Burning Heart presents a Lauralee Farrer production

Posts tagged “Terce

Setting Things in Motion, Keeping Them in Motion

by Lauralee Farrer

Francis Ford Coppola said that a film gets made three times: when it’s written, again when it’s shot, and yet again when it’s edited. These are all crucial stages to storytelling in film, and each one has its own demands and creative requirements.

We are in a season where all those stages are intermingling: we are editing Compline and None; syncing Terce so it can enter the editing process; shooting pick-ups for Terce and None; finishing scripts while in preproduction for Sext and Prime; and drafting treatments for Vigils and Lauds. That doesn’t take into account all the ancillary elements to keeping a production going. Blogs and tweets and posting facebook updates and finding money, filling out our equipment packages, casting, securing locations and navigating the never-ending challenge of no-budget filmmaking: scheduling.

It’s good to stop at this stage and acknowledge that everyone who lends a hand during this time is donating to the Praying the Hours project. The hours that Meaghan Baldwin has spent in Pasadena sync’ing audio and picture for Terce. The hours that Greg King has spent at his studio in Los Angeles helping to define the editing style for the project through his work on Compline, or those spent by Patrick Duff helping to bring the footage for None to life. The hours and hours and hours spent by producers Rob Bethke, Ron Allchin, Matt Webb and Tamara McMahon who meet weekly to keep things in motion, to schedule (and reschedule), to search for lens prices, to ingest or copy footage, to color correct stills and to send the scores of emails necessary to firm up all the details of an active production shoot. And those who pray and who send money. All of them, filmmakers.


The Self-Curse of Denial

by Lauralee Farrer

In our story on “Terce: The Story of the Single Mother,” we consider a woman (played by Liz Montgomery) who is facing difficult times that can be traced to a series of lies, bad decisions, and denials that she has allowed herself. Primarily because of her own intentional obliviousness, she is plunging headlong toward a ruined life. She is engaged by three strong-willed strangers whose intentions to come to her aid seem, at first, to matter more to them than it does to her. That’s because she has numbed herself with denial (something a lie always does) and these characters see the danger she is in even more than she does.

In storytelling mythology, the presence of three women combining to affect the fate of the story’s hero is very familiar—from MacBeth’s three witches to Sleeping Beauty’s three fairies. In this story, they are like furies (i.e. literally meaning “avengers”)—Greek mythological characters from beneath the earth who “punish whosoever has sworn a false oath.” There is the hint that the furies embody the self-curse that comes with being false.

Terce’s three inspirations take the form of a woman from the local church (played by Keri Tombazian), a contentious neighbor (played by Leontine Guilliard), and a helpful grocery store clerk (played by Nikki Barger Wheeler). Combined, they represent the presence of the Holy Spirit that is one of the characteristics of the Hour of Terce. The Holy Spirit moves as it will like the wind, and comes to our aid in the most unlikely and unpredictable places. In her story, Terce is visited by the Traveling Man who helps her to see how she might take advantage of the help that the women are offering, but that she must ask for their help first, that is, she must call down the help of the Holy Spirit. By admitting her mistakes, her need for help, and opening herself to gratitude, she can avail herself of their willing aid and find the joy and vibrancy of life that she needs to transform the hard days ahead.


Tweet Dreams

For those who follow us on twitter @praythehours, you know that we tweet at the Hour of prayer on which we are currently working. Our “terce” tweets ended a week or so ago because we’ve  finished shooting “Terce: the Story of the Single Mother,” and we’re entering a month’s worth of assembly cuts, scriptwriting, perfecting our shooting experience, and finance-juggling. In July we hope to start shooting again, but in the meantime, we’ll be tweeting on Compline into July.

Editor Greg King is finishing an assembly cut on “Compline: The Story of the Reluctant Teacher,” Pat Duff is working on “None: The Story of the Mournful Songwriter,” and Dan Long will be working on Terce. Writer Jonathan Foster is working on the script for “Sext: the Story of the Recovering Stranger,” Wes Halula is working on “Prime: The Story of the Rushing Man,” and I am working on “Lauds: The Story of the Single Woman” and “Vespers: The Story of the Grieving Fiance.” I still find a strange kind of encouragement realizing how many have made this project their own, and are working with enthusiasm to bring it about. Tony, Wes, producer/writer Rob Bethke and I talked today at lunch about the Prime story of a man rushing through his own life. It’s the story that has had the most resonance with the men I know, who fight to be present in their own lives, and to remain human, while wresting that life into existence in the first place. A hard balance faced not only by men. Nevertheless, it’s an hour that has room for the unintended humor that often accompanies the idea that we are in control of our own lives, and we laughed as much during lunch as we talked or ate.

As of June 1, 2012 we started tweeting Compline. Compline takes place at bedtime, whenever that happens for you. For one inclined to symmetry in  praying the hours, Compline might take place around 9p.m. to mirror the hour of Prime at 9 a.m.; however, no one I know goes to bed at that hour. I chose 11p.m. not because I go to bed by then either, but I to leave room for Vigils to occur somewhere between midnight and 3 a.m. The tweets of Compline ponder the mystery of sleep, and how we enter that world of absurdity nearly every night of our lives only to return hours later without knowing where our minds have gone or for how long. This we rarely question, but it’s bizarre when you think about it.

