Interview: “Chaplains” Director Martin Doblmeier

Interview: “Chaplains” Director Martin Doblmeier

Posted on November 3, 2015 at 11:15 pm

US Army Chaplain Paul Hurley, a Catholic priest, says mass for the troops at a Military base in Kabul, Afghanistan. Photo courtesy of Journey Films
US Army Chaplain Paul Hurley, a Catholic priest, says mass for the troops at a Military base in Kabul, Afghanistan. Photo courtesy of Journey Films
Martin Doblmeier has made more than thirty movies about faith. The latest from his Journey Films is “Chaplains,” showing this month on PBS. It is a profound and moving documentary about chaplains of many different faiths in a variety of settings: war, business, an assisted living facility, prison, the US Senate, NASCAR, and a children’s hospital. It was George Washington himself who first asked for chaplains in the US military. The movie covers Army chaplains representing centuries of tradition as well as chaplains in new and developing roles. In an interview, Doblmeier talked about how the film came about and what chaplains bring to people literally dealing with life and death.

“We have been around this world now for about 30 years making films and I know a lot of chaplains. And I realized that there had not been any kind of significant film that talked about the work that they do. And they work so quietly, under the radar most of the times. And I just felt maybe we could do something that helps to raise the profile and bring some attention to who these people are and the great work that they do. So once we started to dig into it and we realized that it was something that was becoming more common across faith traditions. There certainly had been chaplains dating back to the fourth century. St. Martin of Tours was the one who actually begun what has now become the idea of chaplaincy and it’s been going on now quietly mostly in the military or in a hospital setting but over the last couple of generations has expanded now into the prisons. Even the corporate world is looking at it as an interesting model, that’s why we put Tyson’s in there. We had known about Tysons for many years actually. I keep notes in piles. The foundations liked this idea because it had something of positive value. And with their support we were able to get it up and get it going. For me I think it’s a really interesting storyline about people who want to live out a faith tradition in the 21st century in their particular place. And what a wonderful model for how not just to tolerate the faith tradition of others but actually to honor it, and engage with it and to see it as a way to sort of forming a sense of meaning in our lives.”

Congregational clergy spend almost all of their time with people who share their faith traditions and culture, but chaplains work with people who of all faiths and of no faith. “In a congregation really pretty much the language is common, the rituals are common, the practice is common, and people generally understand that the pyramid of structure is with the pastor or the Imam or the Rabbi being the person in charge of the spiritual growth of that particular community. It’s a totally different paradigm in chaplaincy, most often because they are working in secular settings, they don’t really have a place that you would consider to be a power position in those settings and so they are negotiating every day not only with the institution but how to deal with the individual that they come across. And it’s a very different way of being present in those kinds of environment than it would be in a congregation. I think it’s a wonderful model but it presents its own challenges. One of the things we wanted to bring out in the film is that you’re working in a spiritual realm, that it is very difficult, nearly impossible to somehow document the impact that the chaplain would have in a hospital setting or in a prison setting.” Because they are in secular settings, they constantly need to find ways to demonstrate their value in terms that the people responsible for those settings can understand. “There are implicit success points that you can look at but at the same time in institutions that are under a lot of pressure for accountability and quantifiable data to be able to say this person is actually contributing a lot to our overall mission here in the secular settings is a challenge. Chaplains don’t often have that kind of data. So there is a constant stance of — ‘Will I still have this job? Will I still be able to continue to perform this work after the next review happens?’ I had a real sense of admiration for them, the commitment that they have despite the fact that in many cases the roles that they play in the hospitals or in the prison settings are always being evaluated and reevaluated.”

The movie shows that the work of the chaplains often extends past the boundaries of the community they are serving. “For example in the police department my assumption was the police chaplains would be meeting with perpetrators or prisoners or people who have been arrested or incarcerated for whatever reason. In fact, more often than not the police chaplains were mostly ministering to the police department. And I find that to be the case in a lot of different ways. So in hospital settings the hospital chaplains often ministered to the patients and the patient’s families, the people involved but they also minister a lot and provides support, emotional support, spiritual support to the staff, to the doctors and the nurses. So they do provide this sort of wider setting of what’s going on and I think we tried to show that in each one of the different segments because I think there can be a lot of misunderstanding to what their role is but they continue to sort of be present and available to those people who need them, very different to the settings in the military.”

