell the story of one missionary of a particular faith, the experiences he has and the lessons he learns are accessible to all people. This movie is no more a Mormon film that 'The Mission' was a Catholic film." The article points out that "The Other Side of Heaven" garnered a positive review from www.PreviewOnline.org, an online film review service distributed through Gospelcom.net and other Protestant sources. There are more comments from Davis about how he tried to depict Protestants in his movie positively, and how the movie's lead character has universal problems that Protestants can relate to. The article then quotes Bill McKeever, a representative of an anti-Mormon hate group called Mormon Research Ministry. McKeever says: "While I would defend anyone's right to produce a film taht is favorable to his or her worldview, there is a problem with how this film is being marketed. Whoever was in charge of the promotion of the film was very determined to makeit difficult for the general public to know of its Mormon themes. Some might call that good marketing strategy; however... I just can't help but think that this was a bit of, for lack of a better word, deception." Whatever. Since the day the movie was announced a websearch would have found ample information on LDSFilm.com that the movie was written, produced, and directed by Latter-day Saints, and that it is also about a Latter-day Saint missionary. The article further quotes Davis, who says he doesn't regret taking out the ads, but he regrets how those people reacted. Davis says, if people reject the film because of its sympathetic portrayal toward Latter-day Saints, "that's just 100 percent bigotry, and there's no other way to describe it... If I had one wish, it would be that we focus less on who is right and more on what is right." Then the article features a detailed description of Excel Entertainment Group, the biggest name in independent LDS music and film distribution. It describes how Jeff Simpson formed the company. The article also talks about how Simpson has managed to distribute Protestant-made CDs and videos to LDS bookstores. The article has much more about Simpson, and Excel, and then discusses Richard Dutcher, and how he came to make "God's Army." And there's quite a bit about "God's Army" and "Brigham City." The writer of the article seems to like "Brigham City" quite a bit, but had theological difficulties with "God's Army." The article says that "God's Army" was pretty negative toward Evangelicals. I didn't think it was, but it points out that one of the most negatively portrayed characters (according to the article's writer) is Elder Kinegar, who reads anti-Mormon hate literature published by Evangelicals, and then slinks off into the night and "eventually slinks off into the night and abandons his mission." The article talks about Dutcher's movie "Prophet," and says that one of it's major characters is apostate Latter-day Saint Robert Foster, and describes what Foster did. More quotes from interviews with Dutcher, then the article says: "Despite [Dutcher's] clear theological differences with evangelical Christians, Dutcher believes niche filmmaking could be a means of dialogue between evangelicals and Mormons. 'There seems to be a real bridge there that people don't even try to cross. I see some of the bigger Christian films out there and find myself just wishing that they had caled me for help on their script,' he says, citing the multiply flawed 'Omega Code' as an example. 'If we could share work with one another, I think it would be mutually beneficial.'" Which is a nice way of saying that Dutcher thinks "Omega Code" and most of the other Christian market films such as "Left Behind" stink. Which they do, and most Evangelical writers also think they stink. To be fair, Dutcher also thinks that many of the LDS Cinema films stink as well, although newspapers have quoted him saying that he likes "Out of Step" a lot and that he likes "The Other Side of Heaven" more and more now that he's seen other movies in the niche. Really, I thought it as a well-written, interesting article. I didn't find the article offensive, although it dealt with some potentially prickly subjects. [Many thanks to Mary Jane Jones of Excel Entertainment for letting us know about this article. The opinions and synopsis expressed here are totally those of LDSFilm.com.] - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 07:25:02 -0600 From: "Preston Hunter" Subject: [AML] Correction: Handcart's box office weekend We previously reported that Handcart had a box office gross of $26,103 in one theater last weekend. Actually, it's box office gross was $2,613. The $26,103 appeared on both www.the-numbers.com and boxofficemojo.com, our main sources of box office data. But apparently there was an extra zero in there. This means that "Handcart" was NOT the #1 movie in the country on the per-theater charts. - - LDSFilm.