4.15.09
The Bee Money documentary may have found a home. We have decided to develop a short doc on the quirky rap artist / door-to-door salesman for This American Life. Bee Money's story is a perfect fit for the show. Now all we have to do is create something compelling enough. Easier said than done. We'll keep you posted.
CLEANFLIX - MARCH UPDATE
03.26.09
We are still editing the CLEANFLIX rough cut and it looks like we probably will be for the rest of the spring and summer. Unfortunately, my co-director, Josh, is heading to Europe for two months at the end of April. This means that some stuff will have to wait until his return in July. Josh's absence will certainly push the film back a little bit, but I think it will be good for everyone involved to clear their heads and think about something else besides CLEANFLIX for a few months.
Considering the situation, its likely that the film won't be done until the fall, but I'm not upset in the least. In fact, I have never felt more optimistic about the documentary than I do now. We are making great progress in every way, across the board. We have a great producer, Amber Bollinger, who has spearheaded some of the more difficult tasks, like getting permission from major Hollywood studios to include movie clips in the film.
Of course, this brings up some legal issues. As you can imagine, we do have some lingering legal concerns over some of the film's content, but at this point we just need to cut the documentary as it needs to be cut. The plan is to finish the film before addressing other issues. Depending on what happens, some content may need to be cut or be altered in some way, but for now, we are trying to cut the best film possible without stressing over what content we can and can't use. So far, this strategy seems to be working because Josh and I are cutting a pretty remarkable film.
The website is finally done, but we are still designing some basic animations for the trailer. Once this is complete, Josh and I will be deciding on a launch date for the film's internet marketing campaign. In addition to the website, the launch will include a Facebook fan page, a MySpace page, and a YouTube channel. The idea is to create some local buzz before we start approaching producer's reps and film festivals.
We are still editing the CLEANFLIX rough cut and it looks like we probably will be for the rest of the spring and summer. Unfortunately, my co-director, Josh, is heading to Europe for two months at the end of April. This means that some stuff will have to wait until his return in July. Josh's absence will certainly push the film back a little bit, but I think it will be good for everyone involved to clear their heads and think about something else besides CLEANFLIX for a few months.
Considering the situation, its likely that the film won't be done until the fall, but I'm not upset in the least. In fact, I have never felt more optimistic about the documentary than I do now. We are making great progress in every way, across the board. We have a great producer, Amber Bollinger, who has spearheaded some of the more difficult tasks, like getting permission from major Hollywood studios to include movie clips in the film.
Of course, this brings up some legal issues. As you can imagine, we do have some lingering legal concerns over some of the film's content, but at this point we just need to cut the documentary as it needs to be cut. The plan is to finish the film before addressing other issues. Depending on what happens, some content may need to be cut or be altered in some way, but for now, we are trying to cut the best film possible without stressing over what content we can and can't use. So far, this strategy seems to be working because Josh and I are cutting a pretty remarkable film.
The website is finally done, but we are still designing some basic animations for the trailer. Once this is complete, Josh and I will be deciding on a launch date for the film's internet marketing campaign. In addition to the website, the launch will include a Facebook fan page, a MySpace page, and a YouTube channel. The idea is to create some local buzz before we start approaching producer's reps and film festivals.
THE GENERATIONS PROJECT
03.16.09
I recently had the opportunity to direct and edit a commercial for the upcoming television show, The Generations Project. The new program is a reality show of sorts that helps average people dig deeper into their family history. The Generations Project is being produced by BYU Broadcasting and will be airing sometime this fall. I'm currently scheduled to edit 4 or 5 episodes of the show this summer in preparation for the fall release. Check out the commercial.
I recently had the opportunity to direct and edit a commercial for the upcoming television show, The Generations Project. The new program is a reality show of sorts that helps average people dig deeper into their family history. The Generations Project is being produced by BYU Broadcasting and will be airing sometime this fall. I'm currently scheduled to edit 4 or 5 episodes of the show this summer in preparation for the fall release. Check out the commercial.
BEE MONEY LIVE IN CONCERT
03.15.09
Production on Bee Money is still underway. In fact, last night, Jolyn and I had the opportunity to see Bee Money live in concert. He played with three other groups, including Hot Parents. It was a pretty cool show. It was awesome to see the man in action and capture it for the documentary. As usual, Bee Money made the most of the night by selling t-shirts and promoting his YouTube videos.
Production on Bee Money is still underway. In fact, last night, Jolyn and I had the opportunity to see Bee Money live in concert. He played with three other groups, including Hot Parents. It was a pretty cool show. It was awesome to see the man in action and capture it for the documentary. As usual, Bee Money made the most of the night by selling t-shirts and promoting his YouTube videos.
LATE NIGHT THOUGHTS - KUBRICK
02.05.09
One of my favorite directors is Stanley Kubrick. I have seen every Kubrick film except for his very first, Killer's Kiss. Each of his films are sublime works of art and models of visual story-telling. Not only do I love his films for their originality and craftsmanship, but I also love his approach, his intensity, and his passion. What draws me to Kubrick more than any other director, is not just the beauty of the films he made, but how he made them. I am very interested in intense, personal, filmmaking; in minimalist filmmaking -- even on bigger-budget projects. I am very interested in small crews, collaboration, and sacrificing for your art. I think the challenge will be continually finding the right people to work with, who share a similar vision of cinema.
One of my favorite directors is Stanley Kubrick. I have seen every Kubrick film except for his very first, Killer's Kiss. Each of his films are sublime works of art and models of visual story-telling. Not only do I love his films for their originality and craftsmanship, but I also love his approach, his intensity, and his passion. What draws me to Kubrick more than any other director, is not just the beauty of the films he made, but how he made them. I am very interested in intense, personal, filmmaking; in minimalist filmmaking -- even on bigger-budget projects. I am very interested in small crews, collaboration, and sacrificing for your art. I think the challenge will be continually finding the right people to work with, who share a similar vision of cinema.
WRESTLING WITH GOD - NOW ON DVD
01.26.09
Last year, Wrestling With God played the 2008 LDS Film Festival, drawing praise from audiences and critics alike. Now the film has been chosen as a selection for the Festival's "best of" DVD. You can order the DVD online by clicking here. The DVD also features some other great short films, so support local filmmakers and pick one up.
Last year, Wrestling With God played the 2008 LDS Film Festival, drawing praise from audiences and critics alike. Now the film has been chosen as a selection for the Festival's "best of" DVD. You can order the DVD online by clicking here. The DVD also features some other great short films, so support local filmmakers and pick one up.
BEE MONEY'S FIRST INTERVIEW
01.17.09
Today was the first day of shooting my new documentary, Bee Money. Cleanflix is still the main priority at this point, but new projects are surfacing and the timing feels right. I am planning on tracking the progress of this new film very thoroughly.
