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Becoming
the Vision the Prophet Saw
by
Kieth Merrill
Note
from the Editor: Following is the key note address given by Kieth
Merrill at the Mormon Arts Foundation on April 12, 2002. The Mormon
Arts Foundation is a non profit organization created by an anonymous
benefactor to encourage Mormon Arts. It is sustained by private
donations.
Select artists from each of the several artistic disciplines are
invited to attend the 2-day annual conference. They show their work.
They share their dreams. They discuss the role of Mormon Art and
artists in building the Kingdom of God on earth.
For more information about Mormon Arts Foundation or to make a tax-deductible
donation please contact - dstew@bigzoo.com
It is an honor
to be among you. I revere your talents. I admire your accomplishments.
I would confess that I am envious of your gifts, but as you shall
soon see, that would betray the soul of what I hope to say to you
today.
We are gathered as Mormon artists. It is curious the labels we place
upon ourselves. My daughter put this label of "Mormon" in unique
perspective. Several years ago we filmed a feature documentary about
Native Americans. We had a small crew. We traveled 30,000 miles
in a caravan of trucks and motor homes. We took our young families
with us and we lived on the road.
I returned to camp one evening from a day of filming at Turoweep
on the north rim of Grand Canyon. I discovered my 5-year-old daughter
and my partner's 6-year-old son playing in the back of the coach.
They were—how shall I say this delicately? In Farmington where
I grew up we called it, "playing doctor." Let me say simply these
two innocent children were "exploring life" together.
"Ah, a teaching
moment" I said to myself. I took my sweet little child aside to
explain. "Kahna,"
I said, "It is better that you don't take all of your clothes off
when there is a boy in the room."
She looked at
me with big innocent eyes and said, "Oh, its OK Dad, we're both
Mormon." Gratefully I got that straightened out before she came
to BYU.
In spite of a public relations effort to root out the use of term
- I suspect we will forever refer to ourselves as "Mormons."
It is curious that nowhere else is what people DO defined by their
affiliation of faith. The Danish artist who created The Christus
was Lutheran, but is never known as "the Lutheran sculptor, Bertel
Thorvoldsen."
Staring at the ceiling of the Sistine chapel—as I have many
times—I have never heard a Vatican guide refer to the painter
as, "catholic artist, Michelangelo Buonarroti."
Labels
Labels are curious things. We wear ours with unprecedented pride
- we are willing - even proud—to be described with those two
words, "Mormon Artist." It is because the
first word defines WHO we are to an even greater
degree than the 2nd, which only speaks to WHAT we do.
One label attached to me years ago is "Academy Award Winner."
I confess I have enjoyed that. Having been introduced that way for
20 plus years makes me wonder if I might have disappeared without
it. [I see some of you nodding.]
Winning an Academy Awards gets you invited to things. A few years
ago Dagny and I were asked to be Grand Marshals at BYU Homecoming.
We rode in the parade, ate lots of free food and were introduced
to 60,000 fans in the football stadium at half time. As we waited
on the sidelines for the big moment, the array of giant speakers
reverberated with, "BYU Alumnus Kieth Merrill, winner of the Academy
Award," and my wife tugged on my arm an announced. "this is the
LAST time I appear with you in public for something you did twenty
years ago."
Happily, being
nominated again vindicated me. The Academy Award nomination for
our IMAX film, AMAZON —produced with my friend and associate
Scott Swofford—brought me back to Oscar night three years ago.
This time I took four of my kids. The highlight of the evening might
have been meeting Ed Harris in the mean's room if it hadn't been
for my son, Dagen.
With his hair long, blonde and sort of in his eyes, Dagen looked
a lot like Leonardo DiCaprio. Dagen rented a tux just like the one
he saw on Leonardo in People Magazine. We arrived early and mingling
with the rich and famous - but mostly people you have never seen
nor heard of. I glanced around and saw Dagen surrounded by beautiful
young women - starlets and wannabes - posing for pictures and signing
autographs. It was the year of Titanic. DiCaprio
was in the limelight, but wasn't at the Academy Awards. Dagen had
been mistaken for the famous star. The bell sounded. The last of
the girls scrambled to hug, touch or be photographed with Dagen.
