movies

When faith enters the spotlight, should reporters dig into the personal details?

When faith enters the spotlight, should reporters dig into the personal details?

On one level, this past week's "Crossroads" podcast added a few extra layers of information to my recent Universal Syndicate "On Religion" column about the ministry of the late Father Jack Heaslip (video clip above), an Anglican priest who for several decades was the behind-the-scenes pastor to the members of U2.

But there's more to the podcast than that. Click here to tune into the whole discussion.

The key to the discussion is the conflicted feelings that I experienced, back in 2001, when I met Heaslip at a private gathering on Capitol Hill in which Bono address a strategic circle of Hill staffers who shared his convictions about hunger, AIDS and the Third World debt crisis.

The band's pastor asked if I was with the press and I admitted that I was. He said something like, "Well, we're here to hear that man speak," gesturing toward Bono, and slipped away to the back of the room.

I was very disappointed not to "land" a rare interview with this man, yet, at the same time, I admired the degree to which he managed to stay out of the spotlight and do his work without great fanfare. He didn't want to be turned into a "Father Jack Heaslip, secret pastor of U2 superstars!" headline. Instead, he wanted to continue his pastoral support for four men he had known since they were brash young teen-agers in the nondenominational school in which he was their guidance counselor.

So that journalistic tension is what the podcast is about, really.

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Low-budget Bible Belt films meet the bright lights of Hollywood

Low-budget Bible Belt films meet the bright lights of Hollywood

Hollywood has discovered the Bible Belt — again.

Here at GetReligion, our leader — Terry Mattingly — suggested in 2011:

Someone needs to copyright that phrase, "Tinseltown is rediscovering religion." You can make some money off it in three to five years.

Back in March, USA Today reported on Hollywood finding "religion and profits at theaters." Over at Religion News Service, Editor Kevin Eckstrom linked to a similar Los Angeles Times story in April and quipped:

Pretty sure we’ve seen about 5,429 versions of this story already

Right. We get it. Hollywood is trying to lure Christian audiences to the cineplex. Again. Meanwhile, in other news …

Which leads us to the subject of this post: an Associated Press feature this week with this headline:

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About those rough religious waters for the 'Noah' movie

Director Darren Aronofsky has seen his share of controversy in a body of work that has included uncompromising films such as Requiem for a Dream and Black Swan. But there hasn’t been anything quite like the storm that has erupted over his treatment of the Old Testament tale featured in Noah, out Friday. The maelstrom has battle-tested studio heads reaching for appropriate biblical comparisons.

“It’s been a unique journey,” says Rob Moore, vice chairman of distributor Paramount Studios. “I actually feel like some combination of Noah preparing for the storm, or Joseph, where you feel like you’re in some foreign land and you’re trying to figure out how to make it all work.”

The story of Noah’s construction of a massive ark to save Earth’s animals from God’s flood-borne wrath is sacred text in the Koran and the Bible, and is one of the most popular stories with children.

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