Bee Money is a local celebrity in Provo, Utah. He is also an aspiring hip-hop artist, salesman extraordinaire, and all-around interesting person. I first met him years ago, selling pest control. Since then, I've gotten to know him very well. About four years ago, I spent 6 months following him around and filming his life with a 3 chip camcorder. I am now in the process of organizing and compiling that footage, as well as shooting new stuff. I am producing and directing the film with my Wrestling With God partners, Marissa and Torben Bernhard. Jolyn is producing as well and is planning a viral campaign for the film, in the hopes of capitalizing on his YouTube fame.
Today was the first day of shooting my new documentary, Bee Money. Cleanflix is still the main priority at this point, but new projects are surfacing and the timing feels right. I am planning on tracking the progress of this new film very thoroughly.
Bee Money is a local celebrity in Provo, Utah. He is also an aspiring hip-hop artist, salesman extraordinaire, and all-around interesting person. I first met him years ago, selling pest control. Since then, I've gotten to know him very well. About four years ago, I spent 6 months following him around and filming his life with a 3 chip camcorder. I am now in the process of organizing and compiling that footage, as well as shooting new stuff. I am producing and directing the film with my Wrestling With God partners, Marissa and Torben Bernhard. Jolyn is producing as well and is planning a viral campaign for the film, in the hopes of capitalizing on his YouTube fame.
NEW DOCUMENTARY - BEE MONEY
01.10.09
About 4 years ago, I met a kid named Brian who goes by the name of Bee Money. He's a door-to-door salesman, rap artist, and local celebrity. He has been become somewhat famous because of his YouTube Videos and has garnered widespread popularity in Utah County. The catch is, Brian lives on his own and takes care of himself, despite struggling with some kind of mental disability. He's fun, caring, honest, hilarious, and kind.
At the time, I decided I would follow him around with a video camera and turn his life story into a documentary. Well, nothing ever came of that footage. I recorded about 15 hours of tape and then stuffed it in a drawer.
Since that time, I have learned a lot about filmmaking and have decided to get serious about doing that film. I am teaming up with Marissa and Torben Bernhard, my fellow co-directors from Wrestling With God, to produce an honest documentary about Bee Money. We are currently going through the initial footage from 4 years ago and developing a plan/strategy for incorporating the old footage into the new stuff we will be shooting.
I am still very busy with CLEANFLIX, and Torben and Marissa are busy with The Sonosopher, but we feel confident that pre-production for Bee Money should begin this month. I will be updating this blog as things develop.
About 4 years ago, I met a kid named Brian who goes by the name of Bee Money. He's a door-to-door salesman, rap artist, and local celebrity. He has been become somewhat famous because of his YouTube Videos and has garnered widespread popularity in Utah County. The catch is, Brian lives on his own and takes care of himself, despite struggling with some kind of mental disability. He's fun, caring, honest, hilarious, and kind.
At the time, I decided I would follow him around with a video camera and turn his life story into a documentary. Well, nothing ever came of that footage. I recorded about 15 hours of tape and then stuffed it in a drawer.
Since that time, I have learned a lot about filmmaking and have decided to get serious about doing that film. I am teaming up with Marissa and Torben Bernhard, my fellow co-directors from Wrestling With God, to produce an honest documentary about Bee Money. We are currently going through the initial footage from 4 years ago and developing a plan/strategy for incorporating the old footage into the new stuff we will be shooting.
I am still very busy with CLEANFLIX, and Torben and Marissa are busy with The Sonosopher, but we feel confident that pre-production for Bee Money should begin this month. I will be updating this blog as things develop.
CLEANFLIX - 3 YEARS AND COUNTING . . .
01.01.09
Who would have thought that CLEANFLIX would become such a daunting project? We are now in our third year of production, and are still looking at several more months of post. But we are making great progress, and every day we crawl closer to the finishing line.
The CLEANFLIX teaser trailer is now complete. However, the website is still being developed, as is our marketing strategy. We anticipate that our website, MySpace page, Facebook fan page, and YouTube channel will be ready to launch sometime this spring.
Our main priority at this point is acquiring finishing funds and signing a deal with a producer's rep. Even though a decent rough cut of the film exists, without the proper funding, most of the music, news clips, photos, and movie clips would need to be cut. As I have explained before, these archival materials really enhance the story and without them, the film would suffer greatly.
One thing is for sure, 2009 will be the year that CLEANFLIX gets finished. Keep your eyes peeled.
Who would have thought that CLEANFLIX would become such a daunting project? We are now in our third year of production, and are still looking at several more months of post. But we are making great progress, and every day we crawl closer to the finishing line.
The CLEANFLIX teaser trailer is now complete. However, the website is still being developed, as is our marketing strategy. We anticipate that our website, MySpace page, Facebook fan page, and YouTube channel will be ready to launch sometime this spring.
Our main priority at this point is acquiring finishing funds and signing a deal with a producer's rep. Even though a decent rough cut of the film exists, without the proper funding, most of the music, news clips, photos, and movie clips would need to be cut. As I have explained before, these archival materials really enhance the story and without them, the film would suffer greatly.
One thing is for sure, 2009 will be the year that CLEANFLIX gets finished. Keep your eyes peeled.
2008 - WHAT A YEAR
12.18.08
2008 was a great year for Beachfire Pictures. Una Vida Mejor won the Special Jury Award at CINEQUEST, and played very well with audiences at Flanders International in Belgium. Wrestling With God premiered at the LDS Film Festival to critical praise, and CLEANFLIX is already creating some buzz in Utah and L.A.
Additionally, Wrestling With God has been chosen to appear on a "best of" DVD compilation of short films from the 2008 LDS Film Festival. All in all, I'd say 2008 was pretty good to us.
2008 was a great year for Beachfire Pictures. Una Vida Mejor won the Special Jury Award at CINEQUEST, and played very well with audiences at Flanders International in Belgium. Wrestling With God premiered at the LDS Film Festival to critical praise, and CLEANFLIX is already creating some buzz in Utah and L.A.
Additionally, Wrestling With God has been chosen to appear on a "best of" DVD compilation of short films from the 2008 LDS Film Festival. All in all, I'd say 2008 was pretty good to us.
FLANDERS INTERNATIONAL FILM FESTIVAL - QUICK SYNOPSIS
11.19.08
Well, the Flanders Film Festival was a success. Even though the cast and crew were unable to attend the screenings, Una Vida Mejor has been noticed by a few more festivals, including the Amnesty International Film Festival in Amsterdam. Also, the audience response to the film was very positive, averaging 3 out of 5, respectively. We were thrilled with the response, especially considering how polarizing the film can be.
It was exciting to see that Una Vida Mejor played alongside such films as Man on Wire, The Wrestler, The Visitor, Heavy Metal in Baghdad, Wendy and Lucy, and Vicky Cristina Barcelona.
Una Vida Mejor was chosen as a selection for "A Look Apart," a section of the film festival that features cutting edge filmmakers.
From the Flanders website:
A Look Apart is not an outsider of the festival, but a well-considered and inherently developed adventurous part of the programme. Each year, curator Cis Bierinckx keeps looking for cutting edge filmmakers and films about and of our times.