As we walked in I shared my amusement. "But whose autograph, " I
asked, "were you signing?"
"Leonardo's"
he grinned.
Winning an
Academy Award so soon in my movie career taught me early what my
primary teacher had told me when I was 7. "All that glitters is
not gold". No one put the "glitter" of the Oscar in better perspective
than my little daughter. We lived in Los Altos Hills in Northern
California. Not many movie people there so our little triumph was
a really big deal. For three days there was a swirl of attention
from the local press and adoration from our neighbors and our friends.
I confess I was very caught up in myself.
In the middle
of it all there was a tug on my pant leg. It was my 8 year old daughter,
Kaele.
"That little
gold doll you got is really important, isn't it?" she asked.
"Yes honey,"
I boasted, "it is really important."
"Do you love
it?" Her big bright eyes waited for the answer.
"Well," I mused
thoughtfully, "yes, I do, I think I love it."
"Do you love
it more than you love me?" It came with such honesty and innocence
my heart almost stopped. In an instant this child had made me realize
what a fool I'd been, caught up in myself, believing the honors
of men really mattered. I dropped to my knees, put my arms around
her and said, "There is nothing in this world I love more than you."
"Good," she
smiled, "can I take it to show and tell?"
The Oscar went
to show and tell. He rode in baby buggies built for dolls. It spent
time in the sand box and was accessible to any who wanted to hold
it. It was finally dropped and broken by a little boy at the Stanford
Children's Hospital. It listed in one corner of the book case for
a lot of years. Dagny finally said, "fix it or get rid of it." My
vanity had not vanished entirely. I had it repaired.
The honors of men give us a kind of "mystique." In Mormon circles
"mystique" never translates into money, but it does generate a lot
of invitations to speak. The mystique of even modest notoriety makes
impressing kids at a youth conference easy. There are no impressionable
kids here today.
I feel special responsibility. I feel a certain vulnerability. I
certainly experience genuine humility in the presence of your remarkable
accomplishments.
What is our
role as Mormon artists in God's plan?
God's purpose is "to bring to pass the immortality and eternal life
of man." God's purpose for the artist—if indeed it differs
in the slightest degree from his purpose for plumbers, electricians,
teachers and Indian chiefs—has only to do with the language we
speak.
People are constrained by a language tied to their tongues and limited
to a few thousand words. There are over 400 different languages
on earth . No one speaks them all. No one but the artist!
The language of art is unconstrained. The artist does not utter
idioms limited by cultural boundaries. The artist expresses him
- or herself—in universal symbols, images, sounds and feelings.
As artists we have the unique opportunity to present our perspective
of eternity in visual and aural symbols universally understood.
The purpose of our gifts is the creation of art that reaches the
soul— that speaks the language of God—that touches the heart in
ways the ears can never understand.
Aristotle said, "the aim of art is to represent not the outward
appearance of things, but their inward significance."
Spencer W. Kimball admonished that we "create great art to communicate
the truth. "
"There is no music in hell," Brigham young proclaimed. "Our art
must be the kind which edifies man, which takes into account his
immortal nature, and which prepares us for heaven."
The word "artist" does not appear in holy scripture, but the presence
of the artist is unmistakable. "All manner of workmanship" is described
as "exceedingly fine" and "curious." It is evident that the creative
process is rooted and revered in heaven by the Lord's own use of
the word "workmanship," not only to define the artistic accomplishments
of his children, but the results of his own creation. "Look, and
I will show thee the workmanship of mine hands; but not all, for
my works are without end."
For 30 years
I have carried the vision of president Kimball in my planner. Like
many of you, it has encouraged and sustained me. I have always believed
he was speaking to me. The essence of his words are now familiar
to us all.
