The Moral of the Story: an Interview with Ralph Winter

Autumn 2005 | Volume 15 | Number 2 Religion Inside this issue de Souza Freaked Out • Medved Tinsel- town’s Tin Ear • Langeland Investing in the Industry of Influence • In the Liberal Tradi- Liberty tion Ronald Reagan • Sirico The Market, the & Movies, and the Media The Moral of the Story: An Interview with Ralph Winter

Producer Ralph Winter’s filmography reads like a laundry

list of blockbusters: Fantastic Four, Star Trek III, IV, V, and VI,

X-Men, X-Men 2, and Planet of the Apes are just a few of the

films for which Winter claims the producer's credit. He

recently spoke to R&L about shifting market forces in

the entertainment industry, consumer choice, and

the unique and powerful role of storytelling in

promoting virtue in society. He spoke from Van-

couver where he is currently shooting X-Men 3.

Continued on pg 3

Photo: Courtesy of Ralph Winter

A Journal of Religion, Economics, and Culture Editor’s Note

dios have an enormous influence on our feature in Religion & Liberty. Called “the culture, independent of their balance Double-Edged Sword,” it looks at a par- sheets. ticular Scripture passage and how it might apply to a particular question of Ralph Winter, a successful producer of interest to our readers. The challenge is several blockbuster films, speaks about to allow the Word of God—described in that influence in our feature interview. Hebrews as sharper than a two-edged His experience, reflected through his re- sword—to cut to the heart of the matter ligious faith, offers a perspective on Hol- rather than being blunted by our pur- lywood that we rarely hear. poses. It’s a worthy challenge, and I Cort Langeland explains that the cultur- think this issue gets it just right. al influence of films lies in their story- The Acton Institute is, at heart, a cultur- And I might say an immodest word telling power. Whoever tells the stories al enterprise. We are not concerned so about our lead article. I thought perhaps shapes the culture. But storytelling is not much with politics or economics or soci- you might appreciate something from a matter of only a fireplace and a cup of ology or philosophy as we are with the R&L’s new editor—something of an in- cocoa; it is demanding business that re- whole package—the effect they have on troduction to what interests me. My quires as much entrepreneurial excel- our culture. Our concern is with the essay addresses the past summer's best- lence as any other business venture. health of society as a whole—the free selling economics book—Freakonomics. It and virtuous society. Other articles in this issue look at our doesn’t address much of what we do entertainment culture from different In this autumn issue of Religion & Liberty, specifically at Acton, but I found it ani- perspectives. Father Sirico comments on that concern is made very clear as we mated by a sympathetic spirit, fascinated protecting our children, and the liberal examine a tremendous influence on our by human liberty and the consequences tradition focuses on the most famous culture—the entertainment industry. In of the choices we make. Hollywood actor of all: Ronald Reagan. Hollywood, they speak about movie- making as “the Industry,” but movie stu- I would draw your attention to a new

Editorial Board Contents Publisher: Rev. Robert A. Sirico The Moral of the Story: Ralph Winter...... 3 Editor: Rev. Raymond J. de Souza Freaked Out: by Rev. Raymond J. de Souza...... 4 Managing Editor: David Michael Phelps Tinseltown’s Tin Ear: by Michael Medved...... 6 Contributing Editors: Acton FAQ ...... 7 Pierre Garello • Université d’Aix-Marseille III The Twin Vocations of Art and Work by D. M. Phelps...... 8 Bishop Bernard Njoroge • Episcopal Church of Africa Double-Edged Sword ...... 9 Rev. John Arthur Nunes • St. Paul Lutheran Church Investing in the Industry of Influence: by Cort Langeland...... 10 The Acton Institute for the Study of Religion and Liberty promotes a free society characterized by individual liberty and sustained by religious principles. In the Liberal Tradition: Ronald Reagan...... 14 Letters and subscription requests should be directed to: Religion & Liberty; Column: Rev. Robert A. Sirico...... 15 Acton Institute; 161 Ottawa Ave., NW, Suite 301; Grand Rapids, MI 49503. Reviews 16 The views of the authors expressed in Religion & Liberty are not necessarily ...... those of the Acton Institute. © 2005 Acton Institute for the Study of Religion and Liberty.

2 Religion&Liberty The Moral of the Story An Interview with Ralph Winter

Photo: Courtesy of Ralph Winter

How do you maintain your faith in a high- somebody? Well, when some guys like plays a lot younger. The movie was em- demand job environment of money, power, and that say things like that, we all get lumped braced by the comic book geek world as stress? into one category. But I think that happens well as young families and kids. Yes, I think in manufacturing, in business, in retail, the studios are well aware that market— I've got a support system in place that and in banking. It’s easy to get lumped in that six, eight, nine hundred million dollar helps make that all work. Primarily, a wife with the whackos that are out there. And who understands as well as challenges me. I think I haven’t really encountered a hos- I've been married for thirty-one years. tile environment because I’m a Christian. Our lives are centered around our faith in It’s known at the studio what I stand for terms of what we're about, where we’re “I think the studios are and who I am. But being a Christian cer- going, and why we do things. That re- tainly isn’t something to lead with. [Suc- well aware that mar- mains at the center. And this is a fun job. I cessful filmmakers must] be the hip, like it. I think I’m making a contribution ket—that six, eight, avant-garde thing that’s going to get by what I do. But it’s a little more difficult nine hundred million movies made and be at the cutting edge of when I’m out of town because I don’t have culture. [Christianity] is not what Holly- dollar business that the normal support system around: our wood sees as all that. Although, lately with small group bible study or the two guys went to The Passion— the success of The Passion, people are very that I’d be with on a regular basis when interested in a faith market because there’s didn’t go to them.” I'm in [Los Angeles]. So I talk to them on money in it. There’s an untapped market, the Internet [and on the] phone remotely an underserved market, as they say. up here in Vancouver. But generally I think it’s about having a support system, Much has been written about this, about the business that went to The Passion—didn’t and trying to be somewhat regular in wor- profitability and growing market share of val- go to them. And they’d love to tap into ship on Sundays when I’m on location, ues-driven films. How is Hollywood responding that. They’d love to find a sequel to The which is a little difficult. But you’ve got to to these market pressures? Passion. keep reminding and remembering and re- Oh, I think they’re responding. I think the orienting to true North. You know, Oftentimes in religious circles, the entertainment congressional stuff about studios marketing “Where am I headed?” industry is characterized as a sort of “cultural R-rated movies to kids under thirteen has polluter.” How accurate is this characterization? Is Hollywood hostile to people of faith? definitely produced more PG-13 movies and PG movies. And I think the success of I think it’s interesting. I think the guys at I think you need to distinguish some movies like National Treasure made studios the studios—the major studios—do think things. I think Hollywood is made up of a realize there is a big market out there for about the stuff they’re making and the im- lot of people who are good people and kids. Jerry Bruckheimer made that movie pact it has on culture. But it necessarily family oriented, [who] want to do good and it was PG—but still provided action, falls to a small group of people who can sit things that aren’t anti-faith. I think there adventure, and fun, and was very success- at thirty thousand feet and look at the are certainly people who want to wear ful. You’ve got to pay attention to that. Fan- landscape and say, “Do we really want to their faith on their sleeve. What did Pat tastic Four, which we just finished, I think tell stories that have that message?” Now Robertson say about trying to assassinate continued on pg 12