Well, the Flanders Film Festival was a success. Even though the cast and crew were unable to attend the screenings, Una Vida Mejor has been noticed by a few more festivals, including the Amnesty International Film Festival in Amsterdam. Also, the audience response to the film was very positive, averaging 3 out of 5, respectively. We were thrilled with the response, especially considering how polarizing the film can be.
It was exciting to see that Una Vida Mejor played alongside such films as Man on Wire, The Wrestler, The Visitor, Heavy Metal in Baghdad, Wendy and Lucy, and Vicky Cristina Barcelona.
Una Vida Mejor was chosen as a selection for "A Look Apart," a section of the film festival that features cutting edge filmmakers.
From the Flanders website:
A Look Apart is not an outsider of the festival, but a well-considered and inherently developed adventurous part of the programme. Each year, curator Cis Bierinckx keeps looking for cutting edge filmmakers and films about and of our times.
THE COTTAGE
08.20.08
Well, besides all my other projects in the works, I have begun cutting a short documentary about my grandparents' property along the lake in Northern Michigan. I shot about 8 hours of footage up there about two years ago; interviewing my grandparents and shooting every nook and cranny of their cottage and surrounding area. I also shot a slide show that my grandma prepared and have collected hundreds of archival photos.
Northern Michigan is a little-known paradise that represents a dying slice of Americana. I hope that this film can capture the nostalgia and tranquility that anyone (who's been) feels when they walk the sandy beaches of Lake Michigan or weather a Summer storm in an old cottage or go fishing from a pier. The name of my production company, Beachfire Pictures, also comes from my love of Northern Michigan. Nothing beats a bonfire on the beach, especially on the sandy shores of Lake Michigan.
Well, besides all my other projects in the works, I have begun cutting a short documentary about my grandparents' property along the lake in Northern Michigan. I shot about 8 hours of footage up there about two years ago; interviewing my grandparents and shooting every nook and cranny of their cottage and surrounding area. I also shot a slide show that my grandma prepared and have collected hundreds of archival photos.
Northern Michigan is a little-known paradise that represents a dying slice of Americana. I hope that this film can capture the nostalgia and tranquility that anyone (who's been) feels when they walk the sandy beaches of Lake Michigan or weather a Summer storm in an old cottage or go fishing from a pier. The name of my production company, Beachfire Pictures, also comes from my love of Northern Michigan. Nothing beats a bonfire on the beach, especially on the sandy shores of Lake Michigan.
FLANDERS INTERNATIONAL FILM FESTIVAL
06.20.08
Una Vida Mejor is playing at the Flanders International Film Festival in Belgium, this October. Flanders marks the second festival appearance by Una Vida Mejor and the first screening invitation of many that has actually panned out. Una Vida Mejor has actually been invited to screen by several other festivals.
I'm still not sure if I'll be able to attend the fest, but it would be quite an experience, I'm sure. I've never been to Europe and after the success of CINEQUEST, I'm looking forward to sharing the film with a wider audience. It would be interesting to see how European audiences react to the film.
Jolyn confirmed the invitation from Flanders and has been prepping the necessary materials. Next step, get the HD master print transfered to BETA Cam. Una Vida Mejor has turned out to be the little film that could.
Learn more about the film at the Flanders official site by clicking here.
Una Vida Mejor is playing at the Flanders International Film Festival in Belgium, this October. Flanders marks the second festival appearance by Una Vida Mejor and the first screening invitation of many that has actually panned out. Una Vida Mejor has actually been invited to screen by several other festivals.
I'm still not sure if I'll be able to attend the fest, but it would be quite an experience, I'm sure. I've never been to Europe and after the success of CINEQUEST, I'm looking forward to sharing the film with a wider audience. It would be interesting to see how European audiences react to the film.
Jolyn confirmed the invitation from Flanders and has been prepping the necessary materials. Next step, get the HD master print transfered to BETA Cam. Una Vida Mejor has turned out to be the little film that could.
Learn more about the film at the Flanders official site by clicking here.
EDITED MOVIES IN THE NEWS
04.29.08
If you don't know by now, I have been co-directing a documentary that explores the phenomenon of edited movies (and the Mormon culture that spawned them) for over two years. The film prominently features Daniel Thompson of Flix Club - the guy who was arrested for sex crimes involving two fourteen year old girls. Daniel ran an edited video store and was forced to close by the DGA just weeks before his arrest. The local media is already showing interest in the project. In fact, The Daily Herald recently ran a front page story on the film.
. . .
Court Case Extends Documentary Film Project
by Jeremy Duda
When Josh Ligairi and Andrew James started filming their documentary about Utah's edited movie industry in the fall of 2006, one of the first people they met was Daniel Dean Thompson. The owner of the now-defunct Flix Club store in Orem eventually became the central figure in their film, and Ligairi and James got to know him well.
But as the filmmakers were finishing production several months ago, Thompson and his business partner, Isaac R. Lifferth, were arrested by Orem police and were charged with paying two 14-year-old girls for oral sex. According to an affidavit filed in 4th District Court, Thompson told the girls that they used Flix Club as a front for producing and distributing pornographic films, and Orem police reported finding many of the films when they searched Thompson's store.
The high-profile arrest added one more layer of complexity to a film already rife with nuance, and forced them to change the ending of their documentary. Where the original ending was to focus on edited movie rental businesses being forced to close their doors once again under the threat of legal action from Hollywood movie producers, Ligairi and James now plan to end with the conclusion of Thompson's and Lifferth's cases.
Ligairi and James said they have become close with Thompson since they began the documentary. On their first day of work on the film, they met him at his store, which had been closed due to a lawsuit by the Directors Guild of America. They were at his store when it was forced to close again after reopening. They even went to his house and met his family.
"We've been with Daniel nearly every day for two years," Ligairi said.
But as much as they liked him, they realized the story would not be complete without chronicling Thompson's legal troubles.
"We realized it would be irresponsible to not cover the story," Ligairi said. "At this point, I think it will kind of end with what happens to Daniel."
Thompson is charged with two counts of unlawful sexual activity with a minor and one count of patronizing a prostitute. Lifferth, whose attorney said he is in discussions with prosecutors over a potential plea deal, is charged with four counts of unlawful sexual activity with a minor and two counts of patronizing a prostitute.
According to an affidavit filed in 4th District Court, the two 14-year-olds asked a friend if she knew anyone who would be willing to pay for sex, and she put the girls in contact with Lifferth. The girls told police that he paid them $20 apiece for oral sex, and on another occasion he brought them to Flix Club to perform oral sex on Thompson for another $20.
The girls and Lifferth told police that Thompson was unaware that money was being exchanged for sexual favors, the affidavit said. Thompson also told police that he asked the girls if they were 18 years old, and they both said yes.
James described Thompson as a conflicted person who may have made some bad decisions.