"The full story of Mormonism has never yet been written, nor
painted, nor sculptured nor spoken. It remains for inspired hearts
and talented fingers yet to reveal themselves. They must be faithful,
inspired, active church members to give life and feeling and true
perspective to a subject so worthy. "
This prophecy is pasted on the walls of your studios and halls
of your heart. Every Mormon artist I know sees themselves in this
prophetic academy of "inspired hearts and talented fingers" .
Indeed, I believe that you are.
In the 34 years since President Kimball spoke these words, you,
the writers, painters, sculptors, musicians, performers and artists
of the church—and thousands like you—have laid the foundation
for a prophecy fulfilled and the ever-rising tide of Mormon art
that will never end.
I would love to name names and cite works - but there are too many
- and so many truly great—that I would fall far short of just
acknowledgement.
To the movie makers among us the prophet promised, "Our moving
picture specialists, with the inspiration of heaven, should tomorrow
be able to produce a masterpiece —written by the great artists,
purified by the best critics—that should run for months in
every movie center, cover every part of the globe in the tongue
of the people . A masterpiece that will live forever."
While the rest of you, blessed to be called "Mormon artists"
have filled the world with your books, your music and your art,
we movie folks are running way behind .
Thanks to the talent and tenacity of Richard Dutcher, the day of
something now called "Mormon cinema" has dawned. There have been
Mormon film makers for a long time. Now there are Mormon films for
Mormons. And if we are good enough, the world.
It is a providential coincidence that Other Side of Heaven
opens tonight in 300 theaters nation wide. [Produced by Gerald Molen
and John Garbet, Directed by Mitch Davis, all of them Mormon film
makers.]
Shortly after
the success of God's Army, I heard Richard wonder aloud
whether other young Mormon movie makers would follow his success
and jump into his wake. He does not need to wonder any more. There
are a lot of people "overboard." Some swimming strong. Some floundering.
Some already drowned.
I thought it would be fun to track down the dozen or so LDS film
makers working on projects and give you a kind of "State of The
Mormon Film Making Union" address.
I sent two dozen e-mails and requested they be forwarded. I received
a flurry of responses. I found LDS movie makers in Norway, Canada,
England and Australia . I got several responses from California
and the predictable pile from Utah.
In my quest I stumbled across ldsfilm.com,
a website created by LDS music composer, Thomas C. Baggaley and
David Preston Hunter of Texas.
I had intended to name names and point to projects. It is not possible.
There are hundreds of names and scores of projects in production,
in planning or planted firmly in the garden of dreams.
Movie making is a very different kind of "art." Some would argue
that film making isn't really "art" at all. "How," some argue, "can
we equate the murals on the walls of the Navuoo temple with Singles
Ward?" But each has its perfect place. Each is sublime within
its context.
The challenge of reconciling film to art may be challenging. The
challenge of making films is colossal. Consider a hard dollar- out
of pocket - comparison between the cost of making a movie and the
cost of what you do.
An artist buys easel, canvas, paint and brushes. Discounting lunch
and time at painting costs a few hundred bucks at best.
The best- equipped writer with word processor, software programs,
research, and library is out a few thousand.
The sculptor's armatures and clay are not cheap, but still affordable
even when you work in heroic proportions. I realize of course that
the clay is your master and the cost of casting lies ahead. But
even so, it is within reasonable boundaries.
One of our top composers actually broke out the hard cost of making
a movie score. Including the toys in his studio, computer, synthesizer,
keyboards, amps and speakers he is out less than $40,000.
Most of you are one-man bands. You are soloists. You create your
art in private. You finance your own creations. Movie making is
very different. The pursuit of our passion is very expensive.
Orson Welles once said, "making films was like being a boy with
the greatest toy train any boy every had." He is right, but the
toy train is made of gold.
