Righteous Insanity

Casting calls: no non-believers allowed?

I saw a casting notice in my email this morning for a Christian film out west. The filmmaker gave a little info about the project, and what he was looking for. The last part jumped out at me:

“…must be a believer who attends a gospel-believing church.”

Hmm.

I understand where this guy is coming from. He’s doing this as a ministry after all. But I’ve never been a fan of this type of exclusionary casting. Even when I ran a youth drama group in a church, I refused to close the door on non-believers. (We had a standard “code of conduct” every student signed and agreed to follow, but being a baptized believer was not a prerequisite.) Every summer the youth pastor would ask me if we could change the policy. Every year, I’d have a longer list of names to show him why we shouldn’t: kids who accepted Christ because they were involved in drama.

As I have moved into the filmmaking world, I’m even more open to using non-believers. From a practical standpoint, it gives you a much larger pool of talent to select from. Christian actors are just far and few between, and there are so many hungry actors out there who will bend over backwards to add one more credit to the resume. What’s more, when you’re on a schedule and a budget, professionalism is far more valuable than salvation. My shooting days are usually jammed; we’ve done 6-7 shorts in a single day. I need an actor who is going to show up on time, know their role, and take direction in a serious, professional manner.

I’m not saying Christian actors are unprofessional; there are plenty who act in a serious, professional way. But I’ve worked with some who have not only been unprofessional in their actions, but expect me, the director, to forgive them for it because, after all, they are a Christian, doing it out of the goodness of their heart.

There is a legitimate concern some Christian filmmakers have that a non-believer will not get into a Christian role. You certainly don’t want someone with a vendetta against Christians sabotaging your production. So far, everyone that I have used has been very professional and brought their best work every time the camera is turned on. My advice there is to be as open as you can at the start with your actors. Let them see your script, and let them decide if this is something they can do comfortably. A good actor will give you a solid performance no matter what their personal beliefs off camera.

There’s a much bigger reason to use non-believers in film projects, and I’ve already alluded to it: evangelism. This is a chance to reach out to others who might not hear the gospel, which is the whole point of filming your movie, right? It’s a chance to show non-believers that you’re not an exclusionary Christian who wants to be in his/her safe little Christian bubble isolated from the world. It’s a chance to expose them to the gospel through your script. And if both those elements are there, it’s a chance to do some personal evangelism.

You’d be amazed at the impact you can make simply being a serious professional working on a movie set. When you let Christ shine through you in words and actions, you can really open eyes and hearts to the gospel.

I know it’s scary; an all Christian film set is a safe comfort zone, and when everyone’s working hard, it’s great. But every day, I read countless blogs about how depraved it is in Hollywood , and how we need more Christians making an impact in film. This IS your chance to make an impact on actors (and crew members, by the way!) right in your own backyard.

Don’t dismiss it. Pray over it. God might open an opportunity for a film ministry like you never imagined.

You call that drama?

I LOVE this new TV show “The Big Bang Theory.” It’s one of the funniest and most quotable shows to hit the air in years. If you haven’t seen it, it’s about these two uber-genius nerds living across the hall from a blonde hotty. The character of Sheldon in particular cracks me up with his type A insistence on everything being scientifically accurate – such as the time he ranted about how Superman, a man of steel, could not have caught Lois Lane in mid-air gently but, due to the force of gravity, would have cut her into 3 equal parts when she struck his arms of steel. There’s a great deal of truth in these characters, particularly Sheldon. I still remember an after church lunch where my father and brother-in-law (both engineers) discussed the scientific fallacy of the song ‘Wind Beneath My Wings.” (It’s the air moving over the wing that creates lift, not underneath.)

It’s not just engineers who are susceptible to this type of rant. I’ll never forget the time I entered “An Annoying Little Sin” in the CITA sketch writing contest. Two judges gave me very high scores. The third judge ripped me a part, writing in big, capital letters: “THIS IS NOT A SKETCH! THIS IS A SKIT!”

Umm.. what?”

In fairness I’ve done the same thing, and I think you’ll agree I was right to do so (he says, tongue in cheek). My brother, the worship leader at a very progressive and artsy church, called and invited me to church one week to see a drama. I asked what it was about. He told me they had a trained ballerina who would be doing a drama to music.

Me: That’s not drama.
Bro: Yes it is.
Me: That’s not drama. It’s dance.
Bro: It’s dramatic.
Me: So was my last relationship. That doesn’t make it drama.