Copyright 2015 Journey Films
Copyright 2015 Journey Films
The chaplains in the films are less concerned with rituals and theology than being present in the lives of people who are struggling by showing their faith through compassion and understanding. They are not proselytizing or doing missionary work. “It was nice to be able to put some of the voices in of the soldiers were very young who said that they appreciated the chaplains even though sometimes they are not believers. The chaplains fulfill this unique role because if someone is having a lot of emotional issues in the military about what was happening they would feel more comfortable going to a chaplain because it is not documented in the same way as if you go to the military psychiatrist to speak to somebody about that. So there are a lot of nuances that creates this real need to be able to have chaplains available.”

Perhaps the most unexpected setting in the film is Tyson’s Food. Doblmeier says that the success of this program, particularly in providing support for employees from a wide variety of ethnic and cultural backgrounds. “There are companies now that are providing chaplain services like you provide independent IT services. Corporations that have evangelical leadership feel as though it is important for them to be able to have access to chaplaincy. So that they can literally hire in through an agency chaplains to come in and serve their people. We wanted to do it because Tysons Foods is huge publicly traded company and it has not just a handful of chaplains to come in and sort of maybe address some of the spiritual needs. It has 120 full and part-time chaplains and has had them now for you while. So this is a genuine commitment on the part of this corporation. John Tyson is not an evangelical; he is an Episcopalian. He just feels as though this is a good thing for a company. And this is a publicly traded company which comes under a lot of scrutiny; all the dollars that are spent are scrutinized because there is shareholder and stakeholder interest but he still believes that the bottom line is best served by having a team of chaplains there.”

Doblmeier says that what chaplains can do is help people facing challenges like loss, risk, and illness with “a sense of meaning and purpose in their lives. And the role of the chaplain is again not to give them their own meaning and infuse them with the notion of their own spirituality and sacredness but to help the individual tap into innately what they believe is the source and meaning of life. That’s the kind of support that the person is really coming up for. Sometimes there is such a close link between the individual and the chaplain that the individual may start to choose openly, freely the spiritual path of a chaplain and that’s quite okay but a good chaplain doesn’t seek to bring that person into a fold, they seek to have that person find what’s going to really be substantive meaning in their own life. And sometimes it’s very brief. These hospital settings can be just a matter of days and so the skill you have to have is to have the ability to get a quick spiritual assessment. In other cases its long-term, that chaplain is in the prison setting is trying to help somebody who may never get out of that 5 x 8 prison cell that they live in. How do you find purpose and meaning in your life then? They are really to be present to the person to help that person discover or in some cases rediscover what gives them a sense of purpose after a loss, spiritual or emotional loss and then help them get them back on track.”

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Armor of Light

Armor of Light

Posted on October 29, 2015 at 5:00 pm

Copyright Jeff Hutchens 2015
Copyright Jeff Hutchens 2015
What does it truly mean to be “pro-life?” For many who consider themselves conservatives, it means to be anti-abortion. For many who consider themselves liberals, it means to be against gun violence. One leading evangelical minister, a founder of the anti-abortion group Operation Rescue, begins to grapple with this dichotomy in “Armor of Light,” a new documentary from Abigail Disney. While she considers herself liberal, she specifically went in search of someone who would be willing to explore what it truly means to be “pro-life,” and that led her to Rob Schenck, of Faith and Action, which says: “Our purpose is to affect the hearts and minds of America’s public policy makers with Christ’s mandate in the two Greatest Commandments: Love the Lord Your God with All Your Heart, Soul, Strength, and Mind, and Love Your Neighbor as Yourself….ur mission—to challenge our nation’s leaders with biblical truth.”

Disney says: “I have found this to be true: if you approach people with respect and an open heart, they will almost always respond to you in the same way. So Rob and I formed the most unlikely of friendships and it was in that spirit that we went forward on this journey together, poking into the darkest of political corners, asking the hardest, most sensitive of questions and pushing back on some of the most dearly held American creeds.”

