Why are Christian Films so Bad?

Four people this week asked me why Christian films are so bad. Each person defined “bad” differently, but they all realized that faith-based films are typically made differently than other films. They also suggested that non-Hollywood faith-based films must live up to a different standard than Hollywood films.

One of the ways a faith-based film differs from a Hollywood film is where the message is placed. Hollywood likes to keep the action plot clean of any messages to avoid it coming across as propaganda. Most faith-based films firmly plant the message into the action plot because the message is more important than the story.

According to Christian filmmaker Dallas Jenkins, “Message films are rarely exciting. So by their very nature, most Christian films aren’t going to be very good because they have to fall within certain message-based parameters. And because the Christian audience is so glad to get a ‘safe, redeeming, faith-based message,’ even at the expense of great art, they don’t demand higher artistic standards.”

Most faith-based audiences hold a strong sense of frugality when it comes to their view of spending money on message films. There is an unwritten rule that the producer must do his best and trust God to make up the difference, which he does by stretching the dollars.

Hollywood on the other hand has learned that the more money you put on the screen, the greater number of people you reach. Most faith-based producers do not hold to this concept, as they are honored for their frugality. The downside is that their message films are seen by far fewer audiences. However, this doesn’t cause any problems since they are rewarded for the message, not how many people the message reaches.

Faith-based filmmakers are also locked into the type of stories that they are allowed to make. The films are made based on how the niche audience defines a clean film, rather than based on a powerful story. This results in most faith-based films being void of bad language, conflict, and sinful struggles. In other words, everything is nice and sweet.

Years ago I spoke with Michael Landon, Jr. about his desire to make a gritty urban drama about redemption, but his fans wouldn’t allow him to do anything that wasn’t in keeping with his current Hallmark style of films. While his films weren’t officially faith-based, it did cater to a similar audience that held to high ideals.

When Les Misérables was released, I found the story to be one of the greatest demonstrations of redemption in the history of the motion picture industry. But it was not a faith-based film.

I was a bit confused though, when I saw many faith-based audience members Facebooking their friends with warnings not to watch such a disgusting film about a prostitute. Clearly they weren’t aware that the film was about a man – Jean Valjean. Nor were they aware of the films powerful message that was gently salted into a subplot.

Valjean was a recipient of grace and mercy. The gift was so empowering that he was compelled to pass it on to others by creating jobs for people. One person that he saved, had fallen into prostitution in an attempt to care for her child. On her deathbed Valjean commits to see that her daughter learns of grace and mercy too. He even sees to her marriage and a better life.

I find stories like Les Misérables to be far more powerful than most faith-based films. In fact, I found a list of stories that have powerful Judeo-Christian messages, yet are not faith-based:

      • Man of Steel (2013)
      • Les Misérables (2012)
      • The Blind Side (2009)
      • The Lord of the Rings trilogy (2001-2003)
      • In America (2002)
      • Bruce Almighty (2003)
      • Changing Lanes (2002)
      • About Schmidt (2002)
      • Signs (2002)
      • Magnolia (2000)
      • The Iron Giant (1999)
      • The Prince of Egypt (1998)
      • The Apostle (1998)
      • Dead Man Walking (1996)
      • Braveheart (1995)
      • The Shawshank Redemption (1994)
      • Grand Canyon (1992)
      • The Mission (1986)
      • Hoosiers (1986)
      • Places in the Heart (1984)
      • Tender Mercies (1983)
      • Chariots of Fire (1981)

I’ve seen many of the above films and can vouch for the inclusion of strong messages, but by no means do these films come close to being faith-based films. The violence, sin filled struggles and choices force the films out of the category.

However, these films are very realistic, raw and honest about the struggles that the main characters face. The realism and gutsy truth, in my mind, are far more powerful and important than my need for watching a squeaky clean movie.

I think it’s time for someone to create a faith-based film that is excellent and breaks all the rules. I’d love to see a lot more money put on screen for a wider reach. I’d also like the message salted into a subplot rather than in the action plot. And, I’d like to see a very realistic drama versus one that is made squeaky-clean. Then, I think people will stop asking me why Christian films are so bad. But then again, the film that breaks all of those unwritten rules would no longer be seen as a faith-based film.

Trapped in a Friendless Life

Terrell was weak. Not from the loss of blood dripping from his stool that flushed out of sight, although it did give cause for concern, but from his inability to find a true friend. Months after the lay-off his friends dissipated one after another along with his health.