Just because something is dramatic (be it dance, signing to music, dowel rods), that doesn’t make it drama. Drama, simply defined, is storytelling on stage. No story, no drama.

That said, we as theater artists (especially those of us who “know better”) don’t have a license to tear down others who would define these things as drama. As brothers an sisters in Christ, we must not allow ourselves to become elitists. Any person who would stand on a stage and perform for the glory of God is deserving of encouragement and support. That's not to say that we should blindly applaud garbage when it's on stage. But if you can’t start at least acknowledge the heart of the artist, you have no basis for training them and helping them improve their craft. Why should they listen to you when all you’re going to do is tell them how wrong they are?

Don’t get me wrong; I long for a day when sign is sign, dance is dance, and drama is drama. After all, a seeker who comes to church and sees a dance when he is expecting a drama is definitely going to know the difference. But for some of us, it’s far past time to come down off our high horse and embrace our fellow performers, no matter what medium they use.

"Can I change your skit?"

I know what you’re thinking. Before you even ask, I know what the question is. I’ve heard it that many times before. You found my script, and you love it. You think it’s great… BUT, do I think that maybe it might possibly be okay if you… changed one teeny little thing?

It’s okay! Really, don’t feel bad, and do not apologize. It’s a good question. A wise question, and yes, it’s okay to change a few things on the script.

I know, some authors are really uptight about you modifying their words, but as far as I’m concerned, the Beckett Rule (named for Samuel Beckett, who insisted his plays be performed word for word with no variance) is moot when it comes to drama ministry. People like me write scripts for certain times, places, and audiences, and what works in one location isn’t going to be a perfect fit in another. A few changes can go a long way to making your drama more impacting on your audience.

There. Now that the awkward part is over with, I’ll give you a few tips even, some do’s and don’ts for revising drama scripts.

DO add some local flavor. Let’s say your almost perfect script originated at a big church New York. A tiny congregation in Alabama is not going to connect with the skit’s references to Times Square and Bleecker Street. But, when you use local streets, stores, people, events, and the like, it draws in your audience, and even allows for some additional humor. We had a sketch once where a young man was on a job interview and being questioned about his medical history. Our local Arby’s had had a Hepatitis scare a month or so prior to this performance, so when the interviewer got to that question, the young man had a line referencing our recent current event. Tasteless or not, it got a laugh.

DON’T use inside jokes. This applies not only to your small drama group, but the church as a hole. A talented friend of mine brought over some videos he had shot for his church’s weekly college program. Throughout the videos, he gave me a running commentary about the people and lines within the films, letting me in on dozens of inside jokes. While many of the people at church probably enjoyed it, any new faces or visitors would have been completely lost. Make sure you’re not alienating people by leaving them out of the funniest parts. If you lose them with the drama, they won’t be with you when the gospel comes up.

DO adapt to your audience. If your drama is about young artists living in Greenwich Village apartments, it’s not going to connect with working families raising kids in the suburbs. Sometimes simple adjustments can bring the characters in your drama in line with your audience. In certain instances, you can even modify skits written for adults to suit a youth audience, and vice versa.

DON'T use slang. Ever. Especially if you're working with young people. We adults have this misconception that we need to "keep it real" and convey the "411" to the "posse" in their own terms. Trouble is slang terms go in an out of fashion more often than some kids change their underwear. I know you're proud of yourself that you now know what it means to be off the “hizzle,” but the sad truth is by the time you, the grown-up, learn, understand, and know how to use that word in conversation (or a script), it's dated. Therefore, my advice is to stick to plain English, because unless your name is Snoop Dogg, the kids are going to think you’re “wack.”

DO let your actors speak naturally. By that, I mean give them the freedom to let the words flow and bring more realism to the scene. That's not to say you should let them improvise and rewrite every line. Some writer worked hard on the dialogue, and other actors have worked equally hard to learn their cue lines. But a little improvising can enhance a scene and make it more effective.

Finally, and this is very important, DON'T change the meaning of the script. Maybe you like the characters, or the humor. Maybe the situation's right but the message is... well, just a bit off. If that's the case, find another script. Drama writers work hard on the material they produce. They write out of their own faith and convictions, and that faith is expressed in their work. It's unfair to take an author's statement of belief and change it just because it doesn't match your own.