SummerAutumn 2005 | Volume 15 | Number 21 3 Freaked Out: Liberty, Choice, and Rogue Economics by Rev. Raymond J. de Souza

It is a rare thing for an economist to write one doubts the value of the math, but a bestselling book, but Steven Levitt is a what separates economics from, say, engi- “For those interested in rather rare economist. Winner of the Clark neering, is that the subject of study is the Medal for the best American economist human person. Lose the human element the nature of economics under forty, Levitt does not practice eco- and you have lost the best in the tradition as a discipline, Freako- nomics as most of his colleagues at the of economic thinking. nomics is a marvelous re- University of Chicago do. Indeed, he is At the heart of economics is how people minder that economics something of maverick, as is made clear by seek to satisfy their needs, wants, and de- the subtitle of his bestseller, Freakonomics: sires by balancing costs and responding to is not about money, it’s A Rogue Economist Explores the Hidden Side of incentives. The premise of economics is about man.” Everything. that human beings are rational and make Levitt does not seek to explain price theo- perfectly understandable choices by taking ents abandon the names. It’s all fascinating ry, monetary policy, or trade relations. He into account competing incentives. Eco- stuff, demonstrating that otherwise per- turns his attention to rather more quirky nomics does not argue that everyone’s plexing outcomes can be explained by questions: Why do crack dealers live at crazy Uncle Fred is rational; but it does looking carefully enough at the informa- home? Do real estates agents really seek argue that, in the main, we make rational tion people use to make choices. the best deal for their clients? Do abortions choices in the face of incentives. It is, de- The most notorious chapter of his book lower the crime rate? Do schoolteachers spite being known as the “dismal science,” stands out from the others. In exploring cheat? a rather lofty view of the human person the relationship between abortion and and his dignity. Freakonomics has become the most noticed crime rates, Levitt does not look so much economics book of the year because of the That being said, Levitt turns his powerful at how choices are made, but rather at the explosive answers Levitt provides to those analytical tools upon the more dismal real- (unintended) consequences of such choic- questions. But for those interested in the ities. He concludes that crack dealers live es. He argues that the drop in crime rates nature of economics as a discipline, Freako- with their mothers because, apart from a in the 1990s was due to the increase in nomics is a marvelous reminder that eco- few drug kingpins, the profit margins in abortion rates eighteen years earlier—in nomics is not about money, it’s about man. dealing crack are actually quite low—too 1973, the year of Roe v. Wade. After sifting And for those who are concerned about low to allow a street-corner hood to have through the data, Levitt concludes that restoring the human person to the center his own place. He demonstrates how the while other factors contributed to the drop of economic inquiry, Levitt is an ally, albeit marginal increase in real estate commis- in crime rates—more police, the fall in the a rogue one. sions is not sufficient to motivate agents to price of crack cocaine—the most powerful As any undergraduate economics student secure the best price for their clients. He cause was a demographic one. traces the process by which upper-class will tell you, the further one progresses in Levitt writes: economics, the more the human person parents choose novelty names for their The most dramatic effect of legalized seems to disappear from view, obscured children, only to be imitated by lower-class parents seeking some sort of upper-class abortion, however, and one that would behind an increasingly complex mass of take years to reveal itself, was its impact cachet, at which time the upper-class par- mathematical models and equations. No on crime. In the early 1990s, just as the