His swelled belly was wrought with starches from food pantries. Not a single handout was healthy. Most were discarded foods that some man bought for his wife by mistake. She’d generously drop off the bag to a food pantry on her way to pick up the right items.

Still, there were days when Terrell was fortunate to receive a few dollars to spend on a greasy fast food burger in order to increase his caloric intake. He didn’t mind the extra fats, as it would seep through his pores and slow the chaffing on his face caused by the inability to groom properly.

Finding a place to lay his head at night was never a problem, but one with a shower and body wash was better. He was fortunate to find two such locations each month, so he positioned his interviews for the morning after those stays. The locations also provided a filling breakfast that gave him the fuel needed for the interview process.

The interviews were seldom productive. Most of the companies ran background checks and learned that he had lost his house a year after the lay-off. His age was also a deterrent, as they were looking for a thirty-something, not someone who had crossed into his fifties. Besides, the hiring manager was usually intimidated by his vast knowledge of the industry and figured there had to have been more to his lay-off than meets the eye.

Terrell did try to dumb down his resume. But the interviewer always made him comfortable, causing him to answer every question truthfully, which revealed his great knowledge and life long wisdom. This response made it obvious that he was far overqualified for the position. Few hiring managers would hire someone that, once back on his feet, would probably find a higher level position within the year and leave. The remaining managers were afraid he’d eventually come gunning for his or her job.

All of these frustrations bothered Terrell, but far less than not having a true friend with whom he could speak openly. The few fringe friends always wanted him to quickly fix his problem, rather than allow him to talk through his issues. Then there were those “friends” who positioned themselves for the day that Terrell would land back on his feet, hoping they would be found in his good graces, especially since there was word on the street that he was being quietly groomed and reviewed for a high position once he met certain criteria.

The unspoken criterion was a frustration that stood all on its own. Terrell wished he had a friend to talk through what the possible criteria might be and what side of the tracks generated the conditions. Were they people who wanted to use his gifting and ability to communicate or a camp of people desiring his demise, who seemed to have the upper hand based on his circumstances?

Terrell had a passion that if funded would change the way society viewed life. It was an incredible power that seemed squandered in a man that was rich in ability, but trapped on skid row. His enemies would be devastated if he ever found his way out. But for now, they were thankful that his allies were keeping him in humble circumstances that was taking a toll on his health, which might soon give permanent strength to Terrell’s enemies.

Tears welled in his eyes as Terrell dropped his shoulders to relax. The shelter he arrived at for the night was one of his favorites and had a woman gifted in affirmation to sooth his soul. Her kind words caused him to reflect on remarrying some day, but he knew his experiences would keep him from such a gentle woman.

But it didn’t matter, as few women would attempt a relationship with an unemployed man. While it’s hard to fall in love with someone who is living out his worst scenario in life, it’s even harder to fall in love with such a man that will radically change once he is resuscitated back to normal society. Trapped men always snap back to life with far more power than anyone expects, making sure no one ever has the ability to put him down in the future.

Terrell was never a man who desired control or an abundance of power. In fact, it scared him because his morals were stretched every time he was forced to live a life contrary to who he was made to be. His only solace in those times would be a close friend that he could trust, which no longer existed.

There were plenty of people who were friendly to him, but no one would dare cross one of Terrell’s enemies. Nor would they interfere with his silent supporters that put him in his uncomfortable predicament in order to test his resolve and learn if he was driven by pride or humility. The risk was too high and the manipulation seemed to be for his good, so most just avoided any close contact.

However, there were a few false friends that would step in and out of his life long enough to report back on the condition of his heart. The reports were somewhat confusing, as Terrell always had a great outlook on life. His judges couldn’t tell if he was being arrogant about his future, or humbly making powerful faith filled statements. So, they purposely increased his suffering to learn the truth.

The testing continued for years and Terrell was unable to guess how he needed to act in order to stop the turmoil. Clearly those sent to check on him weren’t able to tell where he was coming from and his calculated behaviors that he assumed would stop the testing never did. His suffering continued to his detriment.

The night finally came when Terrell’s bleeding was so significant that he lay in bed crying. He only had $11.23 in his jeans, very short of his health insurance co-pay. Every hour he’d walk into the bathroom and sit on the throne, praying that he wouldn’t loose too much blood as it dripped into the bowl.