As I said earlier, I understand the reasons why scenes get revised, and most of the time I have no problem with people making minor changes. The times I have said no have been when people wanted to make my script say something I never intended. To change the meaning and purpose of a writer’s script is just the same as misquoting someone in a newspaper article. Out of respect for those of us who write to share our faith and experiences, don't ever change the meaning or the intent of a script.

So in summing up, yes, you may modify my scripts and, if I may be so bold, the scripts of others who have written for the ministry. Please don’t change our message, but do what you must to make sure your church, your audience receives the message we labored to put down on the paper. After all, it’s not truly drama until you put it on stage, and if it doesn’t connect… what good is it?

A few questions about those darn Human Videos

Why are all human videos so heavy and serious?

Can human video be light? Or even funny?

And are there any limits to the kind of songs we can use?

Here's a modest proposal of something a little different.

Iron Man

The Wages of Nothing

My father recently gave my wife and I a copy of Seinfeld season 9 on DVD. Aside from having some of the best and most brilliant episodes of the entire series (including Festivus and the episode with the Indian wedding that runs backwards), season 9 featured one of the most powerful morality plays in television history.

I’m talking about the last episode.

I can still remember the backlash that followed the last episode, with critics and fans saying how disappointed they were. I myself was blown away that a show about nothing would, in the end, have a moral conscience.

Jerry, Elaine, George, and Kramer were incredible selfish people. They lived for the moment, they looked out for themselves, and they rationalized every selfish action they made. It wasn’t just the humor that drew us to these characters; everyone acts like one or more of these characters on a daily basis. I have a George Costanza meltdown at least once a month.

Then one day after a near plane crash (a symbolic death), they end up in a town where morals do matter. They are put on trial for their sins, and everyone shows up to stand and accuse our beloved heroes. To paraphrase the Soup Nazi, there’s no pardon for them; they are guilty, and they are sent to their punishment.

Is it any wonder so many hated this episode? No one wants to think they will be judged for their sins. Yet all of us will face judgment, and the punishment for sin is far greater than a year in jail. What will matter most at that moment is not how good we were, but who stands in your defense… and Jackie Chiles is just not going to cut it.

Next time you watch an episode of Seinfeld, enjoy it, but ask yourself: who have you wronged that would stand in judgment of you? More importantly, ask yourself who will stand as your advocate? Only the blood of Christ will spare us at the real judgment day.

The Golden Compass - A Skit for Church

The Golden Compass
By John Cosper

CHARACTERS
Dan- A salesman
Tom- A marketing genius
Nicole- A Christian
Shoppers

NOTE: This skit is dedicated to Phillip Pullman, whom I pray may come to know Jesus as his Savior.

Dan is on stage behind a table covered with small boxes. He has a sign that says “Golden Compasses for Sale” and he holds a gold compass. Shoppers pass him by without even noticing.

DAN: Golden compasses! Get your golden compasses right here. Golden compasses, only five bucks. Know where you are and where you’re going with this golden compass. Only five dollars.

Tom enters.

TOM: Hey, Dan.
DAN: Hey, Tom.
TOM: Still in the golden compass business?
DAN: You want one? Only five bucks.
TOM: Let me see that.
DAN: Take a look! Isn’t it shiny?
TOM: It’s shiny… (opens the compass) Hmm, not a lot character to it though. And look at this. No structure.
DAN: I know.
TOM: Ha. It doesn’t even point to true north.
DAN: What?
TOM: Here, see for yourself.

Tom pulls a compass out of his pocket. Dan looks.

DAN: Aww, man! They’re all broken!
TOM: Don’t be so hard on yourself. You’re in a tough market. You’re not only competing against other compasses, but GPS systems too.
DAN: What are you saying? You think I should give up?
TOM: Not at all. You just need a clever marketing gimmick.
DAN: Yeah? Like what?

Nicole enters and walks past. Tom rushes over to her.

TOM: Excuse me, ma’am. May I have a word?

Tom pulls Nicole aside. They whisper. At one point she looks at Dan with a look of utter HORROR! She clasps her mouth. Tom tells her one more thing. She shakes her head yes and runs off, with one last look of disdain for Dan.

DAN: Well?
TOM: Go home, pack up all the compasses you have in inventory, come back tomorrow, and double your price.
DAN: Double my price? What did you do? What did you tell her?
TOM: That woman’s a Christian. I just told her your compasses cause demon possession in small children. You’re welcome.

Finished Product

Drama is a "living" art. When you finish the script, you don't yet have drama; you have literature. It takes actors on a stage to bring that drama to life.

