Dale Ward's Blog, page 7

Heaven Is for Real review

Yet another faith-based film hits the theaters this week, this one based on the best-selling book of the same name: “Heaven Is for Real.” I have to say that this is the better of all the faith-based movies to hit the big screen thus far this year. (Well, “Gimme Shelter” is really good, too.)

“Heaven Is for Real” tells the true story of a small-town father who must find the courage and conviction to share his son’s extraordinary, life-changing experience with the world. The film stars Academy Award® nominee and Emmy® award winning actor Greg Kinnear as Todd Burpo and co-stars Kelly Reilly as Sonja Burpo, the real-life couple whose son Colton (newcomer Connor Corum) claims to have visited heaven during a near death experience. Colton recounts the details of his amazing journey with childlike innocence and speaks matter-of-factly about things that happened before his birth … things he couldn’t possibly know. Todd and his family are then challenged to examine the meaning from this remarkable event.

 

There’s more solid work from Greg Kinnear as Pastor Burpo. He shows a real adeptness to bouncing around the various emotional turns necessary to navigate through the story. And Kelly Reilly is just as convincing in her role as the mother, skeptical yet rational in her interplay with her son (and husband). As Colton, Connor Corum is remarkable and truly believable as the nonchalant little boy who sees playing in heaven no different than playing in his backyard. And Lane Styles as big sister Cassie is a joy to watch, and her scene on the playground with the two hecklers is a favorite and sure to bring a smile to your face. Rounding up the strong cast is Thomas Haden Church as church administrator Jay Wilkins.

“Heaven Is for Real” is bigger budget Hollywood endeavor that will not disappoint from a production-level perspective – grade A throughout – with an engrossing story, strong performances, and a little bit of inspiration to boot. Check it out and maybe be uplifted – for real…

 

 

 

 

 

The Redemption of Henry Myers review

If you like westerns then you’ll like “The Redemption of Henry Myers”. It is a good Western in the classic sense, complete with gunfights, damsels in distress, and yes, even an antihero in the Clint Eastwood mode. There are plenty of nice twists and turns to keep you on your toes, and a whole plethora of characters to love and to hate. There’s even a nod to the classic film “Shane,” and arguably maybe too big of a nod, but this is a Western, so strap on your six-shooter and come along for the ride.

Synopsis: Henry Myers (Drew Waters) lives a hard life, and he gets through life on the frontier anyway he can…even if it means robbing a bank. His latest heist goes wrong, and his partners betray him and leave him for dead. Henry survives, thanks to the extraordinary kindness of a widow (Erin Bethea) and her two children (Jaden Roberts, Ezra Proch), and influenced by this family, Henry begins to question the choices he’s made in his life. Just when things begin to make sense again, it’s all ripped away when his old partners show up.

I really appreciated the depth of characterization from the actors involved. Drew Waters, who has been racking up credits in many film and television shows, takes the rein of the main character in stride. The role takes him through the entire arc of a character, from bad to good, from death to life, from emptiness to fullness, and Waters handles all the emotions with aplomb. As the widow Marilyn, Erin Bethea, does an excellent job of handling the kids and this stranger who falls into their lives, and all the emotions that go along with this. (Most viewers may best remember her as Kirk Cameron’s wife in “Fireproof.”) And the two children do great work and their protrayals are realistic and to the point. A special thumbs up to Jaden Roberts as Laura, who will most likely steal your heart away (and who provides most of the moments of lightness and laughs). I think much credit is due director Clayton Miller, and we can expect great things in the years to come from him. (I remember seeing his short film “Forgive Me” several years ago, and it deservedly ran away with many awards from the various festivals where it appeared. Seek this film out for a viewing – mature audiences only.) The cinematography is topnotch in “The Redemption of Henry Myers,” and it is quite obvious that great attention to detail was taken to insure the best camera point of views. And included along the way are nice visual symbolism within the props and the set design.

There are plenty of Bible stories shared within the film, and they are inserted in a way that makes them a part of the story and not at all heavy-handed. This is a very nice touch. And the “redemption” (yes – a conversion moment) was handled in one of the best ways I’ve ever seen in a film (and this coming from someone who rarely appreciates these moments in a film). It is slid into the film in a very honest way, again very much a part of the storyline, and handled in a very realistic manner.