4 Religion&Liberty Freaked Out: Liberty, Choice, and Rogue Economics

contributed to declining crime rates. Of also teaches us the same thing. If incen- course, at this point the reader is already tives point toward less saving and more considering the moral implications arising consumption (e.g., inflation), then there from the swirl of data. Levitt deliberately will be fewer thrifty savers to fuel invest- absents himself from consideration of these ment. Day-to-day experience confirms moral implications. this, too. The wise business owner pro- “Morality, it could be argued, represents vides incentives for the employees to con- the way that people would like the world tribute to the well-being of the company— to work—whereas economics represents profit-sharing, stock savings plans, rewards how it actually does work,” he writes. for finding efficiencies. Likewise, incen- That’s a little rough around the edges, but tives are put in place to discourage im- there some wisdom in that. Especially for moral behaviour—penalties for absen- those concerned with the foundations of a teeism, policies to discourage petty theft. free society, this twofold focus—economics The goal of good public policy is to bring in- and morality—on human choices is fruit- centives into line with moral behavior so ful. that a society can be both free and virtuous. first cohort of children born after Roe v. Morality teaches us that some things “Incentives are the cornerstone of modern Wade was hitting its late teen years— should not be chosen—aborting babies to life,” writes Levitt. “And understanding the years during which young men enter their criminal prime—the rate of lower the crime rate, for example. But them—or, often, ferreting them out—is crime began to fall. What this cohort economics teaches us that given certain in- the key to solving just about any riddle, was missing, of course, were the chil- centives, almost anything will be chosen from violent crime to sports cheating to dren who stood the greatest chance of by those not restrained by moral discipline. online dating.” becoming criminals. The consequence for public policy then is Incentives are not just the cornerstone of The argument is carefully made and some- clear: it is important to structure incentives modern life—they are the data upon which what complex. It remains always a descrip- so that economic behavior reinforces human freedom does its work. Levitt has tive argument, not a prescriptive one. He moral behavior. There was much discus- done a service by bringing that truth to does not advocate eugenics, but simply ar- sion of this during the welfare reform de- light, albeit in a somewhat freaky way. gues that, in fact, rising abortion rates have bates of the 1990s. Broad economic policy The mission of the Acton Institute is to ex- plore that same freedom. Our interest in economics is not because we are interested in economics or prosperity per se, but because like Levitt and a long tradition of Freakonomics: economists before him, economics at- A Rogue Economist Explores tempts to look hard at the human person the Hidden Side of Everything exercising his freedom in making choices. Economic analysis and ethical reflection by Steven D. Levitt, Stephen J. Dubner begin with the same starting point—the Harper Collins rational, choosing, and acting person. 242 pp. Hardcover: $25.95 Father Raymond J. de Souza, editor of Religion & Liberty, studied economics at Queen’s Uni- ISBN 0-06-073132-X versity in Kingston, Ontario, and the University of Cambridge before his theological studies for the priesthood.

Autumn 2005 | Volume 15 | Number 2 5 Tinseltown’s Tin Ear by Michael Medved Photo: Courtesy of Michael Medved

A recent slide in movie attendance sug- with a more diverse, balanced, or (perish The show business establishment em- gests a film industry crisis of major propor- the thought) patriotic perspective. Innu- braced Senator John Kerry’s campaign tions, but pop culture potentates seem re- merable callers to my radio show have ex- with near unanimity and bashed President luctant to confront it. In May of this year, pressed resentment at the partisanship of Bush with unprecedented ferocity. Despite a USA Today/CNN/Gallup poll showed that top directors and stars. No one has ever the best efforts of entertainer activist and fully 48 percent of American adults say complained about the lack of 3-D, digital their political associates, a majority of they go to the movies less often then they projection, or alcoholic beverages at con- American voters cast their ballots for did in 2000. For nineteen consecutive cession stands. George W. Bush this past November. If weeks, including the heart of the summer only a small minority of those 62 million 2005 blockbuster season, the motion pic- GOP voters—say, 20 percent—reacted to ture industry earned less (despite higher “Ironically, a new attempt Hollywood’s electioneering by staying ticket prices) than it brought in during the to address the most away from the local multiplex, that alone corresponding period the year before. Pro- would account for the decline in ticket jections of ticket sales for all of 2005 indi- deeply held commit- sales in the months immediately following cate that the public will occupy at least 8 ments of ordinary the president’s re-election. percent fewer seats in movie theaters this Americans might help An additional element that may help ex- year than in 2004—an alarming perform- plain 2005’s missing moviegoers involves ance at a time of population growth and a the entertainment elite another bitter controversy from 2004, this generally robust economy. to create the sort of one over The Passion of the Christ. That To explain the bad news, USA Today ran a timeless artistic expres- movie earned a startling $370 million at lengthy analysis under the mournful sions they say they so the domestic box office and drew in reli- headline, “Where have all the moviegoers gious-minded patrons who had for years gone?” Reporters Anthony Breznican and desperately wish to con- shunned movies altogether. Amazingly Gary Strauss quoted numerous insiders tribute.” enough, however, no major feature film in speaking optimistically about new at- the months since the release of The Passion tempts to rekindle the old romance: “The has attempted to speak to that energetic lures include providing high-tech eye It’s not enough, either, to explain audience faith-based audience. The Walt Disney candy through 3-D, digital projection and alienation with cavalier references to Company hopes that churchgoers will IMAX versions of movies…. Stadium seat- “mediocre movies.” Anyone who reviews flock to the theaters this Christmas season ing, which improves views, is just now be- films for a living can tell you that most to see The Chronicles of Narnia: The Lion, the coming standard. Other theaters are opt- movies have been mediocre for a long Witch, and the Wardrobe, the lavish new ing for screenings that serve alcohol to pa- time—several decades, at least. Some- adaptation of the beloved Christian allego- trons 21 and older.” Revealingly, none of thing changed between 2004 and 2005 to ry by C. S. Lewis. That promised deliver- the studio honchos talked about recon- cause a sharp, sudden drop-off at the box ance remains speculative, but if the theory necting with the mass audience by adjust- office, and an obvious factor that enter- proves true, it will say a great deal about ing the values conveyed by feature films, tainment insiders refuse to consider is their Hollywood’s real problems. replacing the industry’s liberal posturing own activism during the 2004 election. The refusal to recognize ideological consid-