It's always interesting to me how things can look one way on paper and be totally different on stage. Sometimes you write something just amazingly great. It's the best thing you ever put to paper. Then two actors pick it up... and you start to smell something funky in the room. Suddenly your pride and joy has everyone laughing - not with you, AT you.

It works in reverse too. A few years back I wrote a two-part skit called "The Warrior." I thought it was fair at best. It's central premise was clearly derived (make that stolen) from Empire Strikes Back. I put it in the catalog, but never thought much of it.

Then yesterday, thanks to some friends in Tennessee, I saw it. And honestly... I think it works rather well.

Whatever it is you're writing, always, ALWAYS make sure you do a reading of it before you produce it - or throw it away. You might be surprised at what results... and the surprises won't all be bad.

Beethoven - A modern parable

Is it me, or does it seem like modern believers will read almost anything about God... except the Bible? It seems to me that people are eager for a "quick fix" when it comes to God. Besides, who wants to muddle through the doom and gloom of the major prophets when you could pick up a snazzy title like The Purpose-Driven Life and Your Best Life Now?

We're traded knowing God for learning about God. And I think we're cheating ourselves.

That's why I wrote "Beethoven," the film posted below. What amazes me is the response I've had from people who watch it. Some get it; others find it completely befuddling. Some have even asked, "What does this have to do with God?"

I guess some folks don't like being challenged to think.

For those who do, I give you Righteous Insanity's "Beethoven."

Do you want to direct this?

The young actor looked at me, somewhat stunned. "Seriously?"

"Sure," I said. "Go for it."

I had no idea why I had just made the offer. We were about two weeks out from opening "Harvey", and we had finally been able to get the entire cast together (thanks to the end of tennis, soccer, and volleyball season). We were way behind schedule, and every time I stopped a scene to give instructions, he seemed to chime in as well.

He wasn't giving bad advice. He wasn't trying to be subversive. He, like the other cast members, wanted to help. So I gave him the opportunity.

"Okay then!" He snatched up his script, turned to the proper page, and began giving instructions to Veta and Myrtle Mae. He spent twenty minutes instructing his fellow cast members, and in the end, the scene was better for it.

Satisfied with our progress, I moved on to the next scene, and asked if any other cast members cared to direct. One of the girls raised her hand and took a turn. Before the night was out, half a dozen students had taken a turn at being director, and everyone did a stellar job.

I've never been a believer in directing by committee; a play or a film needs but one director. Even two can cause a show to break down. But in this instance, giving these high schoolers a chance to direct each other was a huge benefit.

We were on a tight time crunch to begin with. By the time Harvey had been approved by the administration, we had just six weeks to get the show on stage, a daunting task for professionals, much less teenagers. But I've always found that if you can get the cast to "own" the show, to make it theirs, you can accomplish anything.

Two weeks before the show we were still struggling to find out way. But the night the cast members took turns directing the show, they also took ownership. Those who took turns directing had a stake in the show now. It wasn't just me creating the vision for the show. They had a hand in its outcome as well.

The directing experiment also gave the students a chance to sharpen one another as actors. Each of them had, I discovered, been quietly sittting back, watching their peers, thinking in their minds how this scene, that line, that action could be better. I gave them a voice, the students receiving direction gave their attention, and the show was finally making progress.

What's more, the students who took turns directing also had a learning experience. In stepping out of the scene and taking a director's role, they gained a different perspecting on acting that improved their own performances as well.

We still had a long way to go before opening night. Everyone had a lot of work to do, but the solidarity formed during that one rehearsal gave everyone the desire to see that work done. It made our show better; it made every one in the show a better actor.

New Skit - Guilt Trips

Guilt Trips
By John Cosper

Alice- A woman filled with guilt
Donny- A health nut
Kate- An animal lover
Ernie- An environmentalist
Jenny- A Christian

AUTHOR'S NOTE: This skit is not intended to be a comment on obesity, animal rights, the environment or anything political. This skit is all about Guilt. Everyone, from politicians to special interest groups, knows how to use it, and Americans LOVE to feel guilty. But I got to wondering, how come we feel so much guilt for the things we've done to the Earth, animals, ethnic groups, even our own bodies while refuse to feel guilty for the things we have done to offend God?

Alice walks on stage wearing a leather jacket, carrying a McDonalds bag and a leather purse with makeup and keys inside. She sits at a table beside a garbage can, takes off her jacket, and pulls out her food. Donny walks on.