Things get wrapped up nicely and in a very satisfying way (even though I was looking for a different outcome, and maybe this would have felt more authentic? but surprises are nice, too). The John Williams-esque music is what would be expected in a sprawling Western, and I really appreciate the end credit song: “Redeemed” by Big Daddy Weave (https://www.youtube.com/watch?v=VzGAYNKDyIU), a great song in its own right. All-in-all, two thumbs up for relative newcomer Clayton Miller and “The Redemption of Henry Myers.” If you like a good Western, you’ll like this – a good Western.

World Premiere March 23 at 9/8c pm on The Hallmark Movie Channel.

God’s Not Dead review

“God’s Not Dead” is a very well-made and well intentioned movie about a college student and devout Christian, Josh Wheaton (good performance by Shane Harper), who finds his faith challenged on his first day of Philosophy class by the dogmatic and argumentative Professor Radisson (solidly played by Kevin Sorbo). Radisson begins class by informing students that they will need to disavow, in writing, the existence of God on that first day, or face a failing grade. As other students in the class begin scribbling the words “God Is Dead” on pieces of paper to turn in as instructed, Josh find himself at a crossroads: having to choose between his faith and his future. Josh offers a nervous refusal, provoking an irate reaction from his smug professor. Radisson assigns him a daunting task: if Josh will not admit that “God Is Dead,” he must prove God’s existence by presenting well-researched, intellectual arguments and evidence over the course of the semester, and engage Radisson in a head-to-head debate in front of the class. If Josh fails to convince his classmates of God’s existence, he will fail the course and hinder his lofty academic goals. With almost no one in his corner, Josh wonders if he can really fight for what he believes. Can he actually prove the existence of God? Wouldn’t it just be easier to write “God Is Dead” and put the whole incident behind him? Of course, the easy road is not necessarily the right road.

The “God’s Not Dead” cast includes Kevin Sorbo (SOUL SURFER, HERCULES, ANDROMEDA), Shane Harper (GOOD LUCK CHARLIE, HIGH SCHOOL MUSICAL 2), David A.R. White (BROTHER WHITE, REVELATION ROAD), and Dean Cain (LOIS & CLARK: THE NEW ADVENTURES OF SUPERMAN), with special appearances by Christian band Newsboys and “Duck Dynasty’s” Willie and Korie Robertson. The subplots include a young lady (Trisha LaFache) facing life and death issues, as well as wonderful fun from David A.R. White and Benjamin Ochieng as two reverend friends trying to get out of town for a little R and R. The subplot of the muslim daughter struggling with her strict father seemed rather unnecessary and should’ve been cut. It added nothing to the story and the movie would’ve been shorter and tighter. And the ending is a little too tidy, but it does take everything to a firm conclusion. All in all, “God’s Not Dead” is well-acted and the movie moves along briskly.

The biggest concern for “God’s Not Dead” is that this whole idea of wrapping a story around apologetics is dicey at best. The audience is forced to watch a preplanned debate from the sidelines, and if any questions or concerns are not addressed, the viewer feels unsatisfied and empty. That said, this weakness can also be the movie’s greatest strength in that “God’s Not Dead” can definitely be a conversation starter once outside the theater. It can also be a good discussion stimulator for Youth or Bible Studies groups. If you’re looking for this kind of material this movie is dead-on. And there are great resources available on-lne at the website. Because of all this, “God’s Not Dead” gets three out of five stars.

Son of God review

“Son of God” is a new, big, grand, and glorious production on the life of Jesus Christ. Whenever filmmakers attempt such an undertaking – producing a work of a well-known and well-revered work and/or character – they lay themselves out there and exposed to criticism because of everyone’s preconceived visions of what this might look like, but with “Son of God,” Executive Producer Roma Downey and Producer Mark Burnett do a great job of creating the atmosphere and ambience, and most people will be agreeable to their visual representation of the scriptures. Actually, certain things were presented in a way that give fresh insight on how things may have actually played out, and answering some age-old questions in the process. For instance, the “Crucify him! Crucify him!” scene and how was it the Jewish people could have flipped so easily from the atmosphere toward Jesus upon his entrance into Jerusalem on Sunday. In the film, it is suggested that the Romans and the Jewish elite had separated those that were following Jesus from those who were unfriendly toward him, and the sympathizers were locked out of the courtyard and the vote before Pilate. Of course there will be those who will nick pick certain scenes: the wise men appear incorrectly at the nativity, and Jesus goes into Lazarus’ tomb to bring him back to life (dramatically with a kiss), instead of staying outside the tomb and saying “Come out, Lazarus.” But all in all, these moments are far and few between.