6 Religion&Liberty Acton FAQ

Does the Acton Institute advocate specific political positions or candidates? Because the Acton Institute deals with issues often at the heart of political de- bates, some people assume that Acton is a political organization and somehow aligned with a particular agenda or political party. This is simply not the case. Acton is not and does not desire to be affiliated with any political party or candidate or any partisan movement. There are two reasons why the Acton Institute does not lobby for or against specific candidates or legislation. The first is that we simply are not allowed by law to do so. Because of our 501(c)(3) nonprofit status, we are legally obligat- ed to refrain from engaging in specific partisan activity. erations and a “values gap” as major ele- ments in Hollywood’s box office collapse But even if we could do so, we wouldn’t. There is another more basic reason reflects the trendy leftism that remains the why the Acton Institute refrains from endorsing specific political candidates or reigning faith in Tinseltown. The tenden- legislation: the Acton Institute is primarily an educational institution that seeks cy to emphasize material solutions charac- to provide the moral and intellectual instruction necessary for free persons to terizes liberal thinking on a wide range of take well-informed, just, charitable, and effective actions. Because of its strong policy issues—from out-of-wedlock births emphasis on the dignity of the human person—a foundation for all we do (provide birth control devices and abortion here—Acton respects and endorses the freedom and initiative of the individual. on demand), to crime (more gun control), To advocate specific political candidates or legislation would undercut our mes- to poverty (more welfare), to terrorism sage of responsibility. It is much better to lay out prudent principles and to let (more anti-poverty aid). Above all else, it persons act in freedom and with a well-informed conscience. is this blindness to the philosophic dimen- sions of major challenges that renders the This does not mean, however, that Acton refrains from delving into public pol- Hollywood Left unable to reconnect with a icy issues. While we do not advocate for or against specific legislation, we do skeptical mass audience. think it important to explain how the basic ideas of freedom and responsibility After all, the American people aren’t stu- play themselves out in areas such as educational choice, environmental stew- pid, and they’re not all apolitical; many (at ardship, effective compassion, and technology regulation. In each of these least a third) are even self-consciously con- areas, policies can be introduced that deny the inherent dignity of the human servative in both politics and values. Ironi- person; therefore, Acton cally, a new attempt to address the most considers it an essential deeply held commitments of ordinary part of its mission to re- Americans might help the entertainment mind policy makers of elite to create the sort of timeless artistic their responsibility to expressions they say they so desperately safeguard this dignity. wish to contribute. We do so by providing . . . sound economic and Michael Medved is a film critic, host of the na- moral education to the tionally syndicated Michael Medved Show, policymakers’ boss: you. and author of Hollywood versus America and Right Turns: Unconventional Lessons from a Controversial Life. Kris Mauren Executive Director A longer version of this article can be read in the autumn 2005 issue of The American Interest (www.The-American-Interest.com).

Autumn 2005 | Volume 15 | Number 2 7 The Twin Vocations of Art and Work by David Michael Phelps

The human worker is at his core an artist. sounds remarkably like the account of just chipped away everything that wasn’t Oftentimes, the term artist connotes a vo- work found in Centesimus Annus: him. Both Michelangelo’s marble slab and cation of leisure, an esoteric profession of John Paul’s “vast field” are potential some- The earth does not yield its fruits with- starving bohemians, set apart from the out a particular human response to things. In Centesimus Annus, John Paul ex- commercial world of utility. But this is a God’s gift, that is to say, without work. plains the entrepreneur as someone with rather narrow view that discounts the It is through work that man, using his the vision to see potential, as someone essence of both art and business. In reali- intelligence and exercising his freedom, with “the ability to foresee both the needs ty, art and business are subsets of the larg- succeeds in dominating the earth and of others and the combinations of producer category entrepreneurship. making it a fitting home. tive factors most adapted to satisfying those needs.” A keen eye, a creative mind, To gain a clearer view of art, business, and The difference here is that the worker har- and a corporeal initiative make potential the similarities between the two, we can vests the earth whereas the artist harvests somethings into actual somethings. turn to the writings of Pope John Paul the “the wondrous ‘material’ of his own hu- Great. One of the late pontiff’s favorite manity.” The method is the same: by exer- But to what end? Work and art may be artists, Polish poet Cyprian Norwich, wrote cising their freedom in intelligence and cre- expressions of creativity, but to whom and that “beauty is to enthuse us for work, and ativity, both artists and workers approach for whom do they express? “Here we work is to raise us up.” John Paul quoted “the visible world as a vast field in which touch on an essential point,” writes John this line not in Centesimus Annus or Laborem human inventiveness might assert itself.” Paul to the artist. Exercens, his more economic encyclicals, This idea is akin to something Michelange- Those who perceive in themselves this but in his 1999 Letter to Artists. Art (the lo once said about his masterpiece, David: kind of divine spark which is the artis- service of beauty) and business (the serv- when asked how he created this sculpture, tic vocation—as poet, writer, sculptor, ice of work) are two strains of a common the master reportedly replied that David architect, musician, actor and so on— movement, two forms of a common voca- was always there in the stone, and that he feel at the same time the obligation not tion. This vocation is the vocation to see and to serve, “to enthuse us” and “to raise us up.” Workers do this by providing goods and services; artists do this by providing beauty. Art and work are simply two manifesta- tions of an essential human trait: creativity. “Through his artistic creativity,” writes John Paul in A Letter to Artists, “man ap- pears more than ever ‘in the image of God’, and he accomplishes this task above all in shaping the wondrous ‘material’ of his own humanity and then exercising creative dominion over the universe which surrounds him.” This account of art

8 Religion&Liberty Double-Edged Sword: The Power of the Word Mark 9:42–48

Whoever causes one of these little ones who believe [in me] to sin, it would be better for him if a great millstone were put around his neck and he were thrown into the sea. If your hand causes you to sin, cut it off. It is better for you to enter into life maimed than with two hands to go into Gehenna, the unquenchable fire. And if your foot causes you to sin, cut it off. It is better for you