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 05 Mar 2003 16:49:23 -0500 From: "Jamie Laulusa" Subject: RE: [AML] Programming as Art Jacob Proffit said: > >If that's your definition of art, then sure. But I think that's a pretty >silly definition of art. By that definition, books aren't art. Theater >isn't art. I dare you to frame the last performance of "The Way We're >Wired" tonight. Frankly, a lot of modern art is stuck in parks or looming >over multi-story office lobbies. Frankly, the frame of a computer monitor >stacks up better than any frames for those do. Did Dutcher frame "God's >Army"? Are you going to say there's no art there? Your definition removes >the term "art" from anything we can discuss on this list. > >Jacob Proffitt > > But the "frame" isn't a physical box made of wood. In the Zappa passage, the example he gave of a frame was just a spoken sentence, "I'm going to gargle juice and that's my composition," or something like that. So, yes, "God's Army" can be framed framed ("A movie about missionaries, and that is the composition"), "The Way We're Wired can be framed ("A play about Single Adults"), and your programs can be framed. By that definition, anything can be an art. You could say, "I'm going to pick my nose, and that's art," and people might not like it, but they couldn't use Frank Zappa's definition to argue with you. However, using Oscar Wilde's definition of all art as "quite useless", then picking your nose could not be art because there is a purpose, namely clearing your nasal passages of those pesky boogers. ~Jamie Laulusa _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 14:56:54 -0700 From: "Nan McCulloch" Subject: [AML] William BUCKLEY, _How the Right Was Won_ Listers familiar with William F. Buckley Jr., of National Review, Robert = Welch, founder of the John Birch Society and Ayn Rand, author of _Atlas = Shrugged_ may be interested in Buckley's new book _How the Right Was Won_. Here = is a paragraph from the review that I read in NR. =20 "The story begins with Woodroe Raynor, a Mormon from Utah who upon = finishing Princeton becomes a spokesman for the John Birch Society. = Along the way he meets comely Leonora Goldstein, the daughter of Jewish = immigrants, who earns a job doing paperwork for Ayn Rand after reading = _Atlas Shrugged four times_. Becoming disenchanted with their = respective idols, they fall out of favor with Welch and Rand, fall in = with the National Review crowd, and also fall in love, thereby joining = anti-Communism and libertarianism in romance just as NR did in = politics." The Mormon character Woodroe was drawn to Welch because he had witnessed = firsthand the Communist conspiracy while a missionary in Eastern Europe. = The Jewish character Leonora "found voice in Rand to the reasons that = her parents had uprooted their family to come to a land of boundless = opportunity." =20 Buckley knows how to write fiction. This book should be a historical = romp. Nan McCulloch=20 - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 16:16:55 -0700 From: "Nan McCulloch" Subject: [AML] re: _The Way We're Wired_ Can't tell you how great it is to have The Nauvoo Theatrical Society = presenting meaningful LDS plays. I have heard all positive comments = from the friends that I have sent to see the play. Having been an LDS = single for a couple of years when I was 48, I relate to the scene. = Being an older single has its own special challenges. I have written = extensively about what it was like in my personal history (some of it = poignant and some of it humorous). In my case, things turned out well. = I married a bishop and found him to be the love of my life. At the time = we married, we had both been through the refiners fire and neither of us = were looking (I had stopped looking and he just wanted freedom after = lovingly caring for a wife with MS for 17 years.) This is the third = Eric Samuelsen play I have seen about singles. He seems to have an = affinity for the subject. The play was good, well directed and I liked = the set and the characters. Scott Bronson was great as Andy and Lynne = Bronson was very appealing as Katie. Thanks to Thom and Scott and = others for making this possible. Keep on writing and producing good = plays. As I said, if you write them and produce them I will come. =20 Nan McCulloch - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 19:43:06 -0800 From: "Richard B.Johnson" Subject: RE: [AML] Programming as Art Actually this definition preceded Frank Zappa. I have not been able to find the original source, but I have been teaching that basic concept for forty years. I believe I cadged it from GB Shaw but I am not sure. It may well have been from one of my graduate school professors. I am still sorting through notes, texts etc., but when one retires as thoroughly as I retired one frequently donates to the university library, Department reading room or local charter school all of the information that one later wants to search out. Richard B. Johnson; Husband, Father, Grandfather, Actor, Director, Puppeteer, Teacher, Playwright, Thingmaker, Mormon, Person, Fool. I sometimes think that the last persona is most important and most valuable. Http://PuppenRich.