"Not only is this film about edited movies from beginning to end, but it's also about this guy, Daniel, who is possibly living this double life," James said. "I think even good people make terrible mistakes. I think this might be one of those situations."
Thompson also faces a lawsuit from CleanFlicks, the godfather of the edited movie rental business in Utah County, which accused him of illegally capitalizing on the company's name. After Thompson's arrest in January, CleanFlicks emphatically stated that it had no connection with him.
The filmmakers did not originally intend for Thompson to be the focus of their documentary, but over the course of filming he became its central figure. As Thompson's role in the film evolved, so did the general theme and focus of the documentary.
As filmmakers themselves, Ligairi and James were sensitive to the arguments of movie producers who felt that their work was being destroyed by sanitizing them of R-rated content. Though both are practicing members of the Church of Jesus Christ of Latter-day Saints -- they describe themselves as "progressive latter-day saints" and "liberal Mormons" -- neither were fans of family-friendly edited movies.
But after they started conducting interviews with filmmakers, proprietors of edited movie businesses and LDS Church officials, they saw that there were two sides to the story, and decided to present the debate as completely as possible.
"I'm not sure our objectives were to be totally objective at the beginning, to be honest. But they are now. We see good arguments on both sides of the story. We want to be fair to everybody. So the film is an exploration of the phenomenon of edited movies," James said.
"There's a lot of misunderstanding on both sides," Ligairi said.
They have watched more edited movies than they can count, and feel that some maintain their integrity after editing, while others are drastically changed. After watching an edited version of "The Passion of the Christ," James couldn't even tell which parts of the movie had been removed. Even the slasher-torture flick "Hostel" was able to maintain its disturbing theme without its goriest scenes, Ligairi said.
On the other hand, James said, is "Kill Bill," a martial arts-themed movie which overemphasizes blood with massive red gushers spouting from severed limbs, and uses a great deal of profanity.
"Any film with a lot of foul language is going to be really choppy [after being edited]," James said.
The pair plan to submit their documentary to the Sundance Film Festival in September, and several other festivals after that. They even plan to create an edited version of the documentary so it can be shown at the 2009 LDS Film Festival.
"The idea is to do a, quote-unquote, CleanFlicks version of our own movie, as a commentary but also as an experiment. It's a little tongue-in-cheek, but I think it's also a really good idea," said James, who anticipates that the documentary will get an R rating.
"There are a lot of people we'd like to show the film to that probably wouldn't go watch an R-rated movie. It's serving us as well," Ligairi said.
Creating a family-friendly version of a documentary about the heated debate over the edited movie business is just one of several ironies Ligairi and James see in their work. Also ironic, they said, is the fact that some of Utah's edited movie stores, which were founded on a bedrock of morality, are now operating illegally.
"Now, with Daniel, there's kind of a final irony," Ligairi said.
James emphasized that they are not judging Thompson, and said they still care about him.
"We want Daniel to have the last say," he said.
In a sense, that's what Ligairi and James want for all the subjects of their documentary -- to state their cases in a debate that is often defined by intense vilification and knee-jerk reactions on both sides.
"We want everyone to have their say, to be able to defend themselves," Ligairi said.
If you don't know by now, I have been co-directing a documentary that explores the phenomenon of edited movies (and the Mormon culture that spawned them) for over two years. The film prominently features Daniel Thompson of Flix Club - the guy who was arrested for sex crimes involving two fourteen year old girls. Daniel ran an edited video store and was forced to close by the DGA just weeks before his arrest. The local media is already showing interest in the project. In fact, The Daily Herald recently ran a front page story on the film.
. . .
Court Case Extends Documentary Film Project
by Jeremy Duda
When Josh Ligairi and Andrew James started filming their documentary about Utah's edited movie industry in the fall of 2006, one of the first people they met was Daniel Dean Thompson. The owner of the now-defunct Flix Club store in Orem eventually became the central figure in their film, and Ligairi and James got to know him well.
But as the filmmakers were finishing production several months ago, Thompson and his business partner, Isaac R. Lifferth, were arrested by Orem police and were charged with paying two 14-year-old girls for oral sex. According to an affidavit filed in 4th District Court, Thompson told the girls that they used Flix Club as a front for producing and distributing pornographic films, and Orem police reported finding many of the films when they searched Thompson's store.
The high-profile arrest added one more layer of complexity to a film already rife with nuance, and forced them to change the ending of their documentary. Where the original ending was to focus on edited movie rental businesses being forced to close their doors once again under the threat of legal action from Hollywood movie producers, Ligairi and James now plan to end with the conclusion of Thompson's and Lifferth's cases.
Ligairi and James said they have become close with Thompson since they began the documentary. On their first day of work on the film, they met him at his store, which had been closed due to a lawsuit by the Directors Guild of America. They were at his store when it was forced to close again after reopening. They even went to his house and met his family.
"We've been with Daniel nearly every day for two years," Ligairi said.
But as much as they liked him, they realized the story would not be complete without chronicling Thompson's legal troubles.
"We realized it would be irresponsible to not cover the story," Ligairi said. "At this point, I think it will kind of end with what happens to Daniel."
Thompson is charged with two counts of unlawful sexual activity with a minor and one count of patronizing a prostitute. Lifferth, whose attorney said he is in discussions with prosecutors over a potential plea deal, is charged with four counts of unlawful sexual activity with a minor and two counts of patronizing a prostitute.
According to an affidavit filed in 4th District Court, the two 14-year-olds asked a friend if she knew anyone who would be willing to pay for sex, and she put the girls in contact with Lifferth. The girls told police that he paid them $20 apiece for oral sex, and on another occasion he brought them to Flix Club to perform oral sex on Thompson for another $20.
The girls and Lifferth told police that Thompson was unaware that money was being exchanged for sexual favors, the affidavit said. Thompson also told police that he asked the girls if they were 18 years old, and they both said yes.
James described Thompson as a conflicted person who may have made some bad decisions.
"Not only is this film about edited movies from beginning to end, but it's also about this guy, Daniel, who is possibly living this double life," James said. "I think even good people make terrible mistakes. I think this might be one of those situations."
Thompson also faces a lawsuit from CleanFlicks, the godfather of the edited movie rental business in Utah County, which accused him of illegally capitalizing on the company's name. After Thompson's arrest in January, CleanFlicks emphatically stated that it had no connection with him.
The filmmakers did not originally intend for Thompson to be the focus of their documentary, but over the course of filming he became its central figure. As Thompson's role in the film evolved, so did the general theme and focus of the documentary.
As filmmakers themselves, Ligairi and James were sensitive to the arguments of movie producers who felt that their work was being destroyed by sanitizing them of R-rated content. Though both are practicing members of the Church of Jesus Christ of Latter-day Saints -- they describe themselves as "progressive latter-day saints" and "liberal Mormons" -- neither were fans of family-friendly edited movies.
But after they started conducting interviews with filmmakers, proprietors of edited movie businesses and LDS Church officials, they saw that there were two sides to the story, and decided to present the debate as completely as possible.