to waste this talent but to develop it, in to enter into life crippled than with two feet to be thrown into Gehenna. And if your eye causes order to put it at the service of their you to sin, pluck it out. Better for you to enter into the kingdom of God with one eye than with neighbour and of humanity as a whole. two eyes to be thrown into Gehenna, where ‘their worm does not die, and the fire is not quenched. Discovery, insight, the creative mind— Jesus’ parables are frequently cited as ex- these exist not only as aspects of the entre- “To the hard of preneurial mind, but as imperatives to amples of the effective teaching power of serve. Because “it is through the free gift storytelling; less often mentioned is Jesus’ hearing, you shout, of self that man truly finds himself,” the use of imagery. But Jesus knew the power and for the almost- products of that aspect of self called cre- of the image, as is illustrated in the sub- ativity ought to be oriented toward other blind you draw large stance and form of this passage. persons. Creativity finds its fulfillment and startling figures.” when it is creativity for. When one person The passage itself could hardly be more invents—that is, discovers—a new good or graphic: chopping off hands and feet and plucking out eyes—it reads more like a mob combination of goods, the implicit ques- story than a Sunday sermon. But these images convey the gravity of his message in tion is “good for what?” Good for me is one possible answer; good for others is an- a way that “Thou shalt not …” cannot. When asked why she used such striking im- other. And willing good for others is the agery in her fiction, Flannery O’Connor responded “To the hard of hearing, you foundation for love. shout, and for the almost-blind you draw large and startling figures.” Images have the If art and work are twin vocations, this power to present forceful ideas forcibly. means that artists and businesspeople are also twins. Perhaps they are more than Jesus knew and used the power of striking and graphic imagery, not only in his teach- twins. Perhaps both are simply entrepre- ings, but on the cross. (C. S. Lewis observed that the crucifixion scene entered the his- neurs working with different materials. tory of art only after everyone who had actually seen one had died.) But just as im- Artists often have little problem knowing ages, even striking ones, can be used for good, they can be used for evil. This is pre- they have a creative vocation (thus the cisely what Jesus warns us of in this passage: our eyes can lead our hearts astray, and starving artist stereotype); they do not as often, however, see themselves as servants. if they do so, it is better to be half-blind than slaves to temptation. Contrarily, businesspeople do not often see This is a common struggle in an image-soaked society like ours. One glance at tele- their creative vocation; they do know, vision, billboards, or magazine covers and one is likely to see something that previous however, that they must serve their cus- tomer in order to survive in the market. generations would have found scandalous. Images are everywhere, and few are de- The artist is a worker; the worker is an signed to do anything more than appeal to our desires. artist. Each can learn from the other, and Even though we have become increasingly numb to these images, they are no less perhaps find encouragement that the vocation to create and the vocation to serve powerful in directing our passions. Occasionally, we need someone to emphasize their are in many ways the same vocation. power severely so we can be jolted back into a right sense of righteousness. Jesus David Michael Phelps is the associate editor of knew this. Jesus did this. publications at the Acton Institute.

Autumn 2005 | Volume 15 | Number 2 9 Investing in the Industry of Influence by Cort Langeland

Whether economic, political, or religious story-driven world. (and sometimes actually discouraging in nature, our world is structured by ideas. filmmaking), Christians haven’t received It should be no surprise, then, that after an And these ideas move so quickly through the training they need to compete in the exhaustive study, Barna Research has con- our media today that they are often ac- film market. cluded that the single most influential pro- cepted before they have been examined fession in society today is the film business. Christians who do get involved in film- for truth. Modern media has the emotion- So if people of faith want to influence cul- making often face an enormous hurdle in al power to make ideas feel true even ture, why don’t they invest their time, tal- raising the money it takes to make films. when they are not. A single moment ent, and capital into this most influential Somehow Christians can cough up tens of caught on film can render an entire story business? There was a day when men and millions of dollars for enormous church somehow “truthful” to an undiscerning women of faith were the pre-eminent sto- buildings yet money for films of faith is as audience. rytellers in our culture. As near as fifty scarce as water in the desert. Consider this: In the entertainment industry, the battle of years ago, two Christian Oxford dons had Mel Gibson’s The Passion was made for less ideas is fought very differently than in pol- an impact every bit as big as Harry Potter money than it costs to build many of our itics or philosophy. Ideas in politics and does today. And the stories of J. R. R. philosophy depend largely on rhetoric or Tolkien and C. S. Lewis remain highly in- reason; ideas in film depend almost exclu- fluential, in no small part because of the “Good intentions do not sively on stories. Ideas are woven into filmic adaptation of The Lord of the Rings themes, into the choices of characters, and and the upcoming filmic adaptation of The make up for poor busi- into the point of view from which the Chronicles of Narnia. ness practices, no mat- story is told. The job of writers and direc- But even considering these films, there is a tors is to create characters with whom the ter what the industry.” conspicuous absence of faith-influenced audience identifies and for whom the au- films in theaters. Often, this phenomenon dience has sympathy. Filmmakers want us is written off as a by-product of Holly- to be on a character’s side because once we large churches. The Passion brought the wood’s attitude toward the faithful. But are and our disbelief is suspended, once we story of Christ to tens of millions of people Hollywood isn’t keeping the faithful out of are engaged in the story, we become open around the world; a large church brings the media; in their ignorance, the faithful to the ideas that the filmmaker shares. the story to perhaps 5,000 people. If the are keeping themselves out of the media. goal is “to influence the world,” which of This is perhaps best summed up in a scene For example, although the numbers are these two cases is a better example of from Steven Spielberg’s Amistad. In this growing, there simply are not very many stewardship? Which has the better return scene, John Quincy Adams (played by An- Christians working in the film industry, on investment? thony Hopkins) gives a younger lawyer and sadly, this is mostly because Christians (played by Morgan Freeman) a piece of often lack the talent and know-how nec- To be fair, not every aspiring filmmaker is sage advice for an upcoming case before essary to compete in the film market. But Mel Gibson, and many wealthy Christians the Supreme Court: “In a court of law,” he they often lack the resources as well: with have tried to invest in Christian movies says, “whoever tells the best story wins.” the church almost completely uninvolved only to see that investment go up in The fact is a very simple one: we live in a in supporting the concept of filmmaking smoke. But many of these failures have