They recently talked at the NRB convention in Nashville about their message and purpose behind the film.

The movie begins with the apostle John reflecting on his life with Jesus from his cave on Patmos Island, and the opening verse to his gospel starts the film. “In the beginning was the Word…” and then we are shown several sequences to highlight that the Word was with Moses, that the Word was with Abraham, that the Word was with David, all brought to us in several opening minutes and using the stunning footage from the Bible miniseries: million dollar B-roll shots serve up one spectacular opening scene. (Perhaps they should go into the stock footage business and sell that great footage…)

This leads into the nativity and then the ministry of Jesus. “Son of God” proves one thing: that you cannot tell the entire story of Jesus in two hours, but I think “Son of God” delivers a good representation and sampling of scenes. Included are the lowering of the paralyzed man through the roof and his healing, Peter catching a boatload of fish, the feeding of the 5000, the aforementioned raising of Lazarus, and the passion of Christ, with his resurrection and ascension.

The acting is exceptional, and the use of a relatively completely unknown cast adds much validity to the film; otherwise those with star-power could detract from entering into the story and times. Executive Producer Roma Downey plays Mary the mother of Jesus (played by Diogo Morgado), and she is the most well known of all the cast members. And once again great music is provided by Hans Zimmer. All in all this is a great production and two hours well spent with the “Son of God.” Check it out.

“Gimme Shelter” review

Vanessa Hudgens is not in high school anymore. In “Gimme Shelter” she plays Agnes “Apple” Bailey, runaway, destitute, barely surviving on the streets, a far cry from any kind of high school life, or any kind of “normal life” for that matter. Raised (and this term is used loosely) by her drug-addicted prostitute mother (Rosario Dawson), Apple has been abused and neglected for as long as she can remember. So she takes to the streets, and away from her mother, in search of her father (Brendan Fraser), whom she only knows from an old, faded letter and the envelope it came in. Apple is a survivor, protected by the tall, thick walls she has built around herself, and she discovers her father is now a successful Wall Streeter, living the good life in Jersey. He and his new family attempt to take her in, but it’s obvious from the start that this is not a match that can work. When Apple discovers she is pregnant, she choses to keep her baby and flees the abortion clinic, hitting the streets again, knowing her Wall Street father would never allow her to live in his home with a child. She winds up in the hospital, and chaplain Father McCarthy (James Earl Jones) sets her up at a shelter for pregnant young women run by a spiritual woman named Kathy (Ann Dowd). Perhaps here, amongst others girls like herself, the ever-rebellious Apple can finally begin to tear down some of the walls surrounding her, and learn what it’s like to be a part of a family.
“Gimme Shelter,” much like the character of Apple, is a tough, raw, and gritty movie, and Vanessa Hudgens delivers a standout performance, alone worthy to give the film a look. To prepare for the role, she spent time living in the very shelter on which this true story is based, meeting and interacting with the mothers living there. She also gained weight to appear more pregnant, and she altered her looks to go from a beautiful young women to one that is, well, not very attractive. As Apple’s messed-up mother, Rosario Dawson is equally impressive, and the scenes between her and Hudgens are powerful, loud, angry, abusive, and somewhat difficult to watch: powerful, gritty, raw. In fact, all the performances are top-notch, from James Earl Jones to Ann Dowd, Brendan Fraser to Stephanie Szostak, who plays Fraser’s wife.

Kudos also to the director, Ron Krauss, whose fairly short credit list is no indication of the quality of the superb work he does in “Gimme Shelter.” And the handheld cinematography by Alain Marcoen lends itself well to the film, and of particular note is the powerful scene where Apple is inside the shelter when her mother shows up. The use of the doorway and what is seen outside, and what is going on inside, is a strong visual metaphor of what is happening within the story. Great stuff.
This is a film about courage, perseverance, and finding worth in spite of what life has handed you. I would not call “Gimme Shelter” a faith-based film per se, although there are elements of scripture and spirituality, but the film does leave you looking inward, perhaps upward, to find resources to survive and thrive in today’s world. Apple does not give up when many of us would, and her determination is inspirational and a joy to watch.

Zero Budget Palette 1

So regarding the colors of paint that I had in my palette for the making of my zero budget film: I had an iphone at my disposal that could actually take pretty good HD videos. I had some editing software (like most of us) that comes with most basic software computer bundles. (This would limit me to what kind of transition and special effects might be available to me, but that’s OK if part of the plan.) I had access to various homes for shooting, and I also had access to a church – which could be my story’s uniqueness; after all, not everyone has access to shooting in a church. I also had access to automobiles, as well as a farm with some horses and cows. I think all of these could be put together into an interesting story, and so I began.

