Interview: Arthur Rasco on the Ebola Documentary “Facing Darkness”

Posted on February 27, 2017 at 8:00 am

Arthur Rasco  directed the extraordinary documentary “Facing Darkness,” about the efforts of the humanitarian group Samaritan’s Purse and their fight against Ebola, one that became very personal when their own doctor and nurse, Kent Brantly and Nancy Writebol, became infected. It was an honor to speak to Mr. Rasco about the film.

When did you start filming? It seems like you were there right from the beginning.

Samaritan’s Purse has been covering the Ebola epidemic since 2014. We have people on the ground in Liberia and some of those folks had cameras and were filming. The Deputy Country Director, Joni Byker, was filming, trying to get some clips and we were trying to get a video team off the ground to go but then late July happened and Dr. Kent Brantly was diagnosed with Ebola. And then so that changed things dramatically and then all of a sudden that threw all of us into a tailspin so it was all hands on deck to try and take care of Kent and Nancy Writebol. So we filmed bits and pieces along the way as we could, their arrivals at Emory, and then we did send our crews back in late October 2014. Once we re-engaged and sent supplies to the airlift with two 747s loaded with supplies, we sent a video crew. And then we were green lit to do the documentary in about April 2015, so that’s when we really begun in earnest putting together the film. The film will be in theaters on March 30, 2017.

How did you shape your production schedule and your approach as the story developed?

We had a great team that was involved in putting the film together. I’m just one piece among a great team of people here at Samaritan’s Purse and so we documented quite a bit of the stories of several people that had been involved. Some of the people like Bev and Kendell Kauffeldt and Dr. Lance Plyler we debriefed and recorded those interviews. So we had an idea of how we wanted to shape the story and then you go and you go there on the ground and then you also start meeting people like the nationals, the Liberians who had such amazing stories that we were able to work into the film.

We talked to people like Joseph Gbembo who lost 17 family members. We knew that he had lost quite a few and when we were interviewing him and then he says in the film, “When I look at the kids, the nieces and nephews, the children of those family members that passed away that gives me hope.” Okay, how many are we talking about? And then he says, “16.” And that moment was just so real and so we put that into the film just as it was because it was just such a dramatic earth shattering moment for all of us. We didn’t quite know that aspect of the story and so that was just amazing. Meeting people like Barbara Bono, who was a Liberian Ebola survivor and having her tell the story was just so powerful. Filming many interviews with everybody, I am crying and all of us are just in tears as we’re hearing the stories of what she went through and what she was afraid of during the time.

How do you maintain the distance that you need in order to make the film and yet to reach out to them as a human to get them to open up the way they do?

Well, I don’t know if I’m too good at keeping distance. I really enjoy and I want to engage with the folks, with people because their stories are just so amazing, they have been through some things that I am just trying to reflect, I’m just trying to share. I wasn’t able to be on the ground in 2014 when all of this happened and yet you know that these folks have been through something pretty earth shattering and so you want to respect that and you want to be able to let them tell their story openly and honestly. And so I laughed at when they laughed, I cried when they cried. I’m just trying to have them tell their story.

In America people went a little crazy on the subject of Ebola and didn’t listen to what the experts and the scientists had to say about the threat that it posed. How did that complicate things to bring back Kent to the US in the midst of all of that fear?

We as an organization as Samaritan Purse knew that we had to do everything, all that was possible to try and take care of Kent and Nancy. As you saw in the film it’s just a miraculous set of events that’s really unfolded. You almost can’t write this as a script. You just see God working in these ways. We took all the precautions that we could and Samaritan’s Purse put in place its own set of protocols to try and take care of our remaining staff. We were in touch with the CBC during this time, too. They gave us their instructions and we said, “Well, we’re going to step it up a notch because we want to keep our people safe and do the best that we can.”

What do you want people to learn from the film?

Our hope is that this is a story that will inspire young people, inspire a new generation of missionaries to set out in bold faith and go out to the mission field, to go out and serve, and serve in the name of Christ and putting their life on the line if that’s what they are called to because that’s where the need is. The need is out there and you can go out, you can make a difference. And that’s what the movie is about right? It’s letting compassion fuel a courage that will conquer fear and so that’s what we want to be able to do to encourage, to inspire a new generation of missionaries to head out there. I hope that people will feel challenged after watching this movie.

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Documentary Illness, Medicine, and Health Care Interview Spiritual films

The Razzies 2017: Batman v. Superman, Zoolander 2, and Hillary’s America

Posted on February 26, 2017 at 3:54 pm

Each year at Oscar time the Golden Raspberry Awards (the Razzies) pay “tribute” to the worst films of the year.