"I'm not sure our objectives were to be totally objective at the beginning, to be honest. But they are now. We see good arguments on both sides of the story. We want to be fair to everybody. So the film is an exploration of the phenomenon of edited movies," James said.
"There's a lot of misunderstanding on both sides," Ligairi said.
They have watched more edited movies than they can count, and feel that some maintain their integrity after editing, while others are drastically changed. After watching an edited version of "The Passion of the Christ," James couldn't even tell which parts of the movie had been removed. Even the slasher-torture flick "Hostel" was able to maintain its disturbing theme without its goriest scenes, Ligairi said.
On the other hand, James said, is "Kill Bill," a martial arts-themed movie which overemphasizes blood with massive red gushers spouting from severed limbs, and uses a great deal of profanity.
"Any film with a lot of foul language is going to be really choppy [after being edited]," James said.
The pair plan to submit their documentary to the Sundance Film Festival in September, and several other festivals after that. They even plan to create an edited version of the documentary so it can be shown at the 2009 LDS Film Festival.
"The idea is to do a, quote-unquote, CleanFlicks version of our own movie, as a commentary but also as an experiment. It's a little tongue-in-cheek, but I think it's also a really good idea," said James, who anticipates that the documentary will get an R rating.
"There are a lot of people we'd like to show the film to that probably wouldn't go watch an R-rated movie. It's serving us as well," Ligairi said.
Creating a family-friendly version of a documentary about the heated debate over the edited movie business is just one of several ironies Ligairi and James see in their work. Also ironic, they said, is the fact that some of Utah's edited movie stores, which were founded on a bedrock of morality, are now operating illegally.
"Now, with Daniel, there's kind of a final irony," Ligairi said.
James emphasized that they are not judging Thompson, and said they still care about him.
"We want Daniel to have the last say," he said.
In a sense, that's what Ligairi and James want for all the subjects of their documentary -- to state their cases in a debate that is often defined by intense vilification and knee-jerk reactions on both sides.
"We want everyone to have their say, to be able to defend themselves," Ligairi said.
UNA VIDA MEJOR - WINNER OF THE CINEQUEST SPECIAL JURY PRIZE
03.15.08
PRESS RELEASE
MEDIA CONTACT: Jolyn Schleiffarth
PHONE: (801) 787-2645
EMAIL: nancyjolyn@gmail.com
FOR IMMEDIATE RELEASE
CINEQUEST FILM FESTIVAL HONORS UTAH FILM, UNA VIDA MEJOR, WITH SPECIAL JURY AWARD
Salt Lake City, Utah -- Local filmmaker, Andrew James, and Beachfire Pictures are proud to announce that their film, UNA VIDA MEJOR (A BETTER LIFE), has been given the Special Jury Award by the CINEQUEST film festival of San Jose, California. CINEQUEST has been ranked by The Ultimate FIlm Festival Survival Guide as one of the top ten film festivals in the world. The Special Jury Award comes on the heels of a buzz-filled week at CINEQUEST, rife with debate, praise, controversy, and intense Q&A's regarding the film.
By far, one of the most-talked about films this year at CINEQUEST, UNA VIDA MEJOR is an ambitious motion picture, as it tackles some immigration-related issues and places the decisions and struggles of migrant workers at the heart of its story. The film follows three families, each participating in the American experience, and each searching for their own version of the American dream. The film beautifully weaves the lives of these families together, forming a uniquely American tapestry of love, loss, and hardship. As the drama unfolds, the individual humanity behind the stark statistics and political rhetoric of the immigration issue is revealed and we find that the border between “right” and “wrong” is hopelessly blurred.
According to James, "Our nation, both politically and culturally, has a responsibility to treat all people equally. Right now, this is not happening. Legal or not, many Latinos are often treated as inferior, sometimes like outright criminals. UNA VIDA MEJOR tries to capture how these negative stereotypes and perceptions affect cultural identity and confuse the truth."
San Jose bloggers and critics have hailed the film as "beautiful, metaphorical, poetic, and well-observed." Others have dismissed the film as sensationalist. Still others have compared it to STRAW DOGS, TRAFFIC, and MEAN STREETS.
Andrew James is currently available for interviews. Please contact Jolyn Schleiffarth for arrangements and scheduling at (801) 787-2645 or by email at nancyjolyn@gmail.com.
To download high-resolution stills and watch the trailer, please visit our web site at: www.beachfirepictures.com.
PRESS RELEASE
MEDIA CONTACT: Jolyn Schleiffarth
PHONE: (801) 787-2645
EMAIL: nancyjolyn@gmail.com
FOR IMMEDIATE RELEASE
CINEQUEST FILM FESTIVAL HONORS UTAH FILM, UNA VIDA MEJOR, WITH SPECIAL JURY AWARD
Salt Lake City, Utah -- Local filmmaker, Andrew James, and Beachfire Pictures are proud to announce that their film, UNA VIDA MEJOR (A BETTER LIFE), has been given the Special Jury Award by the CINEQUEST film festival of San Jose, California. CINEQUEST has been ranked by The Ultimate FIlm Festival Survival Guide as one of the top ten film festivals in the world. The Special Jury Award comes on the heels of a buzz-filled week at CINEQUEST, rife with debate, praise, controversy, and intense Q&A's regarding the film.
By far, one of the most-talked about films this year at CINEQUEST, UNA VIDA MEJOR is an ambitious motion picture, as it tackles some immigration-related issues and places the decisions and struggles of migrant workers at the heart of its story. The film follows three families, each participating in the American experience, and each searching for their own version of the American dream. The film beautifully weaves the lives of these families together, forming a uniquely American tapestry of love, loss, and hardship. As the drama unfolds, the individual humanity behind the stark statistics and political rhetoric of the immigration issue is revealed and we find that the border between “right” and “wrong” is hopelessly blurred.
According to James, "Our nation, both politically and culturally, has a responsibility to treat all people equally. Right now, this is not happening. Legal or not, many Latinos are often treated as inferior, sometimes like outright criminals. UNA VIDA MEJOR tries to capture how these negative stereotypes and perceptions affect cultural identity and confuse the truth."
San Jose bloggers and critics have hailed the film as "beautiful, metaphorical, poetic, and well-observed." Others have dismissed the film as sensationalist. Still others have compared it to STRAW DOGS, TRAFFIC, and MEAN STREETS.
Andrew James is currently available for interviews. Please contact Jolyn Schleiffarth for arrangements and scheduling at (801) 787-2645 or by email at nancyjolyn@gmail.com.
To download high-resolution stills and watch the trailer, please visit our web site at: www.beachfirepictures.com.
OUR CINEQUEST EXPERIENCE
03.15.08
Following the world premiere of Una Vida Mejor, everyone at CINEQUEST seemed to be talking about the film. I overheard many conversations about the film, some good, some bad. It was a surreal experience. One thing was for sure, the film had people talking, and not just about the film, but about the issues as well. By the end of the film festival, Una Vida Mejor had earned a reputation for being shocking, intense, and challenging.
