The Riches of Cross-Gender Conversation

Conversation_with_Opposite_GenderWhenever the entire family got together to celebrate holidays someone would inevitably mention the matriarch we all lived under. The women in the family predetermined my childhood activities and there were so few men that no one argued for alternate experiences.

In Cub Scouts I was labeled a “mama’s boy” and by the time I entered Boy Scouts the words, “Mama’s little cherry tart,” rang in my ears weekly. The repetitive degradation limited my dialogue with guys, but thankfully the women in my life supplied an ample amount of conversation for a young boy.

Not only did I learn to be a good listener, but I also got pretty good at jumping back and forth between non-linear simultaneous banter. My dad’s ability to carrying a conversation exceeded that of most men too, especially when filled with his unending list of stories that captivated everyone in the room. I’m not sure if our skills developed to help us survive living within the matriarch or we were hardwired to communicate from birth.

By the time I received my drivers license, I realized that few men were able to chat for any length of time. I unconsciously developed more female than male friendships. This was probably due to my comfort level conversing with women, but also because I understood that the more people shared, the more fascinating their life story.

Finding a good conversationalist was like discovering a hidden treasure filled with heartfelt pieces of gold. As trust developed through a series of chats, the information shared became more profound and admirable. The level of vulnerability increased and the waves of delight and amazement for the person’s life achievements commanded respect. Meeting a man or a woman capable of carrying on a vulnerable conversation inspired my life and blessed me with great intangible wealth.

But a few days ago, I read a Focus on the Family article that if heeded takes away that treasure. The words were a warning to married men about conversing with women. The thought of not having in depth chats with women to placate someone’s fears was absurd.

The article referenced the “Billy Graham’s Rules” and suggested all men need to follow it to protect their marriages. But the piece wasn’t clear that the rules, actually called the “Modesto Manifesto,” were put together by a group of guys wanting to protect their ministries from any appearance of controversy. It had little to do with their wives.

Vice President Pence’s choice to never be alone in a room with a woman who isn’t his wife was also mentioned. Based on what I’ve read about Pence, he is a man of integrity and does not yield to what he knows is wrong. Surely his wife knows of his integrity too, so why does he avoid being in a room with another woman? Is it because he doesn’t trust himself or women?

Being a man of good character and integrity should give you access to conversations with women, not force you to sever the possibility from life. I’ve learned more from women in my life than I have from men. I can’t even begin to comprehend how little knowledge I would’ve amassed using the alleged protection rule.

Integrity to me means that I will live my life in the same way in public and behind closed doors. I will endeavor to be honest at all times, sustain my moral principles through example, and live uprightly according to godly standards, not man’s. I will also live a holistic life and not present a divided self. I will be a creative person in public and in private.

As for being goofy, since it’s a side effect of my imagination, I will choose when to reveal it and to whom. After all, few people would want me to act goofy at a funeral. But, in keeping with integrity, I have no problem with people learning that I can be down right goofy. Or, as my kids put it—Weird.

So if I were married, I would hope my relationship with my wife reveals who I am. I’d want her to see into the deepest part of my soul where life long trust is built. With that kind of access to my heart, I believe she would trust my integrity and our marriage. This state of partnership would then allow for conversations with anyone I meet.

Now, this is not to say that I’m not careful. I am. I’d be a fool to continue an in depth conversation with any person, man or woman, which does not live by similar standards. If a person is trying to win or persuade me away from what I know is true and right, then I immediately lose respect for them and see no need to continue the conversation. I politely walk away.

A few years after my divorce, I remember meeting a woman that was super hot and equally as sweet. My integrity told me to walk away, not because she wasn’t of value, she was, but there was something about her that stopped me from being me. I had to continue living an integrated life based on the principles that I adhere to and her presentation was hindering my moral success internally. Left unchecked, it could eventually dampen my morals externally.

I do not want to be a moral failure. Nor do I want to cut out the riches in my life because some men were fearful they might do wrong without a pact. I do not make fear-based decisions. I do not answer to how an organization, author or a group of men think I should live. I answer to only one person—the creator and protector of my soul.

© 2017 by CJ Powers

A Surprise Request to Screen Megan Leavey—Review

MEGAN LEAVEYRegal Cinema contacted me with the hopes of attending a prerelease screening of Megan Leavy. The invitation was not the standard film review request, as veterans were also invited to attend. Surrounded by heroes, my expectations quickly grew. I wondered if director Gabriela Cowperthwaite might be the next Oscar winning female director along side of Kathryn Bigelow (The Hurt Locker, Zero Dark Thirty).

Megan Leavey receives a wide release on June 9, 2017. The film is based on a true life story of a young Marine Corporal (Kate Mara: House of Cards, The Martian, Iron Man 2) whose unique discipline and bond with her military combat dog saved many lives during their 100 plus missions in Iraq.

While the film takes you on a journey with Leavey and Rex training to be warriors, and even highlights a few missions, the film is not a war movie.

“I think of Megan Leavey as a relationship movie about someone learning to value themselves by virtue of valuing and caring about something else,” said director Gabriela Cowperthwaite.

Known for her documentaries on the protection of animals, Cowperthwaite made sure the audience experienced what the dogs and their partners work through during their bomb sniffing duties.

MEGAN LEAVEYThe film opens with Leavey living a hot mess of a life. She runs away from it by joining the Marines. Through a series of circumstances, Leavey is assigned to partner with Rex, her military German shepherd. They train hard together and build a relationship that helps Leavey understand what love and devotion is about.