Even the lowest of the low-budget films being made by LDS film makers
in this new era of "Mormon cinema" are costing hundreds of thousands
of dollars. How they manage to do what they do with the money they
have is miraculous to me.
Film makers do not work alone. Film is a collaborate art. It requires
cast and crew, cameras and films, lights and equipment and three
rooms full of costumes and props. It takes trucks and motor homes
and if you've got the money it even takes a honey wagon.
Most important
of all, the first film demands an angel. That is what we call the
rich uncle who funds that first film after we promise our creation
will gross more than Blair Witch. Eventually, it demands
a bank.
I have been told by those who know that the cost of a film currently
being made for the Mormon market can not safely exceed a million dollars
. Some argue it is half that. If you expect to break even and give
an acceptable internal rate of return on the investor's money, I suspect
it may even be less for all but the very successful entrees.
In spite of the optimism created by the digital revolution, shooting
in 24p and cutting at home on our Macintosh, the movies described
by President Kimball— the masterpieces that will play in cinema
centers around the world - will cost tens of millions of collars and
these truly epic films yet elude us.
We are praying hard for the success of Other Side Of Heaven.
We are cheering for Richard Dutcher and his film about Joseph Smith.
Wherever we are. However clouded and uncertain the future, we have
taken those first faltering steps. The digital revolution has provided
access for a vast new army of potential talent. Hearts are being inspired.
Talented fingers are learning their craft. A new era of film making
by Mormon "artists" has begun. As we earn the right by commercial
and critical success, it will continue to grow.
Ruskin said,
"All great art is the expression of man's delight in God's work,
not his own."
Michelangelo called "the true work of art a shadow of the divine
perfection."
Moving forward we must maintain the vision. We must have clarity.
We must stay focused. We must take care that our rising confidence
and zeal does not overpower our subtle sense of destiny and blur
the line between God's purposes and our own.
Amadeus
Nowhere
is this more powerfully spoken than in the film Amadeus.
I was directing a feature film for producer, Saul Zaentz ,when he
started that film. Saul and I are friends. I remained close to that
the project. I was in the editing room with Director, Milos Foreman.
I sat through the first rough cut screening . I have watched the
film many times.
My life has been impacted by the tortured life of Antonio Salieri,
played brilliantly by Murray Abraham, for which he won the Academy
Award.
Most see the movie as a story about Mozart. In truth it is about
the evil elixir of envy and pernicious poison of pride.
As a boy, Salieri feels a passion for music that his father doesn't
understand. In church he prays to God in secret. It is the proudest
prayer a boy could think of. "Lord make me a great composer,
let me celebrate your glory through music - and thus celebrate myself.
Make me famous to the world dear God. Make me immortal. After I
die, let people speak my name with love forever for what I wrote.
In return I will give you my chastity, my industry, my deepest humility
every hour of my life. Amen."
In time he becomes court composer to the emperor of Austria.
He praises God for his good fortune that seems to seal the divine
bargain he has made.
Then he meets Mozart. Wolfgang is immature, arrogant, egotistical,
vulgar, and offensive. But his music is brilliant. Salieri knows
music. He can recognize brilliance.
"It seemed to me," Salieri laments, "that I was hearing
the voice of God."
Salieri believes his own talent pale by comparison. Envy grips
his heart, jealousy destroys his soul. He feels betrayed by God
himself.
"Why? " he cries, "why would God choose an obscene child to
be his instrument—all I ever wanted was to sing to God. He gave
me that longing and then made me mute. Why? If he didn't want me
to praise him with music why implant the desire like a lust in my
body and then deny me the talent."
Music flows from Mozart in flawless perfection, page after
page without correction. Salieri curses the crucifix and denounces
God. In the most powerful and pivotal scene in the film he cries;
"From now on we are enemies, you and I, because you chose for
your instrument, a boastful, lustful, smutty infantile boy and give
me for my reward only the ability to recognize the incarnation.