These are good days, summer days, days with fans in the window at night and the sizzle of heat remaining on the concrete long after the sun sets late in the evening. If you live in Southern California, they are bright days of outdoor movies, visits to the beach, and groggy afternoons at your computer desk. Our dreams during the summer are different than those of winter: they smell of night-blooming jasmine, sticky watermelon rinds in the trash, and the musk of desire—for love, for adventure, for something extraordinary to happen.

—by Lauralee Farrer


Ich Glaube an Alles Noch Nie Gesagte

I am drawn to the things that have never been said.
I am determined to release these godly feelings
and not hold back
what others do not dare to ask.

If that’s outrageous, my God, forgive.
All I am trying to say is this:
My very best offerings are spontaneous,
without hesitation or irritation,
in precisely the way children love You.

Like waters swell and ebb into the open sea,
I want to proclaim Your name, in mounting waves,
like no one has done before.

If that is audacious,
then let me be rude for the sake of my prayer,
which, sincere and solemn,
rises before Your veiled face.

—Rainer Maria Rilke,
The Book of Hours, I, 12

translation by Martina Nagel, illustration by Denise Louise Klitsie,
from Praying the Hours in Ordinary Life (Cascade Books, 2010)


TERCE: The Light Climbs, the Worker Pauses

I worship You
with primal joy,
Holy Spirit,
Living God.
—Terce refrain

The light of Terce is bright, a sharp spotlight on our work. We have found the rhythm of a focus that has snapped into place, and the last intuition we have is to stop. And yet. Benedict urged stopping at this hour precisely to say, this work is not my purpose. My purpose is to praise God. In fact, monks are encouraged to drop their work tools wherever they are, whatever they are doing, when the bell for Prime rings, to remember God’s presence, and to acknowledge, as Rabbi Abraham Heschel put it, “Just to be is a blessing. Just to live, is holy.”

This hour corresponds to the season beginning with Pentecost. Imagine how the disciples, knowing that Jesus had resurrected from the dead and given them a great commission, were charged with the seriousness and fervor of the task ahead. And yet they were required to wait. And wait. And wait. The Spirit finally descended on them at the third hour: the hour of Terce (Acts 2:15) the same hour, only a few months before, in which Jesus was crucified (Mark 15:25). “The man who can articulate the movements of his inner life . . . is able slowly and consistently to remove the obstacles that prevent the Spirit from entering,” counsels Henri Nouwen in his book The Wounded Healer. “He is able to create space for Him whose heart is greater than his, whose eyes see more than his and whose hand can heal more than his.” If the fire for work comes from our own bellies, we set in motion all things small: personal agendas, careers, professions that will prove inadequate at the end of our lives. As someone observed, no one ever regretted on his deathbed that he did not spend enough time at the office.

If the fire for our vocation comes from the Spirit, the result is miraculously fulfilling. We are taught that the secret to finding our lives is to lose them for the sake of the gospel (Matthew 10:39). Pentecost celebrates the miraculous arrival of the Holy Spirit, sent to give birth to the Church. The Spirit empowered Peter to share the story of the gospel with a crowd that had gathered because the ruckus of the Spirit’s descent called loudly for their attention. At first, they charged the disciples with drunkenness, because their giddy joy was so uncontainable. When Peter explained what had happened, three thousand people “were added to their number.” Three thousand, who became the Church. The spirit of Terce is one of solidarity, of empowering the community to work as one body for the kingdom—wherever we are in the world, alone or apart.

The Spirit that fell at Pentecost is the same spirit within which we live today. It is not something that we make room for in a corner of our hearts, like a piece of furniture. It is rather like stepping from a vacuum into open air. Terce marks a necessary stopping to call the Spirit down upon our work so that we may continue fueled not by calculation but by obedience, not by might but by the Spirit, not by duty but by joy. “He will yet fill your mouth with laughter,” Job assures us, “and your lips with shouts of joy” (8:21).

The personality of Terce is characterized by this joy, joy that is prompted by gratitude. Joy is alive—a vivacious, sweet, tender, and powerful woman walking alongside to whom one can, every morning, express thanks for God’s blessings. Though the Hour’s prayers are short, they are potent then, and they are merely a respite fromthe work that calls anew on the heels of those prayers. Artist Denise Klitsie says of the return to work: “the space in your head where you need to go in order to interact with the work is sacred. Allow yourself to say all the things in you to say. Go deep. Accept. Trust. Go into the images.” The work remaining to be done is the same as when we stopped to pray, but we are different when we return.