10 Religion&Liberty Investing in the Industry of Influence

film and that is to tell a story, not to push a drive budgets beyond what can be re- moral, political, or religious agenda. Yes, turned. As a result, the advertising is com- stories are a powerful vehicle for promot- promised and the film flops. ing faith and virtue; but they must not exist Frequently, businesspeople will invest in a primarily as this. They must first succeed as film. But how many successful investors a piece of storytelling art, not as an adver- invest in only a single product? Investors tisement. Today’s audience is too experi- need to invest in more than a single film. enced in the visual language; they know Why should the law of diversification apply when someone is trying to sell them some- less in this investment than in any other? thing. While it’s good to have a story or Again, this is evidence that businesspeople script that serves a higher purpose, don’t be who invest in Hollywood often check their fooled. The most noble of motivations can’t business sense at the door. Good intentions overcome a poorly conceived film. do not make up for poor business practices, been due to a lack of prudence, where the Secondly, investors and filmmakers must no matter what the industry. investors oddly make deals with far less remember that creating a film is more like business sense than they employed in the One of the ways for investors to spread out starting a business than like creating a ventures that created their wealth to begin their investment, have an impact in the product. Every film is its own individual, with. In other words, many investors enter film industry, and thus influence society is entrepreneurial endeavor and therefore the business without understanding a few to invest in training the coming generation basic principles about how the film indus- of filmmakers. Young filmmakers and film try works. “... businesspeople who students can be influential, but they need several things to launch themselves: real First of all, it is important to remember invest in Hollywood world experience on a film set, access to re- that the single most important aspect of often check their business lationships within the film business, and the film business is story development. No excellent training by industry professionals. amount of money or marketing savvy can sense at the door.” By investing in schools and programs that overcome a poor story. Investors need to provide these tools, especially those few make sure that the industry professionals has the kind of risk that any other business faith-based film schools, investors can begin they invest in have experience in the cre- start-up has. But this risk can be mini- to lay a solid foundation for the growth and ative and storytelling side of filmmaking. If mized if the film has distribution or has social impact of their investments. their experience is in a technical or busi- strong potential for distribution. If the film ness area, these producers may not have does have distribution, it is a good idea to The media, and particularly films, play a the grasp of storytelling crucial to the suc- ask if the distributor is also putting money large part in forming what our world will cess of the film. I’ve seen some seemingly into the marketing of the film. If the dis- look like. If we want faith and virtue to impressive industry experts make some tributor is not investing in the film, there is have seats in the public square, then it is pretty poor films because, although they less to lose and thus less motivation to see time to start investing in the media. It will “know the industry,” they don’t under- the film succeed. take time and it will not be easy. Like all stand the art of storytelling. worthwhile ventures, it will involve risk Also, an investor should know how much and there is a sharp learning curve. But But care is needed here: businesspeople money the producers intend to use to mar- the only risk greater than investing in the looking to influence the world through ket the film. In film terms this is called the media is the risk of not investing in the film often mistake propaganda for story- prints and advertising budget. (This should media. telling. I’ve seen many investors make the take up about one-third of the film’s total mistake of investing in agendas instead of budget.) Oftentimes, the producers’ cre- Cort Langeland is a producer and an instructor stories. There is only one reason to make a ative process gets out of hand and ideas at Compass Academy.

Autumn 2005 | Volume 15 | Number 2 11 Winter interview continued from page 3 Photos: Courtesy of John L. Pottenger as you get wider out from the studios, you would not be successful if Christians did movies that have some substance to them. get into a lot of different producers and not go see them. R-rated movies would be Do movies have a role to play in promoting production companies that are vying for flops if Christians didn’t go see them. So, human dignity and virtue? attention, trying to rise above the noise there’s a double standard out there of level of the marketplace. And some of that Christians who say, “Pornography’s wrong Absolutely. I’m trying to develop with the is done by just being provocative, and at- and R-rated movies and all that,” and yet, studio a movie on C. S. Lewis’s book, The tracting eyeballs to television sets or butts you know, pastor after pastor gets convict- Screwtape Letters. And I think it definitely is to seats in the movie business in order to ed with pornography on their lap-tops or an R-rated kind of movie when you get sell your particular product. A lot of what caught with their pants down. It’s a bit of into the nitty-gritty of what Lewis is writ- drives that business, I think, is trying to get a double standard. ing about [but it also offers] something up front and get some attention. Some of very positive about morality, about cul- So are you saying that if people weren’t con- that comes out as poor material. Now, the ture, and about what we should aspire to suming this stuff, it wouldn’t be getting made? studios are not immune from that. I think in the human journey. I also get excited they put out stuff, as well, to make a buck. I don’t know if that completely answers about movies like Gladiator, in terms of But I do believe that there’s some social re- the question, but I think that’s a strong fac- values, what he fights for, and what a hero sponsibility in those people at the head of tor in all this. Some of the movies out is. I think movies are best when they tell the studios. I’ve dealt with a lot of those there seem to be sort of senseless—it’s sur- us stories that ask good questions and in- guys, and they’re not out to destroy cul- prising how many people go to see them. spire us to go further. It’s like a good ser- ture. If you were to ask them this question, Now, even as a Christian, I probably draw mon on Sunday morning: it inspires you they’d be offended. And I think they’d put the circle wider. Actually a friend of mine, to go back and look at the text and say, “I example after example of the kinds of Scott Derrickson, a Christian director, has movies and entertainment that they’ve a movie coming out called The Exorcism of made, sponsored, and developed that are Emily Rose [released September 9.—ed]. “I do believe that there is He’s a strong proponent that one of the good, positive, helpful things. But they’re some social responsibili- in a business that makes a lot of different best ways to discern the story of good and kinds of movies from tadpole movies to evil is through horror movies. And he says ty in some of those peo- comedies. And a lot of people like seeing a that’s the clearest picture of what the ple at the head of the comedy that might not be down the mid- Gospel is about because of good guys and dle for Christians to go see, something like bad guys. He’s quite an eloquent defender studios because I’ve Wedding Crashers. But if you like entertain- of that idea and has written about it in dealt with a lot of those ment, it’s a funny movie and it’s not meant Christianity Today. Not that everybody that guys, and they’re not for kids. But it’s got an entertainment consumes horror movies has thought value that the culture wants and responds through stuff to that level, but Scott has, out to destroy culture.“ to. I should also say that these movies and he is a pretty interesting, creative talent out there trying to make horror