The big “winner” this year was “Hillary’s America,” an anti-Hillary Clinton “documentary” from Dinesh D’Souza, who was awarded Razzies for worst film, worst director, and worst actress for the woman who portrayed the former first lady, Secretary of State, Senator, and Presidential candidate. D’Souza deserves some sort of good sport award for showing up to accept the honors. Other awardees included “Batman v. Superman” and “Zoolander 2.” Mel Gibson’s comeback was recognized with a “Razzie Redeemer award” for “Hacksaw Ridge.”

Worst picture: “Hillary’s America: The Secret History of the Democratic Party.”

Worst actor: Dinesh D’Souza, for “Hillary’s America: The Secret History of the Democratic Party.”

Worst actress: Rebekah Turner, for “Hillary’s America: The Secret History of the Democratic Party.”

Worst director: Dinesh D’Souza, for “Hillary’s America: The Secret History of the Democratic Party.”

Worst supporting actor: Jesse Eisenberg, from “Batman v Superman: Dawn of Justice”

Worst supporting actress: Kristen Wiig, from “Zoolander No. 2.”

Worst screenplay: “Batman v Superman: Dawn of Justice.”

Worst ripoff or sequel: “Batman v Superman: Dawn of Justice.”

Worst screen combo: “Batman v Superman: Dawn of Justice”

The Razzie Redeemer Award: Mel Gibson, for “Hacksaw Ridge”

Barry L. Bumstead Award (for a movie that cost a lot and lost a lot): “Misconduct”

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Awards

WIN FREE TICKETS to see “The Shack” — Based on the Faith-Based Best-Seller

Posted on February 23, 2017 at 10:44 pm

If you are in the Washington DC area, you can win two free tickets to see “The Shack” at a special premiere on March 2, 2017. The movie is based on the best-seller about a grieving father who receives a mysterious invitation to explore the timeless question “Where is God in a world so filled with unspeakable pain?” The film stars Sam Worthington and Octavia Spencer.

The Premiere Night showing includes a Special Celebration after the film, Featuring exclusive cast interviews, behind the scenes footage, and a special musical performance by Dan & Shay (who are also hosting).

To win tickets, send me an email at moviemom@moviemom.com with “Shack” in the subject line. Four winners will each get two tickets to attend the screening. Good luck!

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Based on a book Contests and Giveaways Spiritual films

Behind the Scenes: La La Land’s Opening Number

Posted on February 23, 2017 at 8:01 am

USA Today has the iPhone footage writer/director Damien Chazelle made in the rehearsal for the bravura opening number that looks like one continuous shot. It was actually three shots stitched together, and this rehearsal, shot by Chazelle himself, shows how carefully it was planned.

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Behind the Scenes

Tribute: Richard Schickel

Posted on February 21, 2017 at 11:02 am

The 1960’s-70’s was a golden era of American film, reflecting the upheavals of the culture around it. Film became more personal, more political, more confrontational. And that was true of film criticism, as well. A small group of critics with very strong, fearless, individual voices became enormously influential, like Pauline Kael, Andrew Sarris, and Roger Ebert, and the man whose loss we mourn today, Richard Schickel, longtime critic for TIME Magazine and author of many books on topics from Walt Disney to Marlon Brando, Elia Kazan, and Charlie Chaplin.

In the Washington Post, Harrison Smith’s perceptive obituary notes that Schickel’s “reviews — and essays, books and documentary films — combined a straightforward literary style with a seemingly encyclopedic knowledge of Hollywood history.”

His writing was replete with references to earlier Hollywood films and figures, and was sometimes highly personal. He began “Brando,” his 1991 biography of the actor, with a “Dear Marlon Brando” letter that apologized for delving into the actor’s private life. Later in the book, he described the impact of Brando’s performance in “The Wild One” (1953), as an outlaw biker, this way: “Oh, Lord, it was glorious. We were thrilled down to our toes curling cowardly in our white bucks.”

For every actor or film Mr. Schickel praised, there seemed to be at least two he was happy to take down a notch. Bergman’s “The Seventh Seal” (1957), an existential drama starring Death incarnate, “made my teeth ache,” he wrote. Alfred Hitchcock’s thriller “Vertigo” (1958) was overrated; the drama of World War II homecoming “The Best Years of Our Lives” (1946) was “undeniably lying and sentimental.”

On Rogerebert.com, Matt Zoller Seitz writes that Schickel was “always thinking about how certain movies fit into the culture and what effect they might have on it, even as he appreciated them at the level of craft.”

My his memory be a blessing.

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Critics Tribute
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