If I could make the cellphone actually a part of the storyline, this would lend itself to its realism and authenticity, and explain the “look” that I would be forced to have, as a result of shooting with a cellphone. On the other hand, restricting myself to only shooting as if a cellphone in the hands of one of the characters could extremely limit my story-telling capabilities. But I was Ok with this challenge, and so “My Life Is a Movie” was born – the tale of two siblings who run away from a dysfunctional home life only to be chased into a church, where, safely in the basement, they have to hide to survive, albeit a warm place, and one with available food (although limited choices – hmmm, sounds like my film project idea.)

This idea first took shape as a story for the National Novel Writing Month project, and this novel was adapted into a script. So the novel was based on this same concept of a ten-year-old boy who shoots video of everything with his cellphone. It is his way of escaping from his not-so-good life – kind of ironic that he documents his life as a movie as a way of escaping from it – but it is this process that helps him detach from his life and he can actually think that as a director or an actor of this movie, he actually has more control over what happens – but not really.

The biggest problem that I found is that writing a story with this kind of specific point of view is a lot easier as a novel than as a movie – because I found that adapting it into a script (with a shot list) highlighted the fact that some of the things I wrote about in the novel would not actually be do-able with a camera cellphone – and I had to come up with other shots and angles and ideas and ways to get the story to move forward. Again, I was up to this challenge, but it meant I had to rewrite some of the scenes to make them work for “My Life Is a Move.”

Once the script and the shot list was in place, it was time to assemble the cast and crew.

Zero Budget Feature Reality

OK so it’s been awhile since I have posted on zero budget feature filmmaking. I apologize if anyone has been sitting around with baited breath waiting on my next post, but since this is highly unlikely, suffice it to say that I have not been sitting around on my laurels (haunches), but have been putting my money (or lack there of) where my mouth is. In this time I have wrote, shot, and edited a zero budget production feature shot on my iphone. OK, not really zero budget – I spent eighty-five hard earned dollars on some props, cast food, and water. (Not counting the gas I spent to drive to several locations – so let’s add another 2 tankfuls of gas and call it an even one hundred and fifty bucks.) But I am rather proud of my hundred and fifty dollar feature – so much so that I have submitted it to more than half a dozen film festivals in hopes of getting accepted. (I’ve actually spent three times my budget on this, but there are ways to save on film festivals – and some that are zero – which I will post about that in a future read.)

So I can now reflect and go back and share my experiences and what it took to make this happen – so you can make this happen yourself. Starting at the beginning is, of course, realizing that you have zero dollars to spend, so you have to budget for this (sounds crazy, doesn’t it?), but that means coming up with a script that you can actually shoot with no money, and finding the necessary gear. (See earlier posts on this to get you started, too.)

Imagine yourself a painter and you have a blank canvas and a brush. You are given a tube of red paint and a tube of green paint, and are free to paint whatever you like. Now you really have been wanting to paint a space ship with lots of explosions and battles and stuff (because you always have liked these and they are your favorite, and your favorite painter paints these, too…) and you can go ahead and do this, but it will probably look really bad or really strange or not like you intended, but go ahead and paint this because there is no way you are going to paint a picture of something else. (This painting will most likely not sell, if you even finish, because by the time you get into it and start seeing this mess, you might get discouraged and quit…)

Do you have other options? You bet. You could paint an apple. No! you say, I do not want to paint an apple because that has been done before, it is boring, and besides, I do not really like apples. However, you could paint a really nice looking apple – and very realistic – and there are lots of people who like to hang paintings of apples in their kitchen and they just might pay you a hefty price for your painting of an apple. After which, you could take this money and buy more paints – enough to paint a picture of say, a space ship and explosions and stuff. Selling out? I don’t think so. I think it is working toward a goal (spaceships) by utilizing what you have available (apples), and in the meantime learning your craft as you go along (which could lead to a much better space ship once you have the resources to do this).