San Jose critics and bloggers were calling the film, "poetic, well-observed, challenging, beautiful, dark, and metaphorical." The film was even compared to Straw Dogs, Traffic, and Mean Streets. Some dismissed the film as sensationalist and others called it powerful and well-executed. A lot of people were critical of the violence, while praising the other aspects of the film. A few audience members even walked out of the theater during the violent sections of the film. All of this only confirmed that Una Vida Mejor was really having an effect on people. It was kind of amazing.
The final night of the festival is when the awards were announced. All of the filmmakers were invited on stage at the packed California theater and the large audience gave everyone a standing ovation. It was a great feeling. Then, the awards were announced by Halfdan Hussey, the executive director of CINEQUEST. He announced Una Vida Mejor as the recipient of the CINEQUEST Special Jury Award for artistic vision. Everyone cheered. Holly and I clapped and hugged. It was a magical moment.
Following the world premiere of Una Vida Mejor, everyone at CINEQUEST seemed to be talking about the film. I overheard many conversations about the film, some good, some bad. It was a surreal experience. One thing was for sure, the film had people talking, and not just about the film, but about the issues as well. By the end of the film festival, Una Vida Mejor had earned a reputation for being shocking, intense, and challenging.
San Jose critics and bloggers were calling the film, "poetic, well-observed, challenging, beautiful, dark, and metaphorical." The film was even compared to Straw Dogs, Traffic, and Mean Streets. Some dismissed the film as sensationalist and others called it powerful and well-executed. A lot of people were critical of the violence, while praising the other aspects of the film. A few audience members even walked out of the theater during the violent sections of the film. All of this only confirmed that Una Vida Mejor was really having an effect on people. It was kind of amazing.
The final night of the festival is when the awards were announced. All of the filmmakers were invited on stage at the packed California theater and the large audience gave everyone a standing ovation. It was a great feeling. Then, the awards were announced by Halfdan Hussey, the executive director of CINEQUEST. He announced Una Vida Mejor as the recipient of the CINEQUEST Special Jury Award for artistic vision. Everyone cheered. Holly and I clapped and hugged. It was a magical moment.
CINEQUEST PICTURE DIARY
03.10.08
Most of these pictures were taken by Xavier, our good friend and production assistant for Una Vida Mejor.
The official postcard design for Una Vida Mejor.
Here you can see our postcards in action. We distributed them at all the venues and some local restaurants as well. We restocked each pile daily.
This picture was taken just outside the Camera 12 theater, the venue for two of our screenings, including our world premiere. I am reading the review of our film from the San Jose Metro to Lupe, our leading lady, who was praised by Michael Gant for her performance.
Discussing how to handle the Q&A prior to the world premiere.
Lupe and Eli, the stars of Una Vida Mejor, just prior to the world premiere.
Jolyn and Andrew at the world premiere of Una Vida Mejor.
Andrew and Torben during the first Q&A session. The world premiere was great and the Q&A after the screening was really interesting. The audience reacted well to the film and had a lot to say about it. Following the world premiere, Una Vida Mejor became one of the most talked about films at CINEQUEST.
Will, Holly, and Lindzey at the Loft Bar & Bistro in downtown San Jose. CINEQUEST helped organize a party for the film after the world premiere. Holly was instrumental in making the party happen and it was a great success.
Cast and crew of Una Vida Mejor at the world premiere after party.
Eli, Holly, and Jolyn at the World Premiere of D-Tour: A Tenacious Documentary.
Xavier, Julia, and Mike at the World Premiere of D-Tour: A Tenacious Documentary.
Marissa and Torben at the World Premiere of D-Tour: A Tenacious Documentary.
Xavier, Eli, Mike, Julia, Steph, Holly, and Andrew outside the Camera 12 theater during the second week of the festival.
Lindzey, Lupe, Eli, Torben, and Andrew during the Q&A following the second screening of the film. The second Q&A was pretty intense. Una Vida Mejor seemed to be really having an effect on people. Again, the response to the film was really positive. Toward the end of the film, we could hear members of the audience crying all over the theater.
Here you can see a few audience members arguing about immigration just following the second screening of Una Vida Mejor.
Andrew discussing Una Vida Mejor with the crew of Folly of Two, just after the third and final screening of the film.
The packed California theater, as audiences and filmmakers eagerly await the awards ceremony.
Halfdan Hussey, the executive director of CINEQUEST, gets ready to announce the award winning films.
Andrew and Holly, on the stage of the California theater, reacting to the good news. Una Vida Mejor won the Special Jury Award!
Saying goodbye to friends at the CINEQUEST closing night party.
Most of these pictures were taken by Xavier, our good friend and production assistant for Una Vida Mejor.
The official postcard design for Una Vida Mejor.
Here you can see our postcards in action. We distributed them at all the venues and some local restaurants as well. We restocked each pile daily.
This picture was taken just outside the Camera 12 theater, the venue for two of our screenings, including our world premiere. I am reading the review of our film from the San Jose Metro to Lupe, our leading lady, who was praised by Michael Gant for her performance.
Discussing how to handle the Q&A prior to the world premiere.
Lupe and Eli, the stars of Una Vida Mejor, just prior to the world premiere.
Jolyn and Andrew at the world premiere of Una Vida Mejor.
Andrew and Torben during the first Q&A session. The world premiere was great and the Q&A after the screening was really interesting. The audience reacted well to the film and had a lot to say about it. Following the world premiere, Una Vida Mejor became one of the most talked about films at CINEQUEST.
Will, Holly, and Lindzey at the Loft Bar & Bistro in downtown San Jose. CINEQUEST helped organize a party for the film after the world premiere. Holly was instrumental in making the party happen and it was a great success.
Cast and crew of Una Vida Mejor at the world premiere after party.
Eli, Holly, and Jolyn at the World Premiere of D-Tour: A Tenacious Documentary.
Xavier, Julia, and Mike at the World Premiere of D-Tour: A Tenacious Documentary.
Marissa and Torben at the World Premiere of D-Tour: A Tenacious Documentary.
Xavier, Eli, Mike, Julia, Steph, Holly, and Andrew outside the Camera 12 theater during the second week of the festival.
Lindzey, Lupe, Eli, Torben, and Andrew during the Q&A following the second screening of the film. The second Q&A was pretty intense. Una Vida Mejor seemed to be really having an effect on people. Again, the response to the film was really positive. Toward the end of the film, we could hear members of the audience crying all over the theater.
Here you can see a few audience members arguing about immigration just following the second screening of Una Vida Mejor.
Andrew discussing Una Vida Mejor with the crew of Folly of Two, just after the third and final screening of the film.
The packed California theater, as audiences and filmmakers eagerly await the awards ceremony.
Halfdan Hussey, the executive director of CINEQUEST, gets ready to announce the award winning films.
