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Hollywood

SF Radio 9.12: Behind the Walls of BABYLON

January 29, 2023 by Steve Norton Leave a Comment

Damien Chazelle charmed the world with La La Land love letter to Hollywood but his new film, Babylon, is… different. Willing to expose the excessive nature of the industry, this film features over-the-top visuals and wild content but, at the same time, wants to celebrate the dream of making cinema. This week, Seun Olowo-Ake, Adam Kline and newcomer Daniel Eng step behind the walls of BABYLON to talk about Hollywood’s fatal flaws and Manny’s tears.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

8jXbandBlyH6ETG28xGD8G3fCCRDownload

Filed Under: Featured, Film, Podcast Tagged With: babylon, Brad Pitt, Damien Chazelle, Hollywood, Margot Robbie, Tobey Maguire

La La Land – Hollywood Plays Itself

January 1, 2017 by Darrel Manson 1 Comment

Hollywood has played itself in films frequently. It is the land of glamor and dreams. But it can be very hard on those who dream of making it. It is filled with nostalgia and with visions of new art. How do you tell that story yet again in a way that is both conventional and fresh? Do those two ideas seem to clash? Not in La La Land, a musical that both pays homage to the history of movies and tells age old stories (like boy-meets-girl) in such a way that it seems like we’ve never seen it like this before, even when we know we have.

The story itself is simple. Sebastian (Ryan Gosling) and Mia (Emma Stone) meet somewhat un-cutely in a traffic jam. He lays on his horn when she doesn’t move; she flips him off. But soon their paths cross again—with less than romantic results. Eventually they come to discover the fit they are together and love blooms. But of course, love can also fade.

Sebastian is a jazz pianist whose life mission is to make people love jazz. Mia is an aspiring actress currently working at a coffee shop on one of the studio lots. Both have a strong sense of the past. Sebastian’s most cherished possession is a piano stool once sat on by Hoagy Carmichael. When Mia leaves work she loves to look across the backlot street at the window that Bogart and Bergman looked out of in Casablanca. These two struggling artists who look back to the greatness of the past also seek to make something that will be great and new for today.

All of this is set in the form of a classic musical. There are extensive production numbers that bring to mind such films as West Side Story. There are songs that define the relationship and other songs that speak of the dreams Sebastian and Mia have.

Writer/Director Damien Chazelle also made use of jazz in his previous film, Whiplash. In this film jazz is not just the music that Sebastian plays and often plays through various scenes; it also serves as a metaphor for the tension not only of the story, but also of the movie industry. When Sebastian explains jazz to Mia he notes that it is made up of conflict and compromise. That is true of the relationship in the story as well—and with all relationships. Later when Sebastian discusses jazz with a friend (John Legend), the friend points out that Sebastian is trying to hold on to something of the past—something that was revolutionary when it happened. Where is the revolution in Sebastian’s music? That very much reflects the tension that pervades Hollywood—the desire to make what has been successful before or to do something entirely new.

This is very much a Hollywood/Los Angeles story. (Although that doesn’t mean others will not enjoy the story and film.) But it is the L.A. of nostalgia. From the opening production number on a freeway interchange (one I’ve driven on often) to the frequent trips to Griffith Park and the iconic observatory to a studio backlot, all of this is the L.A. we’ve seen in films before. That is entirely fitting since the film is about that very nostalgic understanding of Hollywood. But while it looks back to the Hollywood we remember and uses conventions that we know, it also seeks to move into something new—which means things may not work out the way we have come to expect. It also reminds us that nostalgia can be painful as well as comforting.

A word needs to be said about the artistry of the film itself. I sometimes worry when I care more for the way the film was made than I do about the story itself. This film has several intricate production numbers that really are astounding—not just in the choreography (by Mandy Moore), but in the camera work that captures it. For example, the opening production number with people dancing on the roofs of cars stuck in a traffic jam is a long shot that shifts angles without cuts. I get a headache thinking of the logistics.