12 Religion&Liberty Interesting. I don’t know that I’ve really erful stories underneath because it’s rated “There are so many thought very much about this. I guess R. Or Shawshank Redemption, which had a there certainly are limits to pornography greater life in DVD than it ever did in the choices [for entertain- and things like that that the government theater. I think some of that is changing ment] out there for peo- should be enforcing. But beyond that, I’m though. I think across the country there ple. I think there are not sure what the role is for government to are some changes afoot, [with] Christians, legislate what filmmakers, artists, direc- in particular, who are not open to seeing more choices, and I’m tors, or writers want to say or do if there’s R-rated movies, but are willing to embrace not sure that we’re get- a market out there that wants to see what stories that are of value and see past some ting smarter about it.” they’re producing. of the language, for instance. And at least the studios are labeling these movies so What would you say to religious leaders regard- that you’re not tricked into thinking that ing your industry and how it fits into promoting want to go further; I want to know more.” you’re seeing a PG movie when it’s truly virtue? Movies that ask great questions are like an R movie. The labels are there, and that for us and are making a contribution I think we’ve got to pay attention to the they’re there for a reason. But there are to our culture. stories and not the surface material. And I some valuable stories out there that we think that you’re probably talking about should be embracing and could be using as Do you think that people choose entertainment people who are thinking clearly and hon- tools to teach the next generation about less discerningly than other products? Do you estly studying some of this. [These reli- how we live, how we get along, and how think there’s more of a tendency for con- gious leaders] are probably well versed in we treat each other. There are plenty of sumerism with entertainment? entertainment and stories and seem to those stories out there that we can discov- Absolutely. There are so many choices out value them. There are a lot of folks who er and support. And I think if we can sup- there for people, I think that’s probably dismiss a movie like American Beauty be- port more of those stories, more of those right. The movie industry and certainly the cause what’s seemingly at the surface will get made. music business are worried about how seems bad, and thereby, I think, miss pow- many options there are for consuming entertainment. They’re worried about the new guys coming into town and taking some of their market share. [The movie Average Rate of Return on Investment studios] worry about the Internet, cell by Film Rating phones, and games taking people away [For movies released 2000–2003] from spending their money in the movie theater. They worry when people buy video games, PS2, and X-Box games they can play for hours and find the same kind R 28.7% of entertainment as DVDs. I think there are more choices, and I’m not sure that we’re getting smarter about it. We’re prob- PG—13 43.6% ably inundated with more and more choices and spending more and more time with our entertainment. It’s like that Neil Postman book, Amusing Ourselves to Death. PG 72.6% We’re spending a lot of time doing that. If we’re doing this and we’re spending less time thinking about what we’re doing, what is the role of the government in censoring the materials G 94.5% we consume, particularly with regard to film? Does it have a role? Should it have a role? The Dove Foundation, 2005

Autumn 2005 | Volume 15 | Number 2 13 In the Liberal Tradition

Ronald Reagan [1911–2004]

Born in Illinois, Ronald Reagan might have been remembered by history as a famous film actor. While serving as a captain in “The truth is, politics and morality are the U.S. Army in the 1940s, he made training films for troops. inseparable. And as morality’s founda- After he was discharged from the army in 1945, he signed a tion is religion, religion and politics million dollar contract with Warner Brothers. By the end of his are necessarily related. We need reli- long Hollywood career, he had over 120 film and television credits. gion as a guide.’”

But Reagan was not destined to be remembered primarily as an artist. In 1964, Reagan announced himself to the political a 1983 speech, he introduced a phrase that to this day serves as world as an advocate for individual freedom and responsibility. the moniker for Soviet Russia: the “evil empire.” Reagan chal- In a televised speech supporting presidential candidate Barry lenged Gorbachev in Communism’s own backyard when, Goldwater, Reagan reminded a national audience of their her- under the shadow of the Berlin Wall, he publicly commanded itage: “They also knew, those Founding Fathers, that outside of him to “tear down this wall.” its legitimate functions, government does nothing as well or as Reagan strongly condemned the “threat posed to human free- economically as the private sector of the economy.” Sixteen dom by the enormous power of the modern state,” and worked years later, Reagan him- to limit the power of government at home as well as abroad. self won the presidency Although some initially ridiculed his economic policies and in a landside victory predicted economic ruin, his tax-cuts and business incentives over Jimmy Carter. And sparked great economic growth. Reagan embraced free-market for the next eight years, economics so tightly that the term “Reaganomics” is still used Reagan instituted in today by detractors and adherents alike.

policy and in govern- Reagan was also known to be a sincerely, if quietly, religious ment the principles man, never shy to remind Americans that their heritage was a of classical liberal- religious one on which their freedoms were founded and by ism, perhaps more which they were safeguarded. In a 1984 speech to the Nation- so than any other al Association of Evangelicals, he af- figure in history. firmed that “all our material wealth and A resolute foe of all our influence have been built on our rary agan Lib communism, faith in God and the bedrock values that Ronald Re Photo: Courtesy Reagan never failed to speak follow from that faith.” Taking his cue candidly about freedom and human dignity. Together from Abraham Lincoln, he denounced as with British Prime Minister Margaret Thatcher and Pope John “absurd” the idea that he could be a suc- Paul II (another former actor), Reagan redefined the struggle of cessful president without prayer.

freedom against totalitarianism in terms of good versus evil. In Photo: Courtesy Ronald Reagan Library