And if you are really opposed to apples, well, how about a fire truck? Or a cardinal on a leaf? Or holly berries? Or even stretch your imagination and go crazy with something like a painting of a palm tree bleeding? But first work with the two colors you have. You might even find that you’ll have fun painting an apple. I sure did making my hundred and fifty dollar feature, but more on that later…

Geezer Flicks

Ok so I think there is a new genre out there: geezer flicks. First there was “Last Vegas,” and now comes “Grudge Match.” Both star Robert De Niro – is this his new niche? – I hope not. First let me say that Robert De Niro is one of the greatest all-time actors, and at 70 years old, his role choices may be decreasing. But he IS getting some good roles in some good films, so why he chose to be in these two, is beyond me. OK, they’re good films: well-crafted, helmed by good directors and writers, and, of course, well acted. They are just so average and formulaic.

“Last Vegas” has to do with four old guys getting together in Las Vegas – a sort of reunion – for the wedding of one of the four (Michael Douglas). Now there is a long-standing rift between him and one of the pals (De Niro), and it involves a lady. “Grudge Match” revolves around a long-standing rift between two ex-boxers (Sylvester Stallone and Robert De Niro) from 30 years ago, and besides their boxing history, it involves a lady (Kim Basinger). Sprinkled throughout both is crass humor (some of it kind of creepy coming from “grandpas,” if you know what I mean), and subplots involving the guys’ kids.

So did I laugh and enjoy myself during both films? Yes, I did. You can easily turn off the brain and sit back and enjoy watching these icons of the screen have fun. And so maybe that is the reason for these films indeed.

Highlights: Morgan Freeman is always a joy to watch, and he is having one helluva good time in “Last Vegas.” And the same can be said for Kevin Kline as the fourth buddy in “Last Vegas.” These two are ready to party. And Mary Steenburgen pulls off one fine acting job in “Last Vegas.” She actually rises about the material and puts in a standout performance. In “Grudge Match,” how can you not like watching Stallone and De Niro trade jabs (both physical and in the acting sense)? I had to wince a little bit at the tender love moment (not a love scene!) between Stallone and the love interest Sally (Kim Basinger), and why they get involved in an automobile mishap is beyond me… It is good to see Ms. Basinger on the screen and eating up this role – another highlight. Kevin Hart – funny. And keep an eye on Jon Bernthal as DeNiro’s son –  he does a stellar job in the role and keeps up with De Niro just fine.

So like I said, if you want to turn off the brain and unwind and escape for a couple of hours, you can’t go wrong with these Geezer flicks. Just be prepared for the crass humor (especially in “Grudge Match” from Alan Arkin – although another highlight of the film, for sure, is watching him work.) What next? Maybe a remake of “Tough Guys?”

Inside Llewyn Davis review

So when you go to a Joel and Ethan Coen film, you expect a rich character study filled with quirky characters, and “Inside Llewyn Davis” does not disappoint.

The film follows a week in the life of aspiring folk singer Llewyn Davis, homeless and adrift, as he  bounces from one borrowed couch to another, freeloading from one friend’s pad (or perhaps not even a friend) to the next, as he moves about Greenwich Village trying to survive in the early 1960s. He has flirted with success, but that was when he was one half of a duet that had a semi-hit song, but the road of a solo artist is not as easy as Llewyn hoped. The potpourri of characters with whom he interacts are as varied and as quirky as they come: the singing husband/wife team of Jean and Jim (portrayed winningly by Carey Mulligan and Justin Timberlake) where his welcome (and benefits) are wearing quite thin; to the singing soldier Troy Nelson (Stark Sands), a goody two-shoes who Llewyn is just not sure about; to his fellow studio musician/singer Al Cody (featuring a great bass vocal played to the hilt by Adam Driver – with a straight face no less); to his traveling companions on a short trip to Chicago – John Goodman as the delicious character Roland Turner (surely an Oscar contender, as well as many of these other performances), a big man with a bigger voice and appetite, and the driver Johnny Five (Garrett Hedlund), who communicates with as little words (and grunts) as possible. What a great collection of likable and entertaining people to meet.

And then there’s the cat. Llewyn wakes up (on someone else’s couch, of course) to the face of a cat. Nice enough cat, he supposes, until Llewyn slips out the apartment door and with him goes the cat – just as the door (locked) shuts behind them. Now Llewyn is stuck with the cat, whom he first tries to pawn off onto the elevator attendant (Jack O’Connell) – another likable character – but he ends up taking the cat with him to his next crash pad couch. From here and through an open window the cat escapes and Llewyn fails in his attempt to find him. So there is this revolving subplot of Llewyn and the cat: how it is lost and found, returned and lost, found and ultimately abandoned, this symbolism of the cat and the mirroring of Llewyn’s life is fun to follow.