Because you are unjust, unfair, unkind, I will block you, I swear
it, I will hinder and harm your creature on earth as far as I am
able. I will ruin your incarnation."
Salieri rips the crucifix from the wall and throws it into
fire - but it is his own heart consumed by the flames of hell.
The Corrosion
of Envy
Who among US has not in that dark trough of discouragement that
lies between the lofty whitecaps of exhilaration—familiar to
so many who are destined to create—have not been driven to
compare ourselves with others?
Who among US will emerge as Michelangelo, Beethoven? Who among US
will be the Mormon Tom Clancy, Harold Prince, John Williams, Thomas
Kinkade or Steven Spielberg?
Elder Neal Maxwell mused, "Where are the great Mormon painters,
sculptors, artists,—and film makers.?" It is presumptive for
one with such 'middlebrow' tastes to attempt a response, but perhaps
a 'middlebrow' has some special clinical detachment. For instance,
since Church members now constitute about .001% of the world's population,
it is not statistically likely that we will have any Michelangelos
or Beethovens—let alone several...."
But statistical likelihoods do not, nor cannot dissuade us
from our own determined sense of destiny. Our passion and faith
may overpower reason, but they are the substance of our creative
power.
There are
flashing yellow lights of caution
It seems so logical that the Lord would bless us especially - "members
of his true church"—- even beyond the capacity of our own talent
if we are only willing to use our artistic gifts for his purposes.
Does Salieri's lament find voice in us? — "All I have ever
wanted was to do thy will - to sing, compose, paint, write, sculpt
and film - to praise your name —- Oh Lord, there is one more thing.
Make me great. Let me celebrate your glory as I celebrate myself.
Make me famous to the world. Let me be immortal."
We may cower with envy in the shadows of artists in the world
-who do what we do—who find themselves celebrated, crowned
and glorified by the honors of men and treasures of the earth .
We may even feel, deep in our heart, that given the same opportunity,
time, or money that we could do better, be greater, rise higher.
In making such comparisons and taking such flights of fancy, we
may even forget to be thankful for the gifts that he has given us
-faint and unexplored as they may seem to us.
"Why," we may wonder, "have you given your greatest
gifts to them ? To rivals, unbelievers, infidels, and even the obscene
among us? Why have you made those who do not even believe in thee,
possessors of the greatest gifts?"
Who is it that makes us ask such questions of ourselves? Who
is it that would disappoint, dishearten and discourage with such
deceptive deliberations?. Where does discontent come from? Or envy,
jealousy and greed?
Elder Holland asked and answered my question perfectly in General
Conference. "Who is it that whispers so subtly in our ear that a
gift given to another somehow diminishes the blessings we have received?
Who makes us feel that if God is smiling on another, then He surely
must somehow be frowning on us? You and I both know who does this-it
is the father of all lies.3 It is Lucifer, our common enemy,
whose cry down through the corridors of time is always and to everyone,
"Give Me Thine Honor."4 [3. See 2 Ne. 2:18. 4.
Moses 4:1.] Holland, Jeffrey R. The Other Prodigal, General
Conference Address, April 2002.]
As Mormon artists we should bolster courage and take confidence
that Satan strives to thwart us. It affirms that we have power for
good.
There is no other alliance of artists on earth more determined to
praise God, teach truth, inspire hearts and contribute to God's
plan of happiness .
Artistic talent is not named among the gifts of the spirit, but
no one would deny that divine inspiration is the fountain from which
the greatest masterpieces flow.
We must be vigilant to rise above the feelings that deprive us of
the spirit of Christ which is the source of the creative power within
us.
Elder Bruce R. McConkie assures us: "The spirit of Christ is
the medium of intelligence that guides inventors, scientists, artists,
composers, poets, and authors, when they set their hands to do that
which is for the benefit and blessing of their fellowmen."
Part
II of Kieth Merrill's Mormon arts address will be posted tomorrow.
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