He finally had weakened to the point of no return and laid in his bed with tears dripping down his face. He didn’t fear dying and even wondered if anyone would ever miss him. But he was thankful someone would at least find him in the morning. He had wished it would be a friend who might care for him if he survived the night, but he knew that friendship was no longer possible in his worthless state.

With a deep breath and lonely resolve, Terrell realized that most people around him had friendships of convenience, rather than friendships of love. And he knew that his life was not convenient for anyone to participate or care about. So he closed his eyes and whispered his goodbye to the world.

The next morning a volunteer nudged Terrell’s body. Her warm touch caressed his face as she told him it was time to get up. His eyes popped open with a look of surprise followed by a warm smile. He was alive and could tell that his bleeding had stopped.

Confidence rose in his heart and he knew that he had been gifted with another day of life. He immediately got cleaned up and started to strategize on how to start a new future that included true friends and a good job. He was ready to go for it, regardless of his enemies and those who were trying to manipulate his future. After all, it was a new day and he had enough strength to live it.

Copyright © 2014 by CJ Powers

How to Become a G.R.E.A.T. Screenwriter

© Pixelbliss - Fotolia.comOver the past few years I’ve spoken with a couple dozen screenwriters including three Oscar® winners. In each conversation I’ve asked how I should best spend my 10,000 hours in becoming a great screenwriter. For those of you not familiar with Outliers, author Malcolm Gladwell repeatedly mentions the “10,000-Hour Rule”, claiming that it took experts in any given field 10,000 hours of task specific practice to master their craft.

In this article, I’ve summarized the various answers that I’ve received and created the G.R.E.A.T. acronym to share how to set 21-40 hours a week aside to become a great screenwriter.

G.  GO TO THE MOVIES every week (2-4 hours/week). Screenwriters go to a minimum of one movie every week on average. Additional movies can be watched on NETFLIX or from a personal DVD/Blu-Ray library (which all screenwriters own), but it’s critically important for screenwriters to attend films in theatres every week. This brings an advantage of understanding their audience and how they react to various types of scenes in a movie.

R.  READ A SCREENPLAY every week (2-3 hours/week). Studios make their best screenplays available every year for Oscar® nomination consideration. Screenwriters download the 20-30 screenplays and read each one to learn about their competition and to glean any useful information to improve his or her skills. Screenplays can also be found online and purchased from writer stores.

E.  EXERCISE WRITING SKILLS every day (14-28 hours/week). Authors write and screenwriters do the same every day. Yes, every day. Screenwriters experience what some refer to as a form of withdrawal when they don’t write. The creative side of the brain is very aware of its lack on the days that the writer doesn’t reduce some thoughts to writing. All professionals stay up on their writing to stay polished and creative.

A.  ASSOCIATE WITH SCREENWRITERS every month (1 hour/week). While networking is critical in the entertainment business, staying connected to associate screenwriters is also important. The creative soul is helped by the sharing of tips and tricks, along with the sharing of related circumstances that only writers understand. These comradery sessions encourage us to better ourselves regularly so we have something worth sharing.

T.  TAKE NOTES every day (2-4 hours/week). Screenwriters find great moments in every day life that are worth capturing for their “future” folder. During the research phase of a given story everything is captured in multiple forms for later. This might include roughing out a quick draft of a given scene, collecting clips from another source that can be adapted, or research notes captured on a napkin or scratch pad when submerged in the library or surfing the net. Those who try to stash the information in their memory typically lose those great moments.

The G.R.E.A.T. Screenwriter is a person who does all of the above without giving it consideration, as it is a part of who he or she is. The process is fulfilling for the screenwriter and makes total sense. However, the person who wants to be a screenwriter, but doesn’t have it in their veins will find the above list painful to execute.

For instance, a screenwriter will not only watch the films they love and the types of films they desire to write, but will also watch films they would never normally watch to better understand the genre, style, and narrative structure. On the other hand, the non-writer who wants to craft a screenplay will avoid films they don’t like and that don’t match the type of story they want to write.

While studying Scorsese’s film, The Wolf of Wall Street, I learned that the screenwriter used the F-word 506 times. Due to the rule of diminishing returns, the word was weakened to a meaningless quip. By understanding the lack of impact that film made on me, I was able to rewrite an action film without any language. By the end of the story when the main character screams out, “No!”, it actually makes a far greater impact than the F-word did in Scorsese’s film.

Copyright © 2014 by CJ Powers