The music of “Inside Llewyn Davis” is so such fun, and all of the varied acts get to shine on their own and in groups, with special thumbs up to Justin Timberlake, Carey Mulligan, Adam Driver, Stark Sands, and all the others really. Oscar Isaac does a great job as a singer and guitarist, too.

Now about Llewyn Davis. You really want to like this guy, especially with his fun collection of friends, but he is so hard to not dislike: he is self-centered, self-absorbed, mean, loud, insensitive, and he abandons everyone and everything as he chases his dream. Not being able to like Llewyn makes it hard to totally enjoy the experience of the film, and leaves you wanting more. In the end, the biggest problem for me with “Inside Llewyn Davis” is that everyone in the film is so doggone likable – well, except our protagonist. It’s still a recommended viewing experience. “Inside Llewyn Davis” is a well-made film with great acting, and you really get a feel and flavor for the folk movement of the early 60’s (as well as some Jack Kerouac “On the Road,” too). So go see it and meet some fun characters, hear some fun music, as  you watch Llewyn Davis not have ANY fun at all.

Zero Budget Feature Filmmaking: HWG

Here We Go: OK those of you who have read my blog before, know that I spend a great deal of time talking about making films with little money, while not giving up on quality. As of recent, I have targeted feature films on this blog, sharing all the things I have learned throughout my career making television, documentaries, and especially short films, with limited budgets. However, I do not have a feature film shot with a zero budget on my resume. So: I am launching a feature film project that I recently finished writing with the idea in-mind of producing a quality feature film with a zero budget, with the final goal of a theatrical run, film festivals, and DVD and/or VOD distribution.
It will be shot on available equipment and with actors who want to showcase their skills and have the opportunity to climb into some fantastic roles.
This experimental zero-budget feature will utilize long takes, limited locations, and a compressed shooting schedule. There will be aspects of the film that have not been often done. Zero-budget means lots of memorization, limited retakes, but many of these roles are showcase parts. Please keep in mind that this a PG13 film, due to some language and instances of physical abuse. Scheduled shooting plan is 15 to 20 dates (summer 2013 in St. Louis, Missouri, mostly West County), but most roles will only be needed for one or two dates apiece. (The exception is Lyndsy, who will need to be at all shooting dates.) Please  look over the cast list, and if you are interested in taking part in this production, please send me an email of your interest (and include a headshot and/or resume if available) to dale@dward.org. Please list the parts that seem to be the best fit for you. Auditions will occur in the near future, with shooting to take place soon after. I will forward sides in preparation for the auditions.

Wyatt (THIS ROLE IS CAST.) 10 year old boy who likes to shoot videos. He lives with his sister Lyndsy (14), step-sister Erin (13), step-brother bully Bart (16), Mom, and stepfather Joe.

Lyndsy: 14 years old; Wyatt’s sister; She talks her brother Wyatt into running away from home together with her. They have to be resourceful to survive. She loves to paint and is the artistic-type, but overall is fit and healthy, just not happy. Her paintings tend to be on the dark side, both in subject and color palette. This role has tons of dialogue and screen time, with emotions running the entire range of the human experience. She is in every scene.

Mom: 38-ish; mean-spirited but can fake niceness

Joe: 42-ish; step-dad, deadbeat

Erin: 13 years old; step-sister, long hair, spends most of her time texting on the couch

Bart: (also known as Bart Fart), 16-year-old bully step-brother

Dad: 42-ish; auto mechanic; nice guy when sober; monster when he is drunk; in his scene he is drunk and abuses Wyatt and Lyndsy

Rev. Keys: 60-ish; pastor at a church

Mrs. Keys: 55-ish; pastor’s wife

Mrs. Kennerly: church secretary

Bill the Janitor: works at the church

Homeless Man: scraggly; chases Wyatt and Lyndsy, at one point catching them.

Rodney: church elder

Bob: church elder

Mike: church elder

Key Man: 30-ish; Youth pastor

Mrs. Key Man: 28-ish, Youth pastor’s wife

Nursery Woman: 41-ish, works in the church nursery during church service

Ana Sophia: 5 years old; attends nursery during church

Anthony: 6 years old;  attends nursery during church

Officer Woodson: female police officer

Officer Kelton: male police officer

Extras: 5 homeless people; 6 women book club members; 7 choir members; 6 youth band members; 7 youth group kids; Bass Girl’s Dad; 4 youth group parents; 40 church members; Aunt Meredith (42-ish); Uncle Kevin (45-ish)

Thank you for your consideration. , DWard Media, dale@dward.org