Being Wrong

I just watched the Iconoclasts pairing of the former Secretary of State Madeleine Albright and actor Ashley Judd. It was a rather moving episode because both women are so deeply passionate about humanitarian causes and seeing change in the world. Both Madame Albright, through various organizations (The Albright Group, National Democratic Institute, to name a few), and Ms. Judd, with Population Services International have affected great change throughout developing countries. I was amazed at how inspiring these two women are. One specific learning I received from the episode, was Madame Albright’s ability to look back on her career, and evaluate the times she was wrong. She talked about how she has learned from those times - and does not shy away from admitting that she has made mistakes. Specifically, she mentions the genocide in Rwanda. Madame Albright is frank about the UN and US’ shortcomings in responding to the catastrophic and horrific events. Her insight was so valuable - she deeply stressed the importance of admitting when you are or have been wrong, and then growing from that.

I Need an Idea…

My head is going to explode. I have to create the brand videos (promo piece, transitions, bumpers) for our next series, The Interruption, and I have no idea what to do. I’ve spent the better half of today watching title sequences and commercials on YouTube.

Really.

Nothing is coming.

Blurg.

Christmas at Journey

This past week, our programming team finalized our Christmas Eve service order. After two months of discussion, planning, brainstorming, more discussion, and a lot of coffee…we agreed on all the elements. Now, begins the craziness of executing such an event.

Christmas at Journey: The Interruption promises to be a powerful and captivating experience. I, for one, can’t wait to see it. If you’re in San Diego on Christmas Eve, stop by.

Visit the site here.

Beauty from Chaos

In our weekend services this past weekend, our College Pastor Jason Denison spoke on Soul Happiness, for our series Soul Care. His message looked at how we can find happiness in fearing God. It was great - in fact, perhaps one of his best messages. Jason looked at Psalm 34, and I was charged with creating a video element that presented the Psalm.

Luckily, Sigur Rós released 50 clips from their new film Heima for a special contest. So, inspired by the beauty of their homeland, I used Sigur Rós’ footage to create the meditation on Psalm 34.

Following the video, Jason commented on how beautiful Iceland is. He mentioned that it is strange that such a volatile land - where volcanic eruptions create vast mountains and shifting tectonic plates create unbelievable canyons and plateaus - is so beautiful. He continued, saying (paraphrase): “…it is amazing that beauty can be produced by such chaos…kind of like us.”

I just loved this observation. Think about beauty coming from the chaotic story of your own life - out of ashes, splendor.

Listen to Jason’s message here.

Control

Ian Curtis was 23 years old when he committed suicide on May 18, 1980. However, in his short time as the lead singer and lyricist of Joy Division, Curtis left an indelible mark on the face of music. Control, Anton Corbijn’s first feature film follows the last seven years of Curtis’ short life and the rise of Joy Division as a prolific musical force.

Shot in black and white, Mr. Corbijn’s film is touching - not in the sense that it makes you feel nice and warm…but in it’s very real portrayal of a man plagued by immense creativity and immense darkness. I really enjoyed the film - Mr. Corbijn, having known and photographed Joy Division when they first began, brings a quiet sensitivity to Curtis’ tragic life. Sam Riley (above, left) plays Curtis in such a captivating manner - you can’t get him out of your brain, even when the movie ends. The film, like Joy Division’s music, lingers with you long after it’s finished.

For a more extensive review, read A.O. Scott’s NYT article here.

At the end of the film, a man in front of me was literally weeping. That’s power in film.

Riskiness

I’m reading a book by Richard Laermer and Mark Simmons, titled Punk Marketing. Laermer and Simmons are out to change the way the world markets. In the first chapter, the authors lay out the fourteen articles (plus another open ended discussion article) of “The Punk Marketing Manifesto.”

Article one stopped me…and I had to read it over and over: “Avoid Risk and Die”

The authors go on to say that “the trick is to take calculated jumps and share them among all stakeholders with your own blend of saucy verve and gusto” [italics mine]. They argue that Ted Turner never checked with consumers before he launched CNN. (Mr. Turner said: “There’s never a reason for a study if your idea is conceptually sound. You have to have confidence in your own ideas.” [South Africa's Young Magazine])

So…ideas don’t have to be run by your audience to make sure they like it. You don’t have to double check to make sure the data says that your idea will be a hit. Think through it (really think through it) and discuss it with people involved in actually creating the thing - do that, and risk much. We’re smarter than we give ourselves credit for…take calculated jumps! Think, discuss, risk - and come out a winner.

Visit punkmarketing.com.

The Ken

This past week, I visited San Diego’s Ken Cinema, the first (and still the only) theatre in the area that was totally dedicated to foreign cinema. While I frequent other Landmark Theatres (the nation’s largest theatre chain dedicated primarily to exhibiting and marketing independent films), I have never viewed a film at The Ken.

I saw the film Control, which, was incredibly moving.

However, this post isn’t about the film. It’s about the theatre. I pre-ordered my ticket - a decision that made me feel rather silly, once I realized that only seven other people were seeing the 4:30 PM showing with me. Upon getting my ticket, I opted for a soda and small popcorn - mildly overpriced, but no where near the astronomical concession prices at larger, more commercialized chains. Five minutes prior to the beginning of the show, the theatre manager, Steve, walked up to the front of the theatre, introduced himself and welcomed everyone and informed us about several of the upcoming films that would be showcased at The Ken over the next few weeks. He also told us the name of the other two employees working and said that if they could do anything for us, to please not hesitate to ask .