DONNY: Excuse me, Miss. Are you… are you eating McDonalds?

ALICE: Yeah.

DONNY: How dare you! How dare you put money into the pockets of those fat mongers! Do you realize that McDonalds is single-handedly responsible for the obesity in America?

ALICE: It is?

DONNY: That's right! Our kids are getting fat, developing diabetes, and dying of heart attacks in the fifth grade. And who's to blame? Your pal with the big red shoes!

ALICE: Oh my gosh!

DONNY: I know. They put that happy clown out there to make you think everything's okay, lure you into a false sense of security as they clog your arteries!

ALICE: Not my arteries!

DONNY: And he's got accomplices, too! The Burger King! The Dairy Queen! Tony the Tiger! Toucan Sam!

ALICE: Not Toucan Sam!

DONNY: Yes, Toucan Sam.

ALICE: I feel so betrayed.

DONNY: And all because people like YOU keep throwing your money at them!

ALICE: Oh my gosh, I never felt so horrible. What can I do to stop this?

DONNY: Repent of your wicked ways! No more sugar cereals, soft drinks, or fast food!

ALICE: I will!

Alice throws her fast food in the garbage.

DONNY: Good for you, sister!

Donny high fives Alice, then exits.

ALICE: Wait, that was my lunch. (shrugs) I'll go to Subway.

Kate enters.

KATE: Oh my goodness! Is that a leather jacket?

ALICE: Yeah, $99.99 at Sears.

KATE: $99.99. Is that the price of the life of a defenseless animal these days?

ALICE: What?

KATE: You heard me! An animal DIED so that you could wear that jacket! A sweet, harmless little cow, probably. They mauled him. And maimed him. And then they skinned him, and threw his carcass away like a piece of rubbish, all so that you could look cook in your $99.99 jacket.

ALICE: I didn't realize… I…

KATE: And what's that? A leather purse?

ALICE: Yes. I mean no. I mean, oh no!

KATE: You heartless, soulless fiend! I bet you even have—

Kate grabs the bag and looks inside.

KATE: I knew it! Cosmetics tested on animals!

ALICE: I didn't test them, I swear!

KATE: And yet you condone their deaths by buying their products!

ALICE: I won't buy them any more! Please, what can I do?

KATE: Throw out that makeup!

ALICE: Okay.

Alice throws out the makeup.

KATE: Now give me that jacket and purse. I'll see they get a decent burial.

Alice hands over her purse and coat, taking her car keys out.

ALICE: Yes, of course. I'm so ashamed. I never felt so guilty.

KATE: It's okay, friend. As of now, you are absolved.

ALICE: Thank you. 

Kate exits.

ALICE: Wait, that's my only jacket. Good thing the truck has a heater.

Ernie enters.

ERNIE: Hey, who owns the death mobile outside?

ALICE: The death mobile?

ERNIE: Yep, that gas guzzlin' SUV out there?

Alice winces, then slowly lifts her keys.

ALICE: It's me.

ERNIE: You make me sick.

ALICE: I know.

ERNIE: Do you hate mother nature?

ALICE: No!

ERNIE: Then why would you EVER drive an SUV?

ALICE: Because I'm pond scum!

ERNIE: Don't you insult pond scum like that! Pond scum is good for the environment! You're nothing but a pollutant!

ALICE: Just take my keys, will you? Take them, take it away!

Ernie takes her keys.

ERNIE: Next time buy a Hybrid!

ALICE: I will!

Ernie exits. Alice sits down.

ALICE: I've never felt so guilty in all my life.

Jenny enters.

JENNY: Hi there.

ALICE: Hi.

JENNY: You look a little down.

ALICE: It's been a rough day.

JENNY: I'm sorry to hear that. Anything I can do to help?

ALICE: Not unless you know some way to take away my guilt.

JENNY: Actually, I know someone who can.

ALICE: You do?

JENNY: Maybe you've heard of him. His name is Jesus. 

ALICE: (hardens a little, sits up) Did you say Jesus?

JENNY: He's God's son. He loves you, and he died to save you from all your sin.

ALICE: Sin? 

JENNY: All the bad things we do that separate us from God.

ALICE: Oh puh-LEASE!!

Alice gets up to storm off. 

JENNY: Where are you going?

ALICE: Sorry, lady. I'm a good person. I don't need YOUR guilt trip.

Alice exits.