Midway through the film they face an attack and both suffer an IED injury that puts their partnership in jeopardy. Leavey puts in for retirement and seeks to adopt Rex so they can work through their healing process together as civilians, but Rex gets redeployed making Leavey’s PTSD recovery extremely difficult.

For Rex’s sake, Leavey steps up her life, as a Marine would, and goes to battle for Rex’s retirement and his adoption. Her shear will and passion for Rex is enough to spark her creativity and she does what no one had every done before. The outcome will bring pride to your heart and a tear to your eye, especially if you are a dog lover or know a veteran who had a hard time adapting to civilian life.

Unfortunately the film has several unnecessary scenes that make it feel about 20 minutes too long. And, a few scenes that you’d love to see in depth were only alluded to instead of being shown. However, the acting is top notch by most of the cast and the love between Leavey and Rex will keep your interest.

PosterAfter the screening several veterans sitting nearby shared how they knew a person just like Leavey and felt the overall story was accurate concerning their attempts to reintegrate into civilian life. They also loved watching the end credits featuring footage of the real Megan Leavey and Rex.

Also in attendance was a millennial filmmaker who discussed the film with me as we left the theater. We debated about the holes in the story and the lack of exploration in the areas of Leavey’s life that I wanted to better understand. But we quickly agreed that this moderately budgeted film was well worth supporting, as non-blockbuster films (the theater staples of the past century) seem to be few and far between.

We also agreed that Cowperthwaite was not the next Oscar contender, nor was the film a war movie. Megan Leavey is a dog lover’s movie about finding oneself through the caring of another. While the intensity of the battle scenes should be avoided by children, the film is of value to older kids.

© 2017 by CJ Powers

Picking a 3, 8 or 12-Week Shooting Schedule

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Sample Scheduling Strip Board

A friend of mine surprised me with a note detailing the results of his unique research. He was adamant about learning why certain films succeed with a shooting schedule that kills other films. The correlation was eye opening and made me curious about my list of shooting scripts.

Typical Movies of the Week (MOW) fit easily into a 3-week schedule due to time constraints and budgets. Although some networks are satisfied with the results garnered by 2-week schedules because they prefer few set-ups and lots of close-ups.

Beginning filmmakers also use the 2-3 week schedule because they don’t yet have the artistic flair or knowledge of what to do with the extra time provided in an 8-week schedule. Many newbie directors can’t tell what the actor did right or wrong, so they move to the next shot without any exploration of how to best capture the human condition.

Oscar® loves the 8-week schedule because it keeps the story intimate and gives plenty of time to explore the artistic values that expose the human condition. The vast majority of Academy Award nominees and winners hold well to the 8-week shooting schedule. Few Oscar® winners use a shorter or longer shooting schedule.

Highly commercial films are forced to use the 12-week schedule due to its elaborate shots, visual effects and global storylines. The bigger box office spectaculars have even stretched the shooting schedule out to 6 months in order to properly create the world of adventure adored by audiences worldwide.

Understanding why the films in each category could succeed was impressive, but I found the list of failures more enlightening.

Many horror and Faith-based films attempt to make an 8-week film in 2-weeks and wonder why their box office couldn’t hit Hollywood’s $40MM mark that determines success within the industry. While most horror films shot within a 3-week schedule hit $12MM, Faith-based films tend to hit $3MM. I was curious about the gap.

According to the research, horror films use a simple “coming after you” action device to move the story forward and salts in a secondary plotline of romance or something from “Geekdom.” Faith-based films seldom use action plotlines, so the story has no forward movement. The filmmakers rely solely on the message’s innate value rather than salting it into an action throughline.

Of course, 8 and 12-week scheduled films usually have a strong action plotline and one or two subplots to entertain the masses. This structure in of itself demands more shooting time and exploration of the human condition. Comedies on the other hand don’t adhere to the story structure, as they explore improvisational work by the talent. Doing so can accidentally remove the pacing and format of the story, making it fall apart in the eyes of the audience.

Most $40MM plus stories are shot on the 8-week schedule using full story structure with an action plotline and two subplots. The longer schedule attracts larger names to the project that can draw a larger audience. The key to the film’s success typically rests on the director, writer and talent. Story is king and knowing how to direct is essential.

Most of the stories I write are for 8 and 12-week schedules. However, most of the shows I’ve been hired to direct have been for 3 and 8-week shooting schedules. The shorter schedules were due to investors or producers that wanted to spend as little money as possible to achieve their results, rather than investing the amount needed to honor the story’s natural schedule.

When I shot Mystery at the Johnson Farm we scheduled 11 pages a day and shot lots of close-ups with little coverage. When I was in The Dark Night’s parade scene we were capturing less than a page a day. On Nolan’s heavy stunt days they were lucky to capture one to two eights of a page a day.

The story demands a certain amount schedule for each of its specific scenes. To rob the story of what it requires only lowers the quality of the film. To give too much time to scenes causes the show to become bloated, forcing the editor to battle the director—trimming favorite shots for the sake of pacing and entertainment value.

The key question with independent film … is the story well structured enough to require the golden 8-week schedule or is it too weak? If it’s weak the filmmaker can either adjust the script or refocus his distribution to a small cable network in place of a theatrical release.

©2017 by CJ Powers