It was not until gun violence came literally almost to Schenck’s own doorstep that he felt he had to act. The second-deadliest shooting on a US Army base occurred in Washington DC’s Navy Yard, just steps from Schenck’s home. He knows that most of the people who provide financial support for his efforts and many of his friends and faith community are passionate advocates for the right to own guns in any quantity and of any kind. The movie shows him listening with great compassion and patience to some of his closest colleagues and friends. They explain that they see the Biblical imperative as protecting their families, and the only way to achieve that is through unlimited access to guns.

The movie also tells the story of Lucy McBath, whose teenage son’s tragic death is also the subject of another excellent documentary, “3 1/2 Minutes, Ten Bullets.” McBath’s son Jordan stopped at a gas station with his friends the day after Thanksgiving 2012. Another customer, Michael Dunn, shot and killed him, and then tried to defend himself under the “Stand Your Ground” law, which allows the use of force if the shooter “perceives” a threat. He was later convicted and is serving a life sentence. McBath is now devoting her life to working with the faith community to combat gun violence.

Disney’s sympathetic camera allows both Schenck and McBath to tell their stories in a personal and compelling manner. She explores Schenck’s Jewish upbringing, and his finding in evangelical Christianity a faith that would help him make sense of the Holocaust genocide and a purpose in trying to protect life. And McBath is the daughter of a man who worked with Martin Luther King in the civil rights movement. She ties her passion for justice to his example. This is a powerful film, all the more so because it struggles with its subjects to find common cause and because it shows compassion and respect for the sincerity and good will of all.

Parents should know that violence is a theme of the film and there are references to tragic deaths and gun violence, as well as brief strong language.

Family discussion: What do you think “pro-life” means? What arguments are most persuasive on gun violence and why? The title of the film is taken from Romans 13:12 — what does it mean?

If you like this, try: “3 1/2 Minutes, Ten Bullets” and “Guns, Culture, and Crime in the US” and read my interview with the director and subjects of the film

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A Ballerina’s Tale

A Ballerina’s Tale

Posted on October 14, 2015 at 5:32 pm

B
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Injury and recovery
Diversity Issues: A theme of the movie
Date Released to Theaters: October 16, 2015
Copyright 2015 Sundance Selects
Copyright 2015 Sundance Selects

“A Ballerina’s Tale” — the title suggests a fairy story, with sugar plums and a happily ever after ending. But this documentary about Misty Copeland is a story about the brutal hard work and resolve necessary to create those exquisitely graceful performances and make them look effortless. Like the Venus and Serena documentary about the superstar tennis champions, this is a story of an African-American pioneer in a world that has traditionally been white. While ballet does not offer a competition as definitive as a sporting event, like the Williamses Copeland has a level of ability, skill, and dedication that made it impossible to put her anywhere but front and center.

And, like the Williams sisters, Copeland is in a field where people in their 20’s and 30’s may be at the end of their careers. Furthermore, like the Williams sisters, Copeland faces an unexpected health crisis that put her ability to continue at risk. Just as she was given the chance for her first lead role, Copeland found that she had a severe stress fracture in her lower leg. She was 29 years old, and did not know if she would ever dance again.

This is a good movie about a subject and a person who deserve a great movie. The drama is compelling, although it is hard to see an ad campaign as the triumph it expects us to cheer. The best parts of the movie are Copeland’s performances, starting with home video footage at the beginning, going back to when she was in her teens. Her grace and stage presence are there from the beginning. We see her stand in her favorite spot in the practice room, admitting she is a perfectionist. We learn a little about the relatively recent but still-prevalent notion that a ballet dancer should be waiflike and prepubescent-looking and as indistinguishable as possible from the other dancers. Copeland has a strong, healthy body, curvier than the typical principal dancer. And she is black. The film’s most touching moments are when the previous generation’s African-American dancers become her mentors, and we see in their eyes, faces, and still-graceful gestures how much it means to them that she may be able to go farther than they did. If this is a fairy tale, they are the fairy godmothers.