In keeping with the nostalgic nature of the film, the production design evokes not just the sense we expect from a Hollywood musical, but it also sets moods in more subtle ways. When I left the theater I thought the technical aspects of the film outweighed the storytelling. But as I’ve had time for it to marinate in my mind, I’ve come to appreciate the storytelling for its subtle celebration of dreams, even as it faces the reality that those dreams may have hard edges.

Photo credit: Dale Robinette, courtesy of Lionsgate.

Filed Under: Film, Reviews Tagged With: boy meets girl, Damien Chazelle, Emma Stone, Hollywood, John Legend, Los Angeles, Mandy Moore, musical, nostalgia, Ryan Gosling

Mars Ep. 5 – The Importance of Community

December 12, 2016 by J. Alan Sharrer Leave a Comment

(photo credit: National Geographic/Robert Viglasky)
(photo credit: National Geographic/Robert Viglasky)

The area I live in is known for occasional dust storms that are more of a nuisance than anything, blowing tumbleweeds across the highway and make driving a bit of a challenge.  However, we had a dust storm two years ago that literally scared me. The winds whipped with such frenzy that the dust in the air caused the sun to completely disappear.  As a result, the sky went pitch black and visibility was reduced to zero.  The conditions continued for over an hour, causing my commute home to become a white-knuckle affair.

As a result of that dust storm, I cannot imagine being in the situation our group of intrepid explorers face in the penultimate episode of Mars (Monday, 9 PM/8CT, National Geographic). Recall that at the end of the fourth episode, three of the original crew members stare at an incredibly large dust storm spewing lightning.  This storm has dragged on for eight weeks and isn’t close to subsiding.  As a result, any activity outside the complex is prohibited.  And since the nuclear reactor was not put back online before the storm started, battery power is the only thing running the place (the solar arrays are covered with dust and are useless). That’s an awfully precarious scenario to be in. Power has to be rationed, causing the plants in the greenhouse to wither and die, much to the chagrin of Dr. Paul Richardson (John Light), who has changed significantly as a result of the trip.  He’s incredibly distant and crew doctor Amélie Durand (Clementine Poidatz) senses a psychological issue is the problem. His drawings, however, may tell a different story.

(photo credit: National Geographic Channels/Robert Viglasky)
(photo credit: National Geographic Channels/Robert Viglasky)

The focus of this episode of Mars centers on why a psychological balance in space life is important.  It’s not as easy as one might think. Going outside isn’t always a possibility. Astronauts may not see the sun for months at a time. If a person gets upset with someone, they can’t deal with the issue(s) by simply walking away. Space life is, in many ways, like being in prison, only with (hopefully) nicer individuals to deal with. There is a severe toll placed not only on the human body, but the mind as well. An example from Russia is cited, where a six-member crew was placed in a sealed environment for 520 days; only two of the six managed to stay psychologically stable for the entire time period.  Hollywood may glamorize space, but it’s not as much fun as one might think.

Yet at the same time, community is of the utmost importance.  People have to learn how to get along, how to take care of each other, how to live life together. Loners are prime candidates for causing problems to themselves and others.  It reminds me quite a bit of the early church after Jesus’ resurrection. The Bible says, “And all those who had believed were together and had all things in common; and they began selling their property and possessions and were sharing them with all, as anyone might have need. Day by day continuing with one mind in the temple, and breaking bread from house to house, they were taking their meals together with gladness and sincerity of heart, praising God and having favor with all the people” (Acts 2:44-47 NASB).  Taking care of each other is important in life, and the sooner we realize that, the better off we’ll be as a collective whole.  It allows us an opportunity to put Jesus’ words into action in tangible ways people can see and react to (the story in Acts notes that as a result of their actions, God added to the believer’s numbers daily).

Will the colony on Mars survive the storm (and each other)?  Will the powers-that-be on Earth pull the plug on the whole mission?  Will there be a surprise none of us saw coming?  Only one episode remains to answer all of these questions . . .

Filed Under: Current Events, Reviews, Television Tagged With: Acts, Astronauts, Bible, Clémentine Poidatz, community, Dust Storms, Earth, God, Hollywood, Jesus, John Light, Loneliness, Mars, National Geographic, Oliver, Psychology

On Starbucks, Hollywood, & “Defending The Faith”

November 9, 2015 by Jacob Sahms 7 Comments

starbucks

What do Starbucks, Seth Rogen, & Jesus have in common?