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 22:25:26 -0500 From: "Bryan Loeper" Subject: RE: [AML] _The RM_ What of classics such as _The Princess Bride_ and _Monty Python_? They had an even more tenuous hold on reality than what I've heard about _RM_, but yet noone is upset that they never could happen. [Bryan Loeper] - ---------------------------------------------------------------------- > >Also, don't forget that it *is* a comedy, not a realism piece. This implies that comedies don't have to be believable. But the best comedies are always based on reality exaggerated for comedy sake. Farces don't have to be believable but again, there are rules for farces which was must also be followed. From what I've read, The _RM_ doesn't appear to be a farce. Thom - -- AML-List, a mailing list for the discussion of Mormon literature - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 21:11:29 -0700 From: Steve Perry Subject: Re: [AML] Value of Fairy Tales On Tuesday, March 4, 2003, at 12:33 PM, Clark Goble wrote: > So I guess it all depends upon what you see the point being. Disney > certainly isn't being completely true to some of the archetypes or > psychology. However one could argue that no story ought to be beholden > to such matters. Further in real life most fears aren't fully > realized. > Typically we have friends and also have the opportunity to try and > correct our mistakes. Is a myth or story somehow more true because it > only deals with worst case scenarios? One could even say that the > whole > point of community and the atonement is to try and help keep > consequences from being too brutal. So perhaps the fairy tales were > much more true in a day and age when there were few safety nets and > even > your family had few resources? > I disagree and think the "original versions" are truer and more useful to children than to literal minded adults. They are a way of dealing with fear, not invoking it. Example: The big bad wolf eats the first two little pigs and only the 3rd and wisest escapes. How horrible? How terrifyingly violent? Nope. Kids aren't interpreting this literally; this is a story about a child who tries a couple of times and fails, but learns from his/her failures and finally succeeds. Bruno Bettelheim has more to say about this much better than I can say it in his book "The Uses of Enchantment." This is also why I worry about policies such as Deseret Books recent announcement to "clean house" of any impure--by whatever standard they determine--books, or stories where we don't get a nasty reward for our deviance. Stories function on many different levels. When the metaphor of the piggies representing something else comes into play--we are moving into the realm of art and a spiritual (with small "s") story or experience. There is a reason these stories get told and retold through the generations even though the tellers aren't always aware. And there is a reason kids ask for them to be told again. Steve - -- skperry@mac.com - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ Date: Wed, 5 Mar 2003 13:20:08 -0800 From: "Jongiorgi Enos" Subject: [AML] re: Validity of Memory Here's a theory: All writing is fiction. Kari Heber began a fascinating topic string by asking about the validity = of memory and its impact on non-fiction. "How much should I believe when = I read any form of literature that is primarily based on memory," she = asks, among other things. And Kim Madsen quoted Judith Freeman saying = that all her stories are fiction, even the autobiographical ones. Then = Th. Jepson mused on the application of memory and fictionalized = inventions (artistic liberty) upon memoir and strictly non-fiction = literature.=20 Of course, I've already given away my own opinion on the subject with my = little sound-bite above: All writing is fiction. Here's another theory: All good fiction is true. It begs the question: What is truth? I suppose if we are asking if memory in and of itself is sufficient to = recreate an accurate representation of reality, the question becomes: is = "reality" truth? Or is truth a more nebulous concept surrounding and = erupting from experience. Then, we are forced to ask, what is "reality." = Is memory ever actually "real"? Is experience of any kind, even in the = moment, actually real? Which brings us to Kari Heber's final question: = "Should it even matter [how accurate literature is when it is based on = someone's memory] since what they are relating is their perception, = whether factually accurate or not?" (emphasis added) Heber's question is very astute and thought-provoking. If writing, in any genre, fiction or non-fiction, is a quest for the = attainment or the understanding of some form of truth (objective, = subjective, experiential, didactic -- whatever) then the nature of = language itself, and how the brain establishes memory, coordinates its = retrieval through the various symbolic methods such as sensory memory, = language memory, emotional memory, etc., any question about memory and = art eventually takes us into the physiology of the brain and the = philosophy of consciousness, two huge and fascinating topics which tend = to animate scientists more than artists, but apply to the artist just as = well. My late, great teacher, Tad Danielewski (whom many of you may have known = from his time at the Y in the 1980's) taught acting, writing and = directing very much from the standpoint of fusing explorations into the = science of human experience with explorations in the artistic = representations of the same. He had us reading books about memory, = emotions, and at the very end of his life, before leaving this mortal = coil under the ravages of cancer, had us looking into particle physics = - - all on a quest to make us better actors! The topic has continued to fascinate me all of my life, particularly = since my youngest son, Arjan, suffered massive brain injury during a = bout with a virulent Group B Streptococcal meningitis. Learning about = the brain, neurology, memory, perception, has all suddenly become more = than an actor's hobby: it suddenly has visceral application in my real = world. But again, what is that real world? Th. Jepson talks about his struggle with writing non-fiction literature. = "I included dialogue and detail," he says, "That, quite frankly, I can't = be sure are true. I wasn't carrying a tape recorder about with me for = later transcription." Of course, all of us, whether writing non-fiction = or fiction, have confronted the same dilemma. But in that sentence, = "true" means simply "factually accurate"; he later goes on to suggest = what I also believe, that there is a greater Truth (can I give it a = capital "T"?) that rises above factual accuracy.=20 Non-fiction, in the form of Memoir is certainly different than objective = History. Journalists and scholars have a more difficult issue as they = approach this blurry line of demarcation than do what I shall call = "Non-Fictionists," writers of what might be defined by this list a = "belletristic" (a term which got a lot of flack recently! - I don't want = to get into that, but stick to the nature of memory). I just read an applicable quote from Mark Twain, featured in Wendy = Lesser's book on memory and remembrance with respect to literature = "Nothing Remains The Same: Rereading and Remembering" (Houghton Mifflin, = 2002). Twain quips in a letter to William Dean Howells in 1887: "People pretend = that the Bible means the same to them at 50 that it did at all former = milestones in their journey. I wonder who they can lie so. It comes of = practice, no doubt.Nothing remains the same. When a man goes back to = look at the house of his childhood, it has always shrunk: there is not = instance of such a house being as big as the picture in memory and = imagination calls for. Shrunk how? Why, to its correct dimensions: the = house hasn't altered, this is the first time it has been in focus. Well, = that's loss. To have house and Bible shrink so under the disillusioning = corrected angle is loss - for a moment. But there are compensations. You = tilt the tube skyward and bring planets and comets and corona flames a = hundred and fifty thousand miles high into the field. Which I see you = have done and found Tolstoi. I haven't got him in focus yet but I've got = Browning." Twain, while comic, also brilliantly addresses the issue at hand.=20 Now, if I as a non-fiction writer am attempting to convey the Truth of = the childhood house, especially if I am attempting to write the truth = from the perspective of the child, trying to put the reader into the = mind and life and memory of the child (his Truth), then I must expand = the house. I must make it as big as it was in memory. Now, that house, = the childhood one is not actually true, is it? Small "t" this time: = factually actuate truth. But it is perfectly accurate to the child. And = that, for the sake of art, for the sake of the function of literature in = our lives, is the Truth. Now if I'm writing the straight history or dry = biography, I have to say, the house was so big and no more: truth. But = non-fiction allows us to explore subjectively accurate fiction, which is = True (capital "T"), as far as human perception and experience go. We all know memory is inherently faulty when it comes to factual = accuracy. But this is the way we human beings are wired (to steal Eric's = line!). And the more that I learn about the brain, the more I realize = that it is absolutely essential that it is so. Memory must not be so = dryly accurate, and it must be deeply intermeshed with the experience of = emotion, or we would not survive. We cannot be Vulcans, truly, it would = kills us. And if I am correct, and memory and emotion are inextricably = bound, then suddenly we, as artists, have our reason for being, and = perhaps our fictions are more important (or at least as important) in = the life of the soul as any factual experience (which is absolutely = subjective anyway). It is also interesting to note, among those authors such as Norman = Mailer, who really do carry tape recorders around with them and really = do offer us long, verbatim transcriptions of interviews, phone = conversations, letters, etc., how very often they are infinitely more = powerful and moving as writers (and therefore more effective?) when they = break from that form and more freely "interpret" the events. I'm = thinking