—by Lauralee Farrer
excerpt from Praying the Hours in Ordinary Life (Cascade Books, 2010),
illustrations by Denise Louise Klitsie


Unorthodox and Personal

by Lauralee Farrer

The team behind Praying the Hours often comments that by the time we finish all of our shoots we will run like a well-oiled machine. Until then, we learn the lesson of courage required by any art form: keep going. More time, SO MUCH MORE TIME, is spent on logistics, planning, organizing, preparing, reorganizing, paying and strategizing than on storytelling. The periodic despair over not being able to give the material the creative attention it demands washes over me almost daily now. These are the “first- world” challenges that escalate during the days leading up to a shoot.

The story of Compline (shot in Indiana and portrayed by Marcia Whitehead) is being cut by Greg King. None (shot in Echo Park and portrayed by Aaron Paul Ballard) is being sync’d and will be cut in May by Pat Duff. “Terce: The Story of the Single Mother” is our current project, portrayed by Elizabeth Montgomery. Today we spent half a day in our primary location talking about lights, production design, shot lists, cast members, and babies.

We talked about babies because the DP for this hour, Martina Nagel, has a baby son who was there with us while we worked. Our lead actor, Elizabeth Montgomery, has an even younger baby girl who will be, in some ways, the off-screen subject of our narrative. While we were working, a text from cast member Tony Hale came saying he was at the hospital with Beth Castle who gave birth today—two months early—to a baby boy. Our minds continually drifted over to the image of her and her husband Greg, keeping vigil by the neonatal intensive care unit.

The story of Terce has many layers, but two of them touch on the birth of a vulnerable little one and the ways in which Terce never really grew out of that archetypal vulnerability. So again, the art we were planning mimicked the lives we were living. We need each other. That’s the reality that our character Terce must learn to embrace: the difficulty of asking for help and the poison of thinking that she (or anyone else) can survive without it.

At the Ashland Independent Film Festival last weekend, producer Tamara McMahon, writer Jonathan Foster and I were privileged to watch our film Not That Funny in front of an audience for the first time. We met Seattle writer/director and media personality Warren Etheredge (of The Warren Report). Today, in an e-mail exchange about Praying the Hours, he wrote, “I am always amazed/saddened, that more filmmakers don’t attempt spiritual material like this. Kudos to you for pursuing such an unorthodox project with such obvious personal resonance. It is that level of passion and commitment and vision that forms the soul of all great art.

It was a generous note, and his phrase, “obvious personal resonance” touched me today, especially. The themes of this project keep resonating while also striking the gong anew. Each hour holds its own mysterious stories, in addition to the ones we have planned. This is both the challenge, and the transcendence, of the work.

And while we are at that work, welcome to the world Fletcher Castle. We are praying the hours today, for you.

Follow us on Twitter @praythehours as we shift, this next week, from tweeting None (3 p.m.) to Terce (10 a.m.).


Filmmaking in Widescreen

by Lauralee Farrer

The first time I went to see a 70mm widescreen film at the Cinerama Dome in Hollywood, I was an adolescent, and I sat with my father on the far right side. I don’t remember what film we saw, but I do remember it being good enough that I wanted to return to see the left side of it.

Sometimes you get an idea for something too wide to fit in your field of vision. Seeing only portions at a time can be a mercy, though, as the entirety can be daunting. Recently as I was describing the Praying the Hours project to someone new, he said, “So it’s like a feature film and a television series.” Right, I thought. It sounds overwhelming when you put it that way.

Artwork by Denise Klitsie

Eight producers, nine lead actors, a gang of supporting and extra roles, many locations and shifts of people on cinematography, DIT, and editing—that’s our ground floor. I was at an event recently where a stranger introduced himself and said, “I’m working on your movie.” It’s the first time that’s ever happened. Once, I set out to estimate the number of locations, shooting days, actors, and pages of script that we are likely to accumulate by the time we finish. I stopped, sensing it is better to live in mystery when it comes to impossible tasks. David Mamet says, “work until it’s done.” That’s our focus.

But here is evidence to back up our faith: a great team of producers; fantastic actors who are willing to be vulnerable beyond what a director could hope to request; one Hour shot out in Indiana (Compline: The Story of the Reluctant Teacher); one Hour done in Echo Park (None: The Story of the Mournful Songwriter); and the next Hour (Terce: The Story of the Single Mother) nearly ready to go. Audio and video files are being synced for editing, equipment packages are slowly being completed, and new team members are being added weekly.

[By the way, welcome Wes Halula, who is working on the script for Prime: The Story of the Rushing Man, and Glen Hall, who is our production design consultant.] While people float in and out of our filmmaking ecosystem, we often say to ourselves with surprise: it’s happening.

Wes Halula, photo by Jacob Abrams

A no-budget production can share, ironically, a freedom similar to a production with an unlimited budget because for us both money is no object. We cope calmly with shifting schedules, losing and gaining team members, locations, story plans, equipment, and/or finances because the biggest risk is the one we took when we set sail in the first place. It’s been impossible from the very beginning, so the fact that it’s getting done is like watching the experience play out in the Cinerama Dome—bigger than we can see, happening right before our eyes, can’t wait to see the whole thing.