I’m all for apologetics, the “reasoned arguments or writings in justification of something, typically a theory or religious doctrine.” In their place and in their time. But why do people of faith find themselves hung up on apologetics when it comes to films made by those who don’t believe the same thing, or, as recently as this weekend, when it comes to the design of Starbucks’ holiday cups?

While there is a time to wrestle with issues of theology, I think that sometimes we get so carried away in society’s “us versus them” banter, that we lose sight of what we’re really doing here. We arrive at the point of faith with an understanding of how much we need Jesus’ grace and forgiveness through his death on the cross, and before long, too many of us think that Jesus needs us to argue for him, pontificate about him, and angrily protest in defense of his honor.

Puh-lease. Jesus died on the cross, crucified between two thieves when he could’ve hopped down, flown away, or blasted all of the Romans off of the planet. Do you really think he is offended by some people who doubt his existence?

Jesus loved – and we should, too. Jesus forgave, and we should, too. Jesus lived sinlessly, and we should (try), too. Jesus cared about and not or, but or instead of. Jesus brought grace into fragmented situations, to draw people to himself and together.

So, instead of apologetics, I would like to apologize.

-To Starbucks, who makes mighty fine coffee and decent chocolate croissants, but who has no ‘platform’ by which they’re expected to determine what is morally appropriate or theologically correct about the celebration of Jesus’ birth. I’m sorry we Christians turned all bull-like at the sight of those red cups. Sorry we tried to tell you how to run your megazillion dollar business… although I’m sure Howard Schultz will laugh this bonanza the whole way to the bank. You all stick to grinding the beans, and let preachers and pastors everywhere meditate and teach on the word of God.

-To filmmakers who make films that are “irreligious” or conflict with what the majority of people believe about Jesus and Christians (like The Night Before), thanks for sharing your story. [In the trailer and interviews I’ve seen about Seth Rogen’s new Christmas Eve film, a group of friends get together for their last Christmas Eve night together – expressing their loss of community but Rogen’s character throws up in church after he’s drunk. I can hear some folks sharpening their knives — instead of recognizing the opportunity to share what real community looks like.] I’m sorry that we Christians forget that film is storytelling, that not everyone thinks or sees things the same way. I’m sorry we fail to recognize the inconsistencies in the Gospels – even the synoptic ones – and the thoughts that don’t jive between the Old and New Testaments. You all stick to making films of quality that stretch our hearts and minds, and let …preachers and pastors everywhere meditate and teach on the word of God.

Hey, while I’m at it –

-To the poor, the homeless, the hungry, the marginalized, the forgotten about, the abandoned, the abused, the sold-into-slavery, the hopeless, the ignored, I’m sorry. I’m sorry that we, The Church, get so bogged down in defining who is not with us, that we forget we were once not with Christ, and that no matter what, there’s a spot at the table, at the barista line, at the cinema for each of you. Because there’s space here for us doesn’t mean that there isn’t space for someone else. You all keep fighting – and know that God loves you, even when The Church fails to. Know that God is bigger than prayer in school or “season’s greetings” or whatever nonsense the church makes it about because God cannot be kept out.

One day there’s a kingdom coming, where all of this will be wiped away, and there’ll only be ONE.

One God, one Lord, one Savior of us all.

Oh, wait, that’s what Christmas is really about.

Instead of being a Christian who boycotts Starbucks or throws a fit over the color of a cup, why not be the Christian who doesn’t flip out when your drink isn’t exactly like you hoped it would be? Or better yet, if you were the kind of Christian who overtips your barista? Christianity’s revolution isn’t in what it’s against but what it’s for. 

Filed Under: Current Events, Editorial, Featured, Film Tagged With: barista, boycott, Christians, Christmas, culture, Hollywood, Jesus Christ, josh feuerstein, red cups, Seth Rogen, Starbucks, The Night Before

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