14 Religion&Liberty Rev. Robert A. Sirico The Market, the Movies, and the Media Every responsible parent knows not itable. The best way to discourage this is by refraining from to permit their children indiscrimi- buying. This not only the best means to protect ourselves and nate access to movies, television, our families personally; it is a way to send a signal to those in video games, and the Internet. The the industry. dangers to heart, mind, and soul may The market works rather well in this regard. Much attention is not be more prevalent in our times than previous times, but given to the morally corrupt media forms that are everywhere technology seems to have made them more accessible. And but far too little attention is given to the alternative. The Dove thus does the urgency of a parental response present itself. One Foundation keeps careful track of movies and has documented need not be a puritan to insist on caution and even severity on how family entertainment is eleven times more profitable than the subject. the alternative. We also do well to remember that there are This is not the same as censorship, which is a political action more movies made today than ever before, which means more that prevents citizens from having the freedom to choose what bad movies but also many more good ones. they read. Censorship is dangerous because it gives power to There is no evading our moral responsibilities as producers and political elites to determine what is best for us, and their deci- consumers. This has been true in all times, and is especially true sions are not based on morality and virtue but on political pri- in our times. We are surrounded by inspiring examples of how ority. Also, political controls on speech and media often back- Christians and other people of faith have harnessed market fire by inviting even more curious eyes to discover what it is forces in their favor, bringing their religious programming to they are not suppose to know. I’ve seen censorship in opera- tion too often in authoritarian countries, and it is not suited to a free or virtuous society. “... if we are to live in a society with no

But if we are to live in a society with no political controls on political controls on information, the ur- information, the urgency of private controls becomes all the gency of private controls becomes all the more intense. Institutions such as families, churches, and more intense.” schools need to exercise their cultural influence and shame companies that market violence and immorality to children. millions, building billion dollar industries, and becoming a vi- Advertisers that misuse their access to the public should feel brant part of the nexus of the global exchange economy. the sting of a negative public opinion. These kinds of controls This approach of heavy market infiltration is the best possible can often be more effective than political controls. And let me strategy to counter the problem of the bad influences that the state this very clearly: it is not censorship to shield young eyes media can have on our society. We must provide an alternative from evil or keep certain books out of your home or strictly and make that alternative accessible through every means we control Web browsing. This is your right and your obligation. have. This is the major reason why the Acton Institute works There is yet another way, however, that responsible citizens so very hard on our Web site, our media outreach, and our op- with a moral sensibility can exert influence over the cultural ed program, and why we devote so many resources to putting impact of the media. Our buying decisions dictate to producers our scholars on television, our books in libraries, and our jour- what to make and to merchants what to sell. It is consumers nals in the hands of students, pastors, and teachers of all sorts. that make violence and moral degradation in movies prof-

Autumn 2005 | Volume 15 | Number 2 15 Reviews

Behind the Screen: Hollywood Insiders on Faith, Film, and Culture Edited by Spencer Lewerenz and Barbara Nicolosi • Baker Books, Grand Rapids • 224 pp. $14.99 Review by Acton staff

It can’t be denied: many people of misconceptions held by many Christians, the collection does take faith view the entertainment industry time here and there to offer practical solutions to the perceived with a measure of suspicion. To an- disconnect between Hollywood and faith. For example, Slocum’s swer some of this suspicion, Barbara essay, “The $10 Billion Solution,” contends that there is a means Nicolosi and Spencer Lewerenz have compiled a collection of es- by which the faithful can influence society apart from a slow in- says, Behind the Screen: Hollywood Insiders on Faith, Film, and Culture. filtration of the entertainment industry by people of faith—the Nicolosi and Lewerenz are two members of a circle of Hollywood modus operandi repeated time and again in this collection. Most producers, writers, and executives who conceived and support of Behind the Screen preaches that Hollywood needs quality Chris- Act One, a Christian screenwriting program in Los Angeles. The tian entertainers; Slocum preaches that Hollywood needs quality essays in this collection are written by others in this circle and Christian entrepreneurs, men and women who will think large serve as a primer to those people of faith with some misguided and invest in a wide range of projects, studios, distribution chan- notions about the entertainment industry. nels, and yes, even entire multimedia conglomerates (hence the title of the article). While some of the more anecdotal selections in the collection are worth flipping past, the essays by Ron Austin, Thom Parham, Bar- This book has passages of real insight that remind the audience of bara Nicolosi, and Charles B. Slocum offer profound reflections the traditional links between the Gospel, storytelling, visual art, on the meaning of cinema, society, and faith and in themselves and the business of communication; however, there are as many warrant purchasing the book. Aside from explaining the common passages that come across as simplistic and patronizing. If this col- disconnect between Hollywood and people of faith, these essays lection of essays has one flaw, it is that it does little to recognize provide some basic insights on the market forces that drive the that there are those outside Los Angeles who have actively and entertainment industry. For example, in his essay, “Changing the prudentially considered how to create products that better socie- Channels,” Dean Batali explains how advertising—not ratings— ty and engage culture. More than one essay projects frustration drives television programming. (Batali is the executive producer more than encouragement: frustration that Christians just don’t of Fox’s That ‘70s Show.) Batali says that Christians can complain get it, rather than encouragement to think and act creatively. To all they want about the quality of entertainment, but to really af- be fair, there is much with which to be frustrated; Christians com- fect change in the industry, they need to do the unexpected: monly mistake piety for technique. But some of these essays risk watch more television. By actively engaging the industry instead losing the part of their readership who do not need this reminder, of denouncing it, Christians can change the view that they are a who are eager to employ their entrepreneurial talents, and who small market with little consuming power. And since the deci- would rather receive practical advice about this industry like that sions of television executives are dictated by advertising dollars from Slocum, Austin, or Nicolosi. and not their own ideologies, the market will change to fit the de- And yet, this collection does one thing consistently well: it re- mand. It is a basic economic truth that money will be invested in minds the reader that the entertainment industry is a real indus- a product with a greater likelihood of return, but the fact that it try where businesses and workers are subject to the same rules of needs to be said exposes the odd notion many people have about excellence and quality performance as any other successful in- the entertainment industry: that because it must run by the rules dustry. Whether the matter at hand be the production of goods or of entertainment, it doesn’t also run by the rules of industry. the production of films, without refined technique, good inten- While much of this collection is spent repeatedly bemoaning the tions walk.

16 Religion&Liberty