Andrew and Holly, on the stage of the California theater, reacting to the good news. Una Vida Mejor won the Special Jury Award!
Saying goodbye to friends at the CINEQUEST closing night party.
UNA VIDA MEJOR - MIXED REVIEW BY MICHAEL GANT
03.09.08
The first day in San Jose, we picked up the local paper to see what the press was saying about the festival and discovered reviews by local critics of the CINEQUEST films. We quickly scanned through the reviews and found this decidedly mixed review of Una Vida Mejor by Michael Gant.
. . .
Director Andrew James' multistrand tale of immigrant life in the Southwest begins with an illegal border crossing, a harbinger of troubles to come. Javier labors in the fields (where work permits are easy to come by) and sends money home to Mexico. Omar has trouble finding work, angering his wife, Sofia, who is at home with two children. Another couple visits a social worker, Sam, who reluctantly informs them they don't qualify for assistance. The characters' destinies crisscross when Omar joins a relative in an armed robbery at Sam's home. The black-and-white film starts slowly with well observed, dialogue-free, almost poetic scenes of immigrants—legal and illegal—simply working and living. Lupe Barrera gives a fine performance, tending for her children and jostling Omar into finding a piece of the American dream. Then the movie goes all Straw Dogs, with not one but two acts of extreme violence, as if the director figured people wouldn't sit still for even 74 minutes of realism without the promise of a grand guignol finish.
Michael Gant
San Jose Metro
The first day in San Jose, we picked up the local paper to see what the press was saying about the festival and discovered reviews by local critics of the CINEQUEST films. We quickly scanned through the reviews and found this decidedly mixed review of Una Vida Mejor by Michael Gant.
. . .
Director Andrew James' multistrand tale of immigrant life in the Southwest begins with an illegal border crossing, a harbinger of troubles to come. Javier labors in the fields (where work permits are easy to come by) and sends money home to Mexico. Omar has trouble finding work, angering his wife, Sofia, who is at home with two children. Another couple visits a social worker, Sam, who reluctantly informs them they don't qualify for assistance. The characters' destinies crisscross when Omar joins a relative in an armed robbery at Sam's home. The black-and-white film starts slowly with well observed, dialogue-free, almost poetic scenes of immigrants—legal and illegal—simply working and living. Lupe Barrera gives a fine performance, tending for her children and jostling Omar into finding a piece of the American dream. Then the movie goes all Straw Dogs, with not one but two acts of extreme violence, as if the director figured people wouldn't sit still for even 74 minutes of realism without the promise of a grand guignol finish.
Michael Gant
San Jose Metro
THE RUN-UP TO CINEQUEST
01.31.08
The run-up to CINEQUEST 18 was a pretty exciting period for us. The trailer for Una Vida Mejor was playing well on YouTube and there was a lot of talk from festival programmers about how excited they were for the film. We also were busy finalizing art for postcards and posters and making travel arrangements and so on. Una Vida Mejor was also mentioned in several articles and blogs during this period.
The following article originally appeared on Entertainment Insider and is currently found on examiner.com.
. . .
Cinequest 18 Blazing New Trails
by Janos Gereben
In its relatively short existence of 18 years, and its proximity to San Francisco’s many festivals (including the granddaddy of them all, the 51-year-old International Film Festival), San Jose’s Cinequest has staked out a claim to innovation and unusual programming.
The 2008 festival, announced this week, selected 153 feature and short films from among 1,800 submissions, presenting 37 U.S., North American and world feature premieres, in three venues, between Feb. 27 and March 9. More than 100 first-time, emerging film artists are represented from 34 countries.
Two American films bracket the festival, opening with Paul Leuer’s “Eden Court” (world premiere) and closing with Charles Oliver’s “Take,” featuring Minnie Driver and Jeremy Renner.
The festival’s Latino Film Showcase includes Esteban Sapir’s “La Antena” (The Aerial), from Argentina; Andrew James’ “Una vida mejor” (A Better Life), U.S.-Mexico; Eva Norvind’s “Nacido Sin” (Born Without), Iván Ávila Dueñas’ “Enlightened Blood,” Juan Patricio Riveroll’s “Opera,” Jesus Magaña Vázquez’s “Once Upon a Time Maria,” and Sergio Umansky’s “It’s Better If Gabriela Doesn’t Die” — all from Mexico; and Pere Portabella’s “The Silence Before Bach” (Spain-Germany).
The San Jose organization is the first in the world to offer online downloads of feature films in
DVD/HD quality. Beginning with Cinequest 14, in 2004, the festival has been available live in theaters and online.
“When we first introduced Cinequest Online in 2004, many people said it would never work,” Cinequest co-founder and executive director Halfdan Hussey said. “But we’ve seen great success with online distribution over the years, and of course now, we’re even seeing the studios doing it.”
Cinequest’s Maverick Awards this year go to actor John Leguizamo (“Moulin Rouge,” “E.R.,” “Ice Age”), writers Bobby Moresco (“Million Dollar Baby,” “Crash”) and Michael Arndt (“Little Miss Sunshine”).
“Our mission has always been to empower the Maverick,” Hussey says. “The mainstream film industry can be slow to try new technologies and distribution models. By definition, Maverick artists are early adopters, and we’re here to help them think beyond the traditional boundaries of how films are made, marketed and delivered.”
The run-up to CINEQUEST 18 was a pretty exciting period for us. The trailer for Una Vida Mejor was playing well on YouTube and there was a lot of talk from festival programmers about how excited they were for the film. We also were busy finalizing art for postcards and posters and making travel arrangements and so on. Una Vida Mejor was also mentioned in several articles and blogs during this period.
The following article originally appeared on Entertainment Insider and is currently found on examiner.com.
. . .
Cinequest 18 Blazing New Trails
by Janos Gereben
In its relatively short existence of 18 years, and its proximity to San Francisco’s many festivals (including the granddaddy of them all, the 51-year-old International Film Festival), San Jose’s Cinequest has staked out a claim to innovation and unusual programming.
The 2008 festival, announced this week, selected 153 feature and short films from among 1,800 submissions, presenting 37 U.S., North American and world feature premieres, in three venues, between Feb. 27 and March 9. More than 100 first-time, emerging film artists are represented from 34 countries.
Two American films bracket the festival, opening with Paul Leuer’s “Eden Court” (world premiere) and closing with Charles Oliver’s “Take,” featuring Minnie Driver and Jeremy Renner.
The festival’s Latino Film Showcase includes Esteban Sapir’s “La Antena” (The Aerial), from Argentina; Andrew James’ “Una vida mejor” (A Better Life), U.S.-Mexico; Eva Norvind’s “Nacido Sin” (Born Without), Iván Ávila Dueñas’ “Enlightened Blood,” Juan Patricio Riveroll’s “Opera,” Jesus Magaña Vázquez’s “Once Upon a Time Maria,” and Sergio Umansky’s “It’s Better If Gabriela Doesn’t Die” — all from Mexico; and Pere Portabella’s “The Silence Before Bach” (Spain-Germany).