Now, there were only eight of us in the audience…but for some reason, this gesture didn’t feel inane or useless. In fact, it made me appreciate the staff at The Ken. As a consumer, I had been given faces and names of people, so that if I did encounter a problem, I would know exactly who to go to. Their friendliness caused me to feel like I wasn’t just catching an afternoon matinée by myself - but experiencing a film with seven other audience members and three employees who were passionate about film; and, moreover, cared that I enjoyed my time at their theatre. It took the anonymity out of the experience and made is something much more communal. It was truly refreshing.

Plus, on the way out, Steve was standing in the back, holding a bowl of peppermints for our refreshment - the little things really do matter.

Paris, Je T’aime

So, in a previous post, I said that Across the Universe may have been the best film I have seen this year. The truth is, I had forgotten that I saw the captivating Paris, Je T’aime - not that I forgot seeing it…I just thought I saw it last year. Since we’re approaching December 31st, I must say that (unless some REALLY amazing film comes along) this is the best film I have seen all year. In fact, I think I saw it three or four times. It is beautiful, enthralling and heartwarming.

See, the thing is - I like dark cinema. I like movies about depression and drama - films that make you cry and hate your life even more than you did before you saw the film. My favorite film is Trainspotting, so…I like cinema that doesn’t just wrap life up in a nice little bow. I usually hate films that makes you think about love in all its grandiose beauty (break-up films, though, are acceptable). But, the thing about Paris, Je T’aime (”Paris, I Love You”) is that it’s all about love - specifically, love in Paris.

The film is actually 18 short films from 18 of the world’s most innovative and creative directors. Each short stands alone, yet co-exists among a strain of conversation about love in Paris. Essentially, the producers said, “Make a short about love. Oh yeah, and make sure it happens in the City of Lights.” Well, what coalesced was a truly original film. Directors of the likes of Gus Van Sant, Tom Tykwer, the Coen Brothers and Alfonso Cuarón join others in creating awe-inspiring pieces, woven together by shots of the city and its beauty.

Each director was commissioned to create a film that spoke of love within a specific arrondissement of Paris (there are 20 - unfortunately, two films could not be properly integrated). While several stand out (Tykwer’s Faubourg Saint-Denis (seen above), Gurinder Chadha’s Quais de Seine, Richard LaGravenese’s Pigalle), all 18 pieces are truly incredible - and, if you don’t enjoy a particular director’s style, a new short will begin in less that six minutes. However, in my opinion…all 18 are unique and beautiful in their own right.

I said that I like dark cinema. What caused me to fall in love with this film was the fact that it was the complete antithesis of what I generally enjoy. It reminded me that cinema can be about kindness, it can be about beauty, it can be about what is right in the world - it can be about love. I can’t help but smile every time I watch the trailer and am reminded of each segment.

The DVD will be released on November 13th - I can’t wait.

In the mean time, watch the trailer here.

Christmas

Christmas 2007 is 48 days from the time I am writing this post - and already, our church’s programming team has been talking about Christmas Eve services for over a month. This both excites me and causes me to stress. Up until today’s meeting, I was worried our services would feel flat, and lack a real connection with where people are coming from. However, today’s meeting was filled with discussion - good discussion, at that. I walked away with a much clearer picture of where we are going with the feel and elements of the service.

For a while, our discussion has been strained; but today’s meeting proved that we are headed somewhere great. The meeting was filled with big ideas and lively debate. It was the latter that truly energized me. It seemed as though the entire team was talking passionately about the ideas and feels they envisioned. Ideas were being bounced of others’ brains. It was really exciting seeing everyone so fired up and in such intense discussion - this solidified in my mind that we were going to come up with the best possible outcome. I understand how creativity can work on an individual basis, but I think it really flourishes when it’s being thrown around and worked with in the hands of many. The service may not look exactly like I wanted it to, but that’s good. It’ll be better - the ideas of the group will help to inform a great service order.

More from Sigur Rós Q&A…

As mentioned in the previous post, Saturday’s screening of Sigur Rós’ Heima was followed by a Q&A with the band, director, and producer. Like I said before, the session was close to ridiculous - both in it’s dullness and lack of intelligent questions. However, I did come away with something that helped to reframe the way I look at art, music, film, et al.

First, if you are not familiar with Sigur Rós, they are an Icelandic band that, as expected, sings in their native tongue (Icelandic). However, half, if not more, of their songs are sung with no decipherable lyrics at all. Lead singer Jón þor Birgisson uses his voice as an instrument and creates different notes, tones, sounds to couple with the rest of the music. This “Hopelandic” (as a reporter tagged it) is essentially a nothing language.

Understanding that - the following question was posed to the band:

“How do you feel that a majority of your fan base [Americans] do not understand what you are saying?”

The band, not fully understanding the question, hesitated. (At this time, most of the audience is thinking: “This guy is an idiot…doesn’t he know that the words are nonsensical?”) Finally, in broken English, Mr. Birgisson answered:

“We make music to make music. So, if you like it, you like it. If it moves you, good.”

Perhaps the only merit of what makes art or creativity good, is if it moves someone. If you hit that criteria, good.