Parents should know that this film has frank discussions of racial prejudice and an injury with brief graphic images.

Family discussion: What other fields are as demanding as ballet? What did Misty Copeland learn from the women who went before her?

If you like this, try: “First Position,” “Pina,” and “Ballet 422”

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Interview: Bryan Carberry and J. Clay Tweel on the Documentary “Finders Keepers”

Posted on October 7, 2015 at 3:30 pm

Bryan Carberry and J. Clay Tweel have made some of my favorite documentaries, including “King of Kong” and “Make Believe,” bringing us into worlds that at first seem exotic and downright weird and seamlessly making us feel a part of small fringe communities like competitive video gamers still in cutthroat battles via the near-antique “Donkey Kong” or teenage magicians. Their latest is Finders Keepers, the story of one of the most improbable lawsuits ever filed — over ownership of a severed leg. John, the man whose leg it was wants it back from Shannon, the man who accidentally and unknowingly bought it in the disposition of storage facility contents seized for nonpayment and wants to keep it because he thinks it is his ticket to fame and fortune. I spoke to Carberry and Tweel about finding the funding for the film via Kickstarter and normalizing a story that seems at first to be outlandish and grotesque.

Co-producer Ed Cunningham first started covering the story. Carberry explained, “Initially Ed was coming off King of Kong in 2007 and looking for his next thing so this was kind of like his baby for awhile. He went out of his pocket for a bit flying out there with his little handycam. After a couple of years there wasn’t really much funding behind this and I came across Ed’s footage and we thought, ‘Okay, this needs to happen.’ It’s amazing by then crowdfunding came along and we got the Kickstarter together for eighty thousand dollars. That paved the way. It got us go out and shoot the bulk of the story and get into the edit room.”

They talked about creating sympathy and even identification with the characters. Tweel said, “We try to structure our documentaries in the same way that a lot of narrative fictional films are structured, kind of like a screenwriting type of format and so in doing that we are trying to tell the most universal story possible, whether it’s about arcade video game players or teenage magicians or two guys fighting over a leg. We’re constantly in search of the underlying truth in the ways in which our audience can connect with these people. And so really we struck gold here not just because John and Shannon are funny and quirky but they are also very vulnerable and honest and so are their family members. And so we were able to get to the kind of deeper levels to the story that you can relate with, like you can relate with a sister who has a drug addict as a brother and she is trying to protect him but also he’s hurting her. We felt like the parallel stories of these guys kind of mirror each other in so many different ways and that was something Bryan and I were very much interested in exploring.”

Ed Cunningham was the one who first made the people in the film feel comfortable talking very candidly in front of a camera. Tweel said, “Basically, he just laid everything out on the line. A) He was able to give them “King of Kong” and say, ‘This is the treatment we give. This is just a fair account. We’re not going to be playing this up or anything.’ But once you have a camera pointing at someone for long enough, they are just describing it like you’re a friend on the block or something. It’s completely natural for them because they’re with it they’ve been with it for so long so when they are talking without grinning or whatever about them hanging the leg in a tree in the front yard or something it’s because that’s their life. It’s not strange to them. And after working with them for a couple years it wasn’t strange to us either. The first time we screened at Sundance for the people we couldn’t believe the laugh it was getting because it had become incredibly normal for us having worked with it every day.” It also helped that Cunningham and Carberry were both born in Virginia, so the people in the movie did not think of them as Northerners trying to make fun of the hicks in the South.

One of the most fascinating elements of the film is that the documentary itself contrasts with at least three different “reality” television shows that became involved, including Judge Mathis, who finally resolved the dispute and sent John to rehab. So this is a documentary that includes the impact of a more heightened version of what they do. Carberry said, “I think that the reality TV version of the story is they are coming at it from a different angle and they are not there to give more of the context behind the story that we are. So we as much as possible like to let people talk themselves and let things kind of happen organically where reality TV is more operating on machine, a little bit like they have schedule and they’re cranking up shows. We’re just trying to show how that affects our characters.” “They are more hands on and we are hands off,” added Tweel.

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