The San Jose organization is the first in the world to offer online downloads of feature films in
DVD/HD quality. Beginning with Cinequest 14, in 2004, the festival has been available live in theaters and online.
“When we first introduced Cinequest Online in 2004, many people said it would never work,” Cinequest co-founder and executive director Halfdan Hussey said. “But we’ve seen great success with online distribution over the years, and of course now, we’re even seeing the studios doing it.”
Cinequest’s Maverick Awards this year go to actor John Leguizamo (“Moulin Rouge,” “E.R.,” “Ice Age”), writers Bobby Moresco (“Million Dollar Baby,” “Crash”) and Michael Arndt (“Little Miss Sunshine”).
“Our mission has always been to empower the Maverick,” Hussey says. “The mainstream film industry can be slow to try new technologies and distribution models. By definition, Maverick artists are early adopters, and we’re here to help them think beyond the traditional boundaries of how films are made, marketed and delivered.”
WRESTLING WITH GOD - GLOWING REVIEW BY GIDEON BURTON
01.29.08
BYU Professor, Gideon Burton, posted this review of Wrestling with God on his blog just a day after the first screening of the film at the LDS Film Festival.
. . .
"Wrestling with God" is one of the reasons I go to a film festival. This 22-minute "conversational drama" was not your typical movie, and I applaud its three producers and three actors for having the guts to do something completely outside the mold but inside the heart of Mormonism. (Pictured here is one of the actors, Niki Nielsen). As the producers/directors explained it afterwards, the origin of the film was a deep conversation they'd had about what it means to live the Mormon faith. Someone had the presence of mind to make a recording of this (which was then transcribed into a draft of the screenplay). Whoa! All I can say is that I'd love to have these people over to chat at my house!
This film is what I would call an intellectual-spiritual feast. A sort of Mormon My Dinner with Andre, this film is not for those seeking spectacle (or even a simple plot). It's a conversation--how boring! But it certainly was not so for anyone who takes seriously not just Mormonism but the paradoxes that Mormons live within--especially obedience and agency. One man took the role of the faithful member, another, the role of an insistent but respectful doubter. The woman played something of a mediator. One of the very interesting discussion points was the issue of "cafeteria Mormonism": to what extent does our personal agency in living gospel principles become a pick-and-choose dodge from real commitment?
What might have been an overly cerebral discussion--approximating those more-heat-than-light discussions that can happen in some academic settings regarding Mormonism--was rescued by the intervention of two very timely personal anecdotes recounted by the first (orthodox) man and at the end by the woman. When pushed by the nonbeliever/fence sitter, the more orthodox man (who was bearded, adding a nice irony in playing against type) told a story (based on real events) about a miraculous intervention that saved a family member's life after an accident. One can argue inconsitencies or problems with the Mormon faith, culture, or church, but such potent experiences tend to confirm spiritual realities that trump doubts.
The second story, told by the female character at the film's close, provided a beautiful allegory that (beautifully) went uninterpreted. A baby at church in the almost-walking stage leaves his bench and ventures down the aisle, only to trip and nearly bang his head. But rescued in time by a perceptive member sitting on the aisle, the baby grows bold again to take another step, and then proceeds to make the same stumble-and-rescue progress down the aisle, aided by the members along the way. That sat really well with me. Not only is this a metaphor for mortality and the fall, but it invokes the way God's grace is woven into our lives through the timely interventions of our neighbors in the faith. We sometimes don't even realize how many "saints along the aisles" have guided our steps and redeemed our missteps as we bumble onward.
There was a simple piety to this conversation which rescued it from being a show-off piece for brainy Mormons. A believing sensibility undergirded it, and I went away edified. Thanks to Beachfire Pictures and to Andrew James, Torben Bernhard, and Marissa Bernhard for giving some substance to the festival in a surprising and effective manner. Could this be the launch of a new sub-genre of Mormon film? I only hope their imitators will do as well as these trailblazers.
You can also read the review on Gideon's blog by clicking here.
BYU Professor, Gideon Burton, posted this review of Wrestling with God on his blog just a day after the first screening of the film at the LDS Film Festival.
. . .
"Wrestling with God" is one of the reasons I go to a film festival. This 22-minute "conversational drama" was not your typical movie, and I applaud its three producers and three actors for having the guts to do something completely outside the mold but inside the heart of Mormonism. (Pictured here is one of the actors, Niki Nielsen). As the producers/directors explained it afterwards, the origin of the film was a deep conversation they'd had about what it means to live the Mormon faith. Someone had the presence of mind to make a recording of this (which was then transcribed into a draft of the screenplay). Whoa! All I can say is that I'd love to have these people over to chat at my house!
This film is what I would call an intellectual-spiritual feast. A sort of Mormon My Dinner with Andre, this film is not for those seeking spectacle (or even a simple plot). It's a conversation--how boring! But it certainly was not so for anyone who takes seriously not just Mormonism but the paradoxes that Mormons live within--especially obedience and agency. One man took the role of the faithful member, another, the role of an insistent but respectful doubter. The woman played something of a mediator. One of the very interesting discussion points was the issue of "cafeteria Mormonism": to what extent does our personal agency in living gospel principles become a pick-and-choose dodge from real commitment?
What might have been an overly cerebral discussion--approximating those more-heat-than-light discussions that can happen in some academic settings regarding Mormonism--was rescued by the intervention of two very timely personal anecdotes recounted by the first (orthodox) man and at the end by the woman. When pushed by the nonbeliever/fence sitter, the more orthodox man (who was bearded, adding a nice irony in playing against type) told a story (based on real events) about a miraculous intervention that saved a family member's life after an accident. One can argue inconsitencies or problems with the Mormon faith, culture, or church, but such potent experiences tend to confirm spiritual realities that trump doubts.
The second story, told by the female character at the film's close, provided a beautiful allegory that (beautifully) went uninterpreted. A baby at church in the almost-walking stage leaves his bench and ventures down the aisle, only to trip and nearly bang his head. But rescued in time by a perceptive member sitting on the aisle, the baby grows bold again to take another step, and then proceeds to make the same stumble-and-rescue progress down the aisle, aided by the members along the way. That sat really well with me. Not only is this a metaphor for mortality and the fall, but it invokes the way God's grace is woven into our lives through the timely interventions of our neighbors in the faith. We sometimes don't even realize how many "saints along the aisles" have guided our steps and redeemed our missteps as we bumble onward.
There was a simple piety to this conversation which rescued it from being a show-off piece for brainy Mormons. A believing sensibility undergirded it, and I went away edified. Thanks to Beachfire Pictures and to Andrew James, Torben Bernhard, and Marissa Bernhard for giving some substance to the festival in a surprising and effective manner. Could this be the launch of a new sub-genre of Mormon film? I only hope their imitators will do as well as these trailblazers.
You can also read the review on Gideon's blog by clicking here.
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