of Harlot's Ghost, for example, a Mailer tome of about 800 = pages of transcription and 200 pages of pure fiction: the fiction sings = and is masterful; the other is snores-Ville. Then, of course, there is the issue of language itself, and the symbolic = conveyance of ideas. Jepson cites some wonderful examples from the Book = of Mormon to make his points, so I'll continue the same. BOM writers = complain about the clumsiness of their language in conveying ideas, = saying that their written symbols are more difficult and less able to = convey emotion, spirit (accuracy?) than their speech. Mormon notes that = for the Brother of Jared (writing in Adamic, I suppose), his writing was = as powerful as speech: to the overwhelming of a man to read them. The difference is not just their choice of words, not just their = choosing of which facts to include, which to ignore, what dramatic = license to take. This is a factor of the actual medium of communication, = the physical symbolic structure of the language involved.=20 So where does truth and memory come into play there? Is a love scene in = French more true than one in German? Of course the Book of Mormon is = true, but its writers wanted it to be Truer, and couldn't get it with = the tools they had, so it will have to do. The tools we have (memory, language) are inherently faulty and are = impossibly inaccurate for the conveyance of factual reality, which it = might also be argued, is subjective anyway, and can never be shared.=20 What can be shared, however, is a sufficiently congruent approach to a = common ground of reality, that both speaker and listener (reader and = writer) are edified. I would propose that this can be accomplished by the act of writing that = achieves that Truth with the capital "T", regardless of its actually = accuracy. Belletristic non-fiction has different goals than history and = to truly achieve its desired effect, must engage every tool in the = writer's arsenal, which will include dramatic license (Hemingway called = it "lying"!), and the use of memory, which is in and of itself a = subjective falsehood. So, as Heber concluded, or at least suggests with her question, perhaps = it does not matter. I know when I write non-fiction, I use memory, I also use notes, = journals, interview with others who were there, etc. But when it comes = down to the writing, I just let it flow. This is about experience and = emotion, the fluid river of memory itself, and readers know that it is = not exactly true, but they are looking for a different Truth. If they = experience something, in reading, that is recognizable to them, a shared = common ground in the field of memory, that childhood house, for example, = which, the moment Twain mentions it, we all know what he is talking = about, then that is REAL, and it genuinely does not matter that it is = factually accurate or not.=20 In my memoirs (I write a new installment annually of somewhere between = 15,000 and 30,000 words) I am saying, sometimes literally, always = metaphorically, that these are my memories, not that this is the = absolute truth. I certainly edit and abridge, share perceptions, = mistakes, misunderstandings, emotions, none of which are objectively = factual, but I certainly consider them True (or at least some portion of = the overriding Truth). And I think that audiences understand that.=20 Memory is not designed to be factually accurate, and we, as humans, are = not designed to receive factual accuracy with the same degree or = condition of common perception. In a way, everything we do is from = memory. Even if we have notes, tapes, transcripts, video, the act of = putting any of this into writing shapes it, shifts it, devolves it into = the realm of memory where it is digested, converted, spit out, = reabsorbed, re-digested, reconverted, each phase or pass or exchange = acting as a filter on reality, a mutable cone or wave of reality that = becomes subjectified regardless of accuracy or fact. In the end, it must = be memory, for that is all there is. So, my thoughts come full circle. I believe the act of writing something = automatically removes it from the arena of factual experience and places = it in the domain of subjective experience, and therefore: all writing is = a kind of fiction.=20 And yet, all really good fiction (be it disguised as memoir, = belletristic biography, non-fiction, essay, editorial, etc., or not) is, = by its quest, by its achievement of some connection with some portion of = its audience, by its frankness, by its discoveries, by its = hard-to-define quality which makes it work (at least for some) as "art": = then it has found Truth, or some portion thereof, and the details of = faulty memory have no relevance. So we must seek Truth in memoir, and we must seek Truth in fiction. As = an act of transforming ethereal experience into the medium of writing, = both memoir and fiction are fiction. But if you do it well: both of them = are True. Jongiorgi Enos - -- AML-List, a mailing list for the discussion of Mormon literature ------------------------------ End of aml-